THE DIAPASON JULY, 2012
The Cathedral of Christ the Light Oakland, Califonia Cover feature on pages 26–28
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 7, Whole No. 1232 JULY, 2012 Tannenberg, Zion Lutheran I thank Raymond Brunner for the use- Established in 1909 ISSN 0012-2378 I was pleased to see the April 2012 is- ful, interesting article. An International Monthly Devoted to the Organ, sue in my mailbox yesterday afternoon. Thomas Ferguson the Harpsichord, Carillon, and Church Music I enjoyed reading it that evening and Halifax, Nova Scotia, Canada this afternoon. While reading the article by Raymond J. Brunner on the musi- The author replies cally excellent and historically important Mr. Ferguson is correct that the in- CONTENTS Editor & Publisher JEROME BUTERA Tannenberg organ in Zion Lutheran formation is confusing. Only the bottom [email protected] ′ 847/391-1045 Church, I noticed a point of confusion. octave of the Flaut 8 is stopped. The FEATURES While the text, page 18, column 3, has remainder of the rank from C2 is open, In Memoriam: Jacqueline Englert-Marchal Associate Editor JOYCE ROBINSON “The Flaut 8′ and Flaut 4′ are identical with the scaling identical to pipes of the 23 September 1922–21 April 2012 [email protected] ′ by Ann Labounsky 19 open wood pipes . . . ,” the shaded box at same pitch in the 4 Flaut. 847/391-1044 the bottom of columns 3 and 4 indicates Raymond J. Brunner A Skinner Centennial—Opus 190 at Grand that the 8′ are stopped wood pipes and R. J. Brunner & Company Avenue Temple United Methodist Church, Contributing Editors LARRY PALMER ′ Kansas City, Missouri Harpsichord the 4 are open wood pipes. Silver Spring, Pennsylvania by John L. Speller 20 JAMES MCCRAY Jehan Alain: Choral Music His Life and Works by Aurélie Decourt 22 BRIAN SWAGER Carillon Here & There NEWS & DEPARTMENTS Editor’s Notebook 3 JOHN BISHOP Letters to the Editor 3 In the wind . . . Here & There 3, 4, 6, 8, 10, 12 GAVIN BLACK Appointments 6 On Teaching Nunc Dimittis 10 Reviewers Alexander Harkovsky Harpsichord News by Larry Palmer 10 David Wagner In the wind . . . by John Bishop 12 Francine Maté On Teaching by Gavin Black 13 John L. Speller David Herman REVIEWS John Collins Music for Voices and Organ 15 Book Reviews 16 THE DIAPASON (ISSN 0012-2378) is published monthly New Recordings 16 by Scranton Gillette Communications, Inc., 3030 W. Salt New Organ Music 18 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 SUMMER CARILLON CALENDAR 28 MSG RLY. E-mail:
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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.
Editor’s Notebook
In this issue its possible composer, an interview with Fort Wayne Competition judges: Yun Kim, James Kibbie, Todd Wilson In this issue of The Diapason, Ann Paul Wolfe, a report on the ninth inter- Labounsky offers a refl ection on the national organ and early music festival Yoomi Chang, a doctoral student at in Hong Kong, Chan studied with Siu death of Jacqueline Englert-Marchal, in Oaxaca, Mexico, a description of the the University of Kansas in Lawrence, Ling Chiu at Hong Kong Cultural Cen- daughter of the legendary French organ- restoration of the Cavaillé-Coll organ Kansas, was named the winner of the tre. In 2003 he obtained a diploma in or- ist André Marchal. John Speller reports at Saint-Jean de Montmartre in Paris, 2012 First Presbyterian Church Na- gan performance from the Royal School on the centennial of the E. M. Skinner France, and much more. tional Organ Playing Competition in of Music. He holds a bachelor’s degree Opus 190 at Grand Avenue Temple the fi nals held March 24 at First Presby- from Hong Kong Baptist University, and United Methodist Church in Kansas New DIAPASON website terian Church, Fort Wayne, Indiana, on a master’s degree from Texas Christian City, Missouri. Aurélie Decourt, daugh- By now our new website should be the Jack R. Ruhl Memorial Organ built University, studying with Joseph Butler. ter of Marie-Claire Alain, discusses the operational. The redesigned website by the Aeolian-Skinner Organ Company. He is a doctoral student at the University life and works of her uncle Jehan Alain. has been under construction for quite The six fi nalists were chosen from 13 of Kansas, working with James Higdon In his column, John Bishop muses a while. Please take a look, and let me preliminary recorded entries. Ms. Chang and Michael Bauer. on the fate of pipe organs that have know if you fi nd the website complete was awarded a cash prize of $2,000 and Other fi nalists included Sunim Kwag, become redundant when churches and easy to use. There are many new was presented in recital at First Presby- a doctoral student at the University of close or congregations change, and of- features and a completely new look. On terian Church on April 29. North Texas; Jonathan D. Rudy, a mas- fers some success stories of preserving the website, one can view the current is- Originally from Korea, Yoomi Chang ter’s student at Indiana University; Aaron historic organs. Gavin Black discusses sue, a comprehensive up-to-the-minute holds a bachelor’s degree in organ per- E. Sunstein, a doctoral student at Indi- recital planning and programming and calendar, archives of news and feature formance from Ewha Woman’s Univer- ana University; and YangSun Yu (Sunny), suggests several strategies for drawing articles, classifi ed ads with pictures, art- sity. Her teachers have included Yoohee who is pursuing an artist’s diploma at the up successful programs. Larry Palmer ist spotlights, and more. Visit
JULY, 2012 3 The Riverside Church, New York Plaisted organ, restored in 2003 by the The Cathedral of the Incarnation, City, is presenting its annual summer Andover Organ Company: July 7, Cla- Garden City, New York, concludes its organ series on Tuesdays at 7 pm: July rissa Brown; 7/24, Harold Stover; 7/31, music events on July 17 with the Choir 3, Christopher Johnson; 7/10, Ulrike Douglas Beck; August 7, Ray Cornils; of Selwyn College, Cambridge, U.K. For Theresia Wegele; 7/17, Christopher 8/14, Katelyn Emerson. A tour of the his- information:
Paris Organ Study Tour
The Paris Organ Study Tour took offered lectures on the history of the John Girvin, Scott Riedel, and Sebastian M. Glück (photo: Albert Jensen-Moulton) place April 11–15. One hundred organ- French symphonic organ. Participants ists, students, and organ fans came to- were from Germany, Denmark, Norway, Faith Lutheran Church, New Milwaukee, who served as architectural, gether in Paris to celebrate 150 years the Netherlands, Austria, Great Britain, Providence, New Jersey, celebrated the acoustical, and organ consultant to the of the St. Sulpice organ, the 75th an- Switzerland, and the USA. The central completion of their new 32-rank pipe congregation, and Sebastian M. Glück, niversary of the death of Charles-Marie focus of the trip was an organ course organ on May 6 with a dedication cer- designer and builder of the instrument. Widor, and the 70th birthday of Daniel with Daniel Roth at St. Sulpice, using a emony and recital by John Girvin, DMA, A full description of the organ may be Roth. The fi ve-day study session includ- big large video screen so that all partici- Minister of Music. Pictured at the con- found in the February issue of The Dia- ed lectures, recitals, demonstrations, and pants could see what was happening at sole of Glück Pipe Organs’ Opus 13, left pason. Further information is available an organ course with Daniel Roth. the console. For information: to right, are Dr. Girvin, Scott Riedel of at
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts
Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea
David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois
Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina
Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation from commercially produced albums, both old and new, and an ever-growing Appointments collection of digitally archived LPs and 78s. The broadcast is completely free to anyone with a broadband Internet connection, and is also available for the iPhone, iPad or iPod touch, and Android devices, through iTunes Radio, and on Internet audio devices such as the Roku or Logitech Squeezebox. It is heard in more than 100 countries by more than 15,000 unique listeners each month. While tuned into the broadcast, lis- teners can browse the entire library and make requests for specifi c tracks to be played. Listeners can search by title, composer, album title, organist, and by organ. While listening, information is presented about the track and album being played, the organist, and the or- Alexander Boggs Ryan at the console gan, as well as links to read more about Fausto Caporali of 1951 Aeolian-Skinner Opus 1174 at the organist, organ, or to purchase the First Baptist Church, Longview, Texas, album, sheet music, or MP3 fi le when includes the twelve major organ works ca. 1952 available. Links to public domain librar- of Franck: Six Pièces, Trois Pièces, and ies of sheet music allow listeners to fol- Trois Chorals. Caporali holds a diploma pher Jennings, Lorenz Maycher, Thom- low along with the music, or save and in organ from the Verdi Conservatory in as Murray, Larry Palmer, Walt Strony, print scores for themselves. James F. Mellichamp Milan. He is titular organist of Cremona Brett Valliant, and Bradley Welch, Organlive is assisted by the record la- Cathedral and teaches organ and Grego- with special presentations and exhibits bels Raven, Albany Records, Hyperion, At a May 4, 2012 meeting of the Board rian chant at the Turin Conservatory. For honoring the life and career of concert Delphian, Spektral, OxRecs Digital, and of Trustees, James F. Mellichamp was information:
6 THE DIAPASON The Allen Organ Company is pleased to present the following installation:
Matthew McCue Assistant Director of Music at St. Anne Catholic Church
St. Anne Catholic Community Church, Houston, Texas
The Allen Organ Company and Jim Ross, Music Director at St. Anne naturals accented by maple sharps, rosewood drawknobs and overlays Catholic Community Church in Houston, Texas, congratulate Assistant on tab stops, and custom scrollwork on the back panels. The instru- Director of Music, Matthew McCue on the installation of a new ment also features two LCD video screens in the center rail for use custom pipe-digital combination organ. The beautifully handcrafted with the church’s closed circuit TV system. Matthew said, “We now Heritage™ console controls 96 speaking stops including 51 ranks of have a wonderful hybrid organ that can play music of all periods, pipes that were seamlessly integrated into the specification from the styles and lead our congregation in wonderful hymn singing!” original mechanical-action instrument. The stunning woodwork on To see photos and review the stoplist of this instrument, please this one-of-a-kind console includes keyboards with exotic rosewood visit: www.allenorgan.com/saintanne
Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 t (610) 966-2202 t [email protected] t www.allenorgan.com gan music, over 2,000 slides on a giant (2010) by Chicago-based composer Jes- screen, and commentary by francophile sica Hunt. Also on the program are three Paul Hamaty. For this program, Mrs. pieces by Giovanni Gabrieli, as arranged Chenault wore two gowns from Paris. for organ with brass quintet by Paul Von The Chenaults played solo repertoire by Hoff (trombonist in the quintet). The Marchand, D’Andrieu, D’Agincourt, Vi- album opens with the Pièce héroïque by erne, Messiaen, Mulet, Dubois, Dupré, Ivan Jevtic, and the largest work on the and Langlais. The opening selection was disc (about 25 minutes) is the Diletto the organ duet Sonate à Deux by Gaston Te Deum (1991) by German composer Litaize, which was commissioned by and Bernhard Krol. For information: dedicated to the Chenaults. It was the
Stephen G. Schaeffer Nicholas Schmelter, director of mu- sic ministries at First Congregational Stephen G. Schaeffer is featured on Church, Saginaw, Michigan, announces a new recording, Stephen Schaeffer Plays the receipt of a commissioned anthem the Advent Organ, recorded in March for Pentecost written by Philip Rice. 2012 by Sonare at the Cathedral Church Scored for SATB choir and organ, I Will of the Advent in Birmingham, Alabama, Pour Out My Spirit is written for Dr. on the 100-rank M. P. Möller organ in- Steven Egler, artist in residence at First stalled under Dr. Schaeffer’s supervision Congregational Church. The anthem’s in 1988. The ten tracks feature works text is taken from Acts 2:17–21, 26–28, by Bach, Balbastre, Franck, Widor, Jon- and 18th-century hymns by John Jacobi gen, Durufl é, Davies, Bridge, and King. and Augustus Toplady. The organ, whose stoplist is available at Philip Rice (b. 1988) is a composer of
8 THE DIAPASON ster Choir College, a bachelor’s degree books (Benedictines, Dominicans, Fran- eration Artist by the BBC. Mahan’s in composition and theory from Central Here & There ciscans, etc.). Édition d’Yves Jaffrès; €25; wide-ranging program included music Michigan University, and is currently 21 × 29.7 cm, 64 pages, ISMN: 979-0- by William Byrd, Scarlatti, Bach’s “Eng- pursuing a DMA at Michigan State Uni- 2318-0538-3. For information:
10 THE DIAPASON
Elsewhere in the building there is a dining hall that is served by a big com- In the wind . . . mercial kitchen, all fi tted out with the by John Bishop latest restaurant-style appliances from about 1952. Adjacent to the kitchen is a pantry lined with elegant oak-and-glass cabinets fi lled with what must be a thou- sand place settings of china, all mono- grammed with the church’s initials. It must be 40 years since they had a really big dinner, but all the stuff is there and ready to go. This church is doing pret- ty well. There’s a relatively new pastor who is attracting new people, they have a good organist who is inspiring people Frances Bedford (photo credit: Charles Mize) to join the choir, and in general they are doing quite a bit better than holding North of Chicago, at the University their own. of Wisconsin-Parkside, the centerpiece There are many buildings like this among the new Regional Arts Center around the country. Great big places spaces for the Music Department is the originally built and furnished to serve Frances Bedford Concert Hall, named huge congregations are now being op- in honor of the well-known Professor erated by dwindling groups of faithful Emerita and author. A naming ceremony who struggle with fuel oil bills approach- and gala reception took place as part ing $10,000 per month, and 80-year-old of the two sold-out December perfor- roofs that are starting to fail. It’s increas- E. & G. G. Hook Opus 283, Woburn, First mances of Handel’s Messiah. On these Former glories ingly common for a congregation to wor- Congregational occasions Bedford played harpsichord I love visiting church buildings. I love ship in a chapel, parlor, or low-ceilinged continuo, as she has done since 1993 for experiencing all the different forms fellowship hall during winter months to There’s a positive side to all this. Often each of the triennial presentations of this these buildings can take, reading bul- reduce the heating bill. And it’s common we can save the organ, and when we do beloved work. Also participating in the letin boards to try to understand what’s for these churches to close. it moves to another parish representing a orchestra were three additional family going on in the place, meeting with § spark from its original home. members: oboists Monte Bedford and church offi cials, hearing organs, imagin- Woburn (WOO-burn), Massachusetts Leslie Outland Michelic, and Matt Mi- ing what organ from our lengthy list of We at the Organ Clearing House have is a suburb of Boston with a population chelic, viola. available instruments might best suit a had many experiences with people who of a little under 40,000, located about given church. I love the vitality of an ac- are losing their church. We organize the ten miles north of the city. During the One of the more memorable dec- tive church—gaily decorated classrooms, sale of an instrument, and arrive at the nineteenth century Woburn was a cen- larations from centuries of comments purposeful rooms for the rehearsing and building with scaffolding, crates, and ter for the tanning of leather—the high about musical instruments comes from production of music, busy offi ces chatter- packing supplies to start the disman- school football team is still called “The Giovanni Maria Trabaci, who wrote ing and clattering away. I love the sense tling of the organ, and an elderly church Tanners.” It’s the next town to the north in the Preface to Book II of his pieces that all that activity and dedication of member comes to us with a photograph from my hometown, Winchester, and “per ogni strumenti, ma ispecialmente treasure is focused on the public worship of her parents’ wedding taking place in when I was in high school I was assis- per i Cimbali e gli Organi” (1615): “the of a faith community. And I love meeting front of that organ. Her parents were tant organist at the First Congregational harpsichord is the lord of all instru- with the committees charged with the married and buried, she and her husband Church of Woburn, home of E. & G. G. ments in the world, and on it everything task of acquiring a new organ for their were married, her husband was buried, Hook’s Opus 283 built in 1860, with three may be played with ease.” [“il Cimbalo church, discussing the various forms of and her children were all baptized, con- manuals and 31 speaking stops. I think è Signor di tutti l’istromenti del mondo, the pipe organ, and helping them focus fi rmed, and married with that organ. I had an idea at that young age of how et in lei si possono sonare ogni cosa on how to conceive a plan and present it It’s a regular and poignant reminder of fortunate I was to be playing on such an con facilità.”] While I am not always to their superior committees. how much the church means to people. instrument. William H. Clarke was the convinced about the “ease” involved, it Around 2000 when I had just joined There have been a number of occasions organist of that church when the organ does seem quite evident that, despite the Organ Clearing House, I visited a when people have wept as we start to dis- was installed, and ten years later he was an ever-increasing overabundance of church building and was greeted by the mantle an organ. organist of the First Unitarian Church, baroque music played on the piano, the organist who recognized me and asked, Last year I was invited to assess the just across the town square, when the lordly harpsichord continues to garner half in jest, “What are you doing here? pipe organ in a church building in New Hook brothers installed their Opus 553 the attention of writers on music as it We love our organ!” I guess my reputa- Jersey that had closed. It was a grand in 1870. (Note that Hook covered 270 provides tonal sustenance and aural en- tion preceded me. It was the fi rst time I building with mahogany-fronted galler- opus numbers in ten years!) A few years joyment to its own special audience. Q realized that I might be considered the ies surrounding the sanctuary, sweeping after that, William Clarke left the Boston Grim Reaper of the pipe organ. I like stairways, and an organ with more than area to establish an organbuilding shop Comments and news items are al- to think that what I do is bring beauti- 80 ranks. This place was unusual in that in Indianapolis, taking with him Steven ways welcome. Address them to Dr. ful vintage organs into church buildings, there had apparently been no planning P. Kinsley, the head voicer from the Larry Palmer, Division of Music, South- but I realize how likely it would be that I for the closure. It was two years since Hook factory. ern Methodist University, Dallas, Texas would be known for the reverse—taking the last worship service, and the place 75275. E-mail:
12 THE DIAPASON their organ with them as they suffer the loss of their church and work to get used to a new worshipping life. As we came to On Teaching town to start dismantling the organ, one by Gavin Black of those members told me that she had been a member at Christ Church for 65 years. She lives across the street from the building. It’s personal. § Sometimes the relocation of an organ is an artistic exercise, taking an instru- ment from a long-closed building and seeing it through installation with little or no contact with the people who were its original owners. This is rewarding work, as we know we are preserving the crafts- manship of our predecessors, reusing the earth’s resources by placing an organ in a Hook Opus 466, Follen Community building without having been a party to Church, Lexington contemporary mining and smelting, and Hook & Hastings Opus 2344, Christ refreshing our ears with some of the best aged to get E. & G. G. Hook’s Opus 466 Church (Episcopal), South Barre organ voicing from a previous age. (1866) out of the building and into stor- But when the relocation of an organ age before the balcony was boarded up, Barre had begun worshipping in Hold- can involve the people who worshiped and the organ was offered through the en, and some people wondered if the with it in its original home, and espe- Unitarian Universalist Association to a Hook & Hastings organ in Christ Church cially play a role in the blending of two “neighboring church that could give it a would be appropriate for installation at parishes, the process is especially mean- Recitals—questions and ideas good home.” St. Francis. We compared measurements ingful. It’s personal. Q The topic for this month, and also next, Lexington, Massachusetts is the next in the two buildings, and sure enough the is recitals, with an emphasis on planning town west of Woburn (it also adjoins organ would fi t beautifully. The vestry of and programming. Playing a recital— Winchester). It has a population of St. Francis put that project together in Check out video and audio fi les performing, in this case, solo organ rep- 30,000 and is home to the Lexington record time, and we are in the midst of ertoire in front of an audience that can on THE DIAPASON website: Battle Green, where the fi rst battles of relocating that organ now. It’s especially be assumed to be paying attention—is an the American Revolutionary War took meaningful for the members of the for- www.The Diapason.com activity that gets to one of the hearts of place. Facing the Battle Green is the mer Christ Church to be able to bring what we do or care about as musicians. stately First Parish (UUA) Church, home to a marvelous three-manual Hutchings organ. On the east end of Lexington on Massachusetts Avenue (Paul Revere’s Ride) is the Follen Community Church THESE FIRMS ARE (UUA), a unique octagonal structure BUILDER MEMBERS built in 1840. In 1995, the organ at the Follen Church was a hodge-podge affair ANDOVER ORGAN COMPANY that had been assembled from parts by NORTH BEDIENT PIPE ORGAN COMPANY an enthusiastic member of the church. It had a 48-volt DC electrical system, BERGHAUS PIPE ORGAN BUILDERS, INC. unusually high voltage for pipe organ ac- AMERICA’S BIGELOW & CO. ORGAN BUILDERS tion, and as the organ deteriorated, the console emitted puffs of smoke that un- BOND ORGAN BUILDERS, INC. nerved the parishioners. PREMIER BUZARD PIPE ORGAN BUILDERS, LLC When members of the Follen Church heard through the UUA that the Hook C.B. FISK, INC. organ from Stoneham (#466) was avail- ORGAN BUILDING able, they pounced on the opportunity. CASAVANT FRÈRES Organ committee chair Wendy Stroth- DOBSON PIPE ORGAN BUILDERS man spearheaded a campaign that raised & SERVICE FIRMS the funds necessary for the restoration GARLAND PIPE ORGANS, INC. and installation of the organ. The organ GOULDING & WOOD, INC. was fi rst played in its new home on Eas- ter Sunday 1997. HENDRICKSON ORGAN COMPANY As the restoration progressed, Charlie HOLTKAMP ORGAN COMPANY Smith of Woburn got wind of the story, and offered the Woburn organ fund to J.H. & C.S. ODELL the Follen Church to support the care of BUYING AN ORGAN? the restored organ, and to support regular KEGG PIPE ORGAN BUILDERS organ concerts there. So Hook Opus 553 LÉTOURNEAU PIPE ORGANS wound up supporting Opus 466 in its new home—and Wendy and I are married! INVEST IN PIPES! NOACK ORGAN COMPANY, INC. § PARKEY ORGANBUILDERS
PARSONS PIPE ORGAN BUILDERS As I write, the Organ Clearing House THE ORIGINAL GREEN SOLUTION. is participating in another project that PASI ORGANBUILDERS, INC. allows a redundant organ a fresh start. Christ Church (Episcopal) in South PATRICK J. MURPHY & ASSOCIATES INC. Barre, Massachusetts closed its doors PAUL FRITTS & CO. ORGAN BUILDERS last year after a long period of declin- ing membership and dwindling funds. QUIMBY PIPE ORGANS, INC. Their organ was Hook & Hastings Opus 2344, built in 1914, a sweet little instru- RANDALL DYER & ASSOCIATES, INC. ment with three stops on each of two SCHANTZ ORGAN COMPANY manuals, and a pedal 16′ Bourdon. The impeccable craftsmanship of its builders SCHOENSTEIN & CO. and its mechanical simplicity combined TAYLOR & BOODY ORGANBUILDERS to make the organ a remarkably reliable and durable instrument. The Episcopal Diocese of Western Massachusetts con- tacted us about the disposition of the or- SUPPLIER MEMBERS gan as the building was being offered for A.R. SCHOPP’S SONS, INC. sale, but a few weeks later called again with a fresh suggestion. HARRIS PRECISION PRODUCTS St Francis Episcopal Church is in INTEGRATED ORGAN TECHNOLOGIES, INC. Holden, Massachusetts, about 15 miles east of South Barre. Several of the pa- OSI - TOTAL PIPE ORGAN RESOURCES rishioners from Christ Church in South PETERSON ELECTRO-MUSICAL PRODUCTS, INC. Call for our free SOLID STATE ORGAN SYSTEMS 64 page color prospectus Visit THE the highest standards of integrity, quality and craftmanship in pipe organ building DIAPASON website: 1-800-473-5270 www.apoba.com
JULY, 2012 13 For some of us, church work, in and of rally and what does not: what strengths ter known, then this sort of program can dovetails with a common, and often nec- itself, gets at something else about the can be relied on, what weaknesses can be make a major contribution to the lives essary, student approach to programming, heart of what we do. And for many of improved, what should be avoided or at of the audience members. The danger namely: “all of the pieces that I know well us, simply communing with the music least not emphasized. Helping a student is obvious: that the music is less known, enough to perform.” The latter need not is also central to what it means to be an understand this is one of the best gifts or unknown, for a good reason, and that by any means lead to bad programming, organist or a musician—relating to the that a teacher can give.) it really can’t amount to anything great. since it represents the interests and de- music that we play, or listening to mu- There are a lot of factors to take into Even in this case, it makes sense to argue velopment of one particular artistic (tem- sic that we care about that is also within account in planning a recital. The one that any and all music deserves a chance. porarily student) personality. the orbit of what we play or might play. that I think gets the most attention, One aspect of this kind of program as it Any of these concepts can work very Giving a recital is a direct way of sharing and that is indeed very important, is the affects the dynamic of the recital-giving well in creating a solo recital program. something that we care about with other choice of what pieces to play: in fact this process is this: that the danger of com- There are also many more that can, just people—indeed, sharing something is sometimes thought of as essentially parison to others is minimal. as well. Opening this up for discussion with which our initial experience was synonymous with recital planning. I 3) Mixed programs by related can be a good learning experience for any both personal and important. Thus it is want to discuss this matter here by ask- composers or composers from a student. However, there are two further potentially (and often in reality) excit- ing questions or framing the issue, rather particular time and place. This is a things to say—both words of caution and ing and rewarding. It is also potentially than providing clear-cut answers to the very common sort of concert in gen- ways of expanding possibilities. frightening: not just for the obvious and question “What type of programming eral: piano recitals of Haydn, Mozart, The fi rst is this—and it is indeed a well-discussed reason that it is hard and makes for a good recital?” I don’t think and Beethoven; orchestral concerts of word of caution: a musicologically or his- we might do it badly (always mortifying) that there is an answer to that question. Brahms and Schumann. An organ equiv- torically, or just plain logically meaning- but also just because it, especially at its However, before trying to tackle that dis- alent might be a program of Buxtehude, ful concept does not, all by itself, guar- best and most successful, involves open- cussion I want to mention what I think Pachelbel, and Bach—two composers antee a great musical event. Whether it ing ourselves up to others. We run the is actually most important about recital who knew each other and who both in- is “all Bach” or “music suitable to this risk and take on the challenge of expos- planning and the whole business of giv- fl uenced the third; or of Widor, Vierne, interesting organ” or any other program- ing our inner thoughts and feelings, say- ing recitals, in any musical medium, and Tournemire: a teacher and two of his ming principle, if the music that is be- ing “yes, this is what I care about; this is certainly including organ: if the playing students. This can be a way of achieving ing used to bring that principle to life is what I want to do.” is vivid and interesting, and successfully both variety and coherence. not great music, or if the performance is A solo recital is also an interesting exer- conveys commitment and excitement 4) A program of works by two com- not a committed, exciting one, then the cise in taking responsibility, because that to the listeners, then a recital will be a posers whose relationship is one of underlying logic of the program will be responsibility is all yours. The execution success. If I were to put into a hat the contrast, say Reger and Vierne—a quint- cold comfort to the listeners. Now, the of each moment in each piece is the re- very large number of slips of paper that it essential German organ composer and a concept of “great music” is obviously a sponsibility of the one player, of course, would take to list—separately—all of the quintessential French organ composer subjective one. I myself have no desire to but so is the concept—pieces chosen, or- pieces of organ music that exist, and then from about the same time; or Frescobal- be conservative or restrictive about that, der—and the projection of that concept. draw out an hour’s worth of them at ran- di and Sweelinck—the greatest keyboard or to try to dictate to others what mu- (In a recital by a student, the teacher may dom, and then perform those pieces in composers and teachers of southern and sic they should consider worth playing. I have participated in choosing pieces, in recital—really well—the result would be northern Europe at about the same time simply want to suggest that a concept is fact in many cases really ought to do so. something worthwhile. (This puts to one as each other. This can be interesting not enough—it is always the actual mu- But during performance, what comes side, for the moment, the question of and illuminating. A program of this sort sic as it moves through the air of the per- across is what the student/performer whether one can give great performances raises issues about the instrument: does formance space that matters, and anyone actually does.) In a church service, wed- of pieces chosen at random rather than the particular organ do Vierne as well as playing a recital must remember this. ding, funeral, academic ceremony, joint because of any commitment to those it does Reger, or Frescobaldi as well as The second point is the one alluded to recital, chamber music concert, choral pieces.) It might not be as worthwhile as it does Sweelinck? A program of works under 6) above. It is entirely possible for concert, and so on, the responsibility a well-designed program also performed by more than two composers whose re- a program with no discernible underly- for the whole picture of what goes on well. But it would be much more worth- lationship is one of contrast (or of, in a ing logic to constitute a wonderful con- is divided. Any given organist—student while than a well-designed program per- sense, not being related) becomes, in ef- cert, and indeed to end up manifesting or experienced professional—is not in formed in a lackluster manner. fect, the next kind of program: a convincing overall shape and (perhaps charge of what is going on, is not wholly None of this means that it is not a good 5) A program of pieces that have no abstract) purpose. This is because music responsible for the success or failure of idea to work out a good, effective list of discernable connection that can be de- as such—again, actual music as it moves what happens, and cannot entirely make pieces for a recital, and also to work out scribed musicologically, but that seem in through the air of the performance free and autonomous choices about what the most effective order for those pieces. the judgment of the performer—or the space—is very much its own thing. In happens. Neither of these kinds of situa- It is also just plain necessary to do some performer and his or her teacher in con- ways that we probably don’t understand, tion is necessarily more diffi cult or more version of this, since we are in fact not sultation—to add up to a good listen- or understand only partially and occa- nerve-wracking than the other. They are going to choose programs by random ing experience. This kind of program, sionally, certain harmonies, melodies, just differently diffi cult, and differently drawing. These are some of the ways of which is in a way the least satisfying to rhythms, overtones, dynamic shapes, nerve-wracking for different people. It is approaching the task: describe or to talk about, is potentially pauses, sonorities, and other elements of a good idea for students to have experi- 1) Programs of the works of one extremely successful in performance: musical language lead naturally into one ence with both (those in which the stu- (famous) composer. This is traditional, that success depends on the judgment another, invite one another, add up to dent is “doing it all” and those in which and the value and dangers of it are both exercised in choosing the pieces, and, of more than the sum of the parts. The ebb he or she is not) not just for the expe- almost self-explanatory. A program of all- course, on execution. The notion of mak- and fl ow of tension, the balance of con- riences as such, but also to learn about Bach or all-Franck, say, is pretty much ing a success of this sort of (random) pro- trast and continuity, the reinforcement their own strengths, weaknesses, and guaranteed to be made up entirely of gram has a lot to tell us about concerts in of emotions or the contrast of different temperamental preferences. great music. It is also guaranteed to have general, whatever the programming, and emotions: all of this can happen during (A personal aside: I have always been a certain kind of coherence. It is also I will talk about it more below. and between and among pieces that have most comfortable when I am the only likely to give an audience some familiar- 6) A program based not on com- no defi nable connection with one anoth- performer, and when the whole of what- ity on which to hang its hats. The latter is posers, but on instruments. With er. If a recital program is going to have a ever is going on is up to me. This is not also the source of the danger: a program harpsichord concerts—plus or minus convincing overall shape, and in the end a result of my being brave about taking of this sort can seem so familiar that it clavichord—it can be fascinating to use affect the listeners more deeply because on responsibility. It is about my being is not interesting or challenging to the several instruments, three perhaps or of that shape, then these sorts of things afraid of letting down any other people listeners. It also tends to invite compar- even more, if it is possible to stay on top have to happen, whether there is also a involved. It is liberating for me not to ison—certainly with recordings, perhaps of all that tuning. The program can then “program” or not. have to think about that—when it is with other concerts. This comparison be organized around showing off the So how can you—any performer, or there to be thought about, I think about can seem daunting or defl ating, or it can qualities and possibilities of each instru- a student in particular, or a teacher try- it too much. Of course, that is among the feel like a healthy challenge. ment. Of course, we rarely can give an ing to help a student—discern what things that are, for me, weaknesses, and 2) Programs of the works of one organ recital on multiple instruments. juxtaposition of pieces might have a that I have had to work on overcoming: (not so famous) composer. This can So the organ version of this is to choose good chance of adding up to something I have done so with medium success, be very exciting indeed. If a performer pieces that show off the strengths and dif- meaningful? In a way I hate to give this more so with chamber music than with, has knowledge and understanding of the ferent aspects of the organ being played. answer, since it is rather unspecifi c, but for example, working under a conductor. work of a composer whose music is not The stronger the historical or geographic it has the advantage of being true: the Everyone, student or pro, has his or her widely played, and if that music is good character of the instrument, the more ultimate arbiter of what works is the own picture of what comes more natu- enough that it really deserves to be bet- this will tend to converge with 1), 2), or intuitive response of a listener or of the 3) above. One way to look at this sort of performer standing in for the listener. If programming is that if every piece on a the performer honestly feels that certain program is in some way especially well- pieces in a certain order add up to an ef- tailored to the organ being played, and if fective program, then they do. The point that organ is an interesting one, then the is to remember to look at the process program will have enough of a unifying through this lens, to play—or imagine— principle to seem coherent. the pieces that are under consideration, 7) A program based on the history and try to be alive to how they affect one of the player. For a student, this can be another. What is the feeling at the end of successful in one particular way, namely one piece? How does it feel then to start that audience members who are friends, the next piece? What is the proposed family, and fellow students will fi nd it in- opening like? Stirring? Exuberant? Mys- teresting: they are there in part because terious? Short? Long? What does that of solidarity with that player. A program say about what comes next, or about of “pieces that have been important to what comes, or should come, at the end my development,” so to speak, will be ap- of the fi rst half or of the concert? What is pealing on a human basis. Of course this the balance among different elements— AHIGHER L EVEL of E XCELLENCE
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14 THE DIAPASON fast, slow, contrapuntal, dance-like, loud, Choir with three or four handbells ting has a pulsating, staccato single line the end; they play sustained four- or fi ve- soft? Does the program, or each half, in the right hand of the organ part, which note chords rather than a melodic line. start somewhere and move somewhere Three Processionals for Four Bells sets up a syncopation against the feeling The organ part is on two staves with fre- else, or does it start somewhere, move and Voices, Richard Proulx. Two-part of 3/4 in the choral and handbell lines. quent sustained pedal notes. There is a away, and come back? If at some point voices, handbells, and assembly, GIA There are four verses, with the assembly mixture of two- and four-staff writing in the program there are quite a few very Publications, G-4892, $1.30 (E). joining on the unison refrain. A separate for the choir, and the emphasis clearly is short pieces in a row, do they work infor- These three settings are each two pag- handbell part is included at the back; on their music. The text is adapted from mally as a kind of larger grouping or not? es in length and comprise processionals they play only briefl y and as a single Paul Gerhardt (1607–1676), and is ap- Should they? Do they balance any larger for Christmas, Pentecost, and a general quarter-note line. This is a festive piece propriate for Easter. units that might be found elsewhere in Sunday. They all involve a cantor and that truly features the organ. the concert? When questions of this sort have several verses that are sung in vari- For the Beauty of the Earth, arr. are simply not considered, the risk arises ous vocal combinations. The handbells Choir with handbell choir Joel Raney. SATB, piano, with op- of devising a program that does not seem have four-note clusters and simple linear tional 3–5 octave handbells and 3–5 to add up to anything much: perhaps less statements. These easy, pragmatic set- Tribute to the Saints, Lloyd Larson. octave handchimes, Hope Publish- than the sum of its parts. tings will be useful to any church choir. SATB, piano, optional trumpet, 3-oc- ing Co., C 5733, $1.95 (M-). Next month I will continue this dis- tave handbells, and congregation, Although there are passages marked cussion, in part by bringing forward Hosanna Processional, Joseph Mar- Lorenz Publishing Co., 10/40251, where the handbells play, this score some specifi c recital programs, mostly of tin. SATB and children’s choir with $1.95 (M-). does not indicate their exact music. (The my own, and considering some of their four handbells, Hope Publishing Larson uses the strong Charles Stan- handbell part is available as C 5733HB, strengths and weaknesses. Q Co., C 5745, $1.95 (M-). ford melody Engelberg as the tune $4.50.) The keyboard part is on two Designed for Palm Sunday, this spirit- for this setting appropriate for All Saints staves and has a fl owing right hand that is Gavin Black is Director of the Prince- ed processional usually has the children’s Day, which is on the horizon later this interrupted with rolled chords or arpeg- ton Early Keyboard Center in Princeton, choir doubled by the sopranos; however, autumn. There are fi ve verses in this gios. The choral parts are on two staves New Jersey. He can be reached by e-mail there are a few spots where the children setting—the congregation sings on three and involve the familiar melody Dix and at
. . . the notion that you can educate a child musically by any other means whatsoever except that of having beautiful music fi nely performed within its hearing, is a notion which I feel constrained to denounce. George Bernard Shaw (1856–1950) Music in London, 1890–1894: 1931 3FTFBSDI Readers will fi nd this author sound- ing curmudgeonly in my comments be- low about handbell performances, but before passing judgment, they are re- NQSPWJOHSBEJUJPOThe Church of minded that my previous ten handbell II columns over the past thirty years point- TT ed out consistently positive observations. Älmhult These comments included dedication of ringers, natural beauty of sound in hand- Älmhults kyrka bells, and many other charming features of their character. However, simply put, Älmhult, Sweden most handbell performances are not very 0SHBOCVJMEJOH JT B USBEJUJPOBM BSU /PU NBOZ “musical”! In my many hearings of nu- merous handbell ensembles, they most BSF FOHBHFE JO SFTFBSDI GPS UIF TBLF PG UIF often lack a real intrinsic depth of mu- ricerkaNew three-manual sicianship. Often, they seem somewhat mechanical and not connected to the NPEFSO JOTUSVNFOU #VU XF BSFpipe "U 3VČBUUJ organ music. Generally this is due to the nature of how they operate. XFWFJOWFTUFENBOZZFBSTJOSFTFBSDI XPSLZLWKÁRDWLQJ$QWLSKRQDO In handbell performances, melodies recherche are created by individual notes played by Twin consoles different performers—and that makes JOHXJUIXPSMESFOPXOFEJOTUJUVUJPOTJO*UBMZ cohesiveness diffi cult to attain. A warm )RUW\ÀYHVWRSV melody played by a group of violins is BOE(FSNBOZ JOWFOUJOHBOEUFTUJOHOFXJEFBT not chopped into note segments, but all instruments play the entire unison line GPSNBLJOHNPSFSFMJBCMF NPSFFďDJFOU CFUUFS as a group, giving it a true sense of con- Forschung nection as they all phrase the line the same way. Clearly, it is far more diffi cult RVBMJUZQJQFPSHBOT8FJOWJUFZPVUPWJTJUVTBU to make a musical line more “musically shaped” when different performers are UIFDPOWFOUJPOJO/BTIWJMMF-FUVTTIPXZPV contributing only one or two notes in it. Success demands a special depth of lis- tening from all performers. XIBUTOFXJOPVSXPSME It is, however, possible to create a very musical performance; but in most handbell choirs, the level of innate mu- sicianship is less. Being “musical” is diffi - taighde cult to clearly explain, and the old axiom XXXSVČBUUJDPN “I’ll know it when I hear it” seems a silly guideline. While I know that there are church groups who attain that deeper musical level, it has not been my privi- lege to hear an entire performance that issredovanie is “completely musical” throughout. I guess I am just not in the right place, but will continue to explore other situations. My comments are not meant to discourage handbell performances, but rather to encourage groups to dig deeper into their rehearsals to create a more substantial level of cohesive mu- JOWFTUJHBDJØO sicianship. It is up to the director to shade and shape those lines beyond the Builders of Fine Pipe Organs to the World natural beauty of the bell sound—this "%JČFSFOU,JOEPG0SHBOCVJMEFS requires keen listening on the part of all the performers. www.ruffatti.com 7JB'BDDJPMBUJ t1BEPWB *UBMZ7JB'BDDJPMBUJ t1BEPWB *UBMZ www.TheDiapason.com *OUIF645FMFQIPOF tPSHBOT!SVČBUUJDPNt*OUIF6OforskningPSHBOT!SVČBUUJDPNJUFE4UBUFT
JULY, 2012 15 bells often play busy solo lines. The Petersburg Conservatoire” took place which was organized just 10 years ago. Vision at Covenant recording of the Fisk choir’s music is not diffi cult, with lots of between October 2009 and March 2010 The index (numbering 500 items) lists Opus 124 in Nashville (reviewed in the unison singing. The congregation’s music in Glazunov Hall of the St. Petersburg names, organizations, churches, towns, June issue), there is an essay by the build- is on the back cover for duplication. This Conservatoire. It was organized by the manuscripts, photos, letters, posters, er included in the notes. Hellmuth Wolff lovely setting is also available in a full reference bibliographic department of concert programs, and many other items. talks about the two years in building this concert band version (MSM-50-7800A, the Conservatoire’s research music li- The catalogue is a painstaking research instrument, his inspiration for the organ, $15.00). The handbell part is available as brary, with Elena Goncharova, depart- work, and should be a very valuable re- and offers a complete specifi cation. Essays 50-7800HB, $10.00. ment head, as exhibition curator and source for further study. from the builder add to the enjoyment of Yuri Semyonov, Conservatoire organ and —Alexander Harkovsky the entire CD experience. It would be A Processional Psalm, Richard cembalo instructor, as adviser. nice to see this as “standard operating Proulx. SATB, cantor, 16 handbells, The exhibition took place following Alexander Harkovsky is a musicologist, procedure” as far as the fi rst recordings of and optional percussion, Selah Pub- installation of the new Eule organ in composer (primarily academic electronic mu- major instruments are concerned. sic), music critic, radio journalist, and man- lishing Co., 410-834, $1.25 (M). Glazunov Hall in 2009, which replaced aging editor of the Compozitor Publishing Organ designs are often stylistically This excellent setting begins with the two-manual E. F. Walcker (1897) House, St. Petersburg. directed by the incumbent organist at the cantor singing stemless notes in and the four-manual Rieger-Kloss the time of the project. Michael Gorm- a plainsong style prior to the start of (1961) instruments. The exhibition pre- ley, the cathedral’s principal organist, the procession. Phrases are punctu- sented the complete history of the St. spent many years in Vienna and loved ated with handbell note clusters and Petersburg organ school from the 1840s New Recordings the South German Baroque organ for the choir eventually enters in that same to the present. Many items were pre- its silvery plenum, beautiful fl utes, and style. Notation changes to a consistent sented to the general public for the fi rst colorful reeds. To this the builder added rhythm while the choir moves into two time. In 2011 the exhibition catalogue Maxine Thévenot, Hellmuth Wolff inspiration from Upper Swabia, a region parts, accompanied by a tambourine was published. In Russian and English, Op. 47, Christ Church Cathedral, between Stuttgart and Munich, where and steady handbell octaves. Later the this edition contains over 70 illustra- Victoria, BC, Canada. Raven Re- French building practices also were em- handbell clusters return. When the pro- tions, and is a bibliographical rarity both cordings OAR-929, $15.98 postpaid braced, including the inclusion of a tierce cessional arrives in the choir loft, the because of its small run (100 exemplars) worldwide,
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16 THE DIAPASON represented here with the Balletto del sophisticated quick two- and three-note Anneessens was a Belgian disciple of Granduca; its fi ve variations are color- fragments. The fl ute movement begins Cavaillé-Coll, and his instruments were fully presented, growing in texture and at a moderate tempo in the high regis- quite popular in England, largely owing registrational intensity as they proceed ters that seem to contain traces of velvet, to their low cost—about half of what an to their conclusion. Beautiful registra- followed by idiomatic fast passagework. instrument by Hill or Willis would have tions and fl awless playing make this a The reed fi nale ends with fl ashy and bold cost at the time. More than a dozen true delight. chordal structures. churches in the United Kingdom pur- The Sweelinck piece is preceded by Stangier honors his former teacher, chased Anneessens organs during the the music of Canadian composer Ruth Zsolt Gárdonyi, by ending the recording last quarter of the nineteenth century. Watson Henderson, who studied at the with Gárdonyi’s Grand Choeur. Once Several of them were inaugurated by Royal Conservatory of Music in Toronto again, brilliant playing and registra- August Weigand (1848–1904), a Belgian and later at the Mannes College of Mu- tions highlight the vivid essence of this organist who was then organist of All sic in New York City. Her Chromatic wonderful organ and concert hall. Con- Saints, Manchester, and who later be- Partita for Organ from 1989 consists of gratulations to the City of Duisburg on came the fi rst organist of Sydney Town a chorale followed by eight variations; it the installation of this fi ne organ in its Hall (1891–1900). He died during an was a prize winner at the International Philharmonic Hall. Let us hope for many American tour in the course of which he Competition for Women Composers in fi ne organ recitals, concerts, and record- gave a concert at the Louisiana Purchase Mannheim, Germany. This composition ings in the years to come. Exposition in St. Louis and inaugurated makes a nice companion work to the Roland Maria Stangier has been Pro- a new three-manual organ at Brown preceding Sweelinck piece, alternating fessor of Organ and Improvisation at University: Hutchings-Votey Opus 1480. between dance-like and meditative vari- Folkwang University in Essen since 1994. Perhaps Weigand acted as Anneessen’s ations, and ending with a blockbuster fi - Since 2003, he has been the curator of the British agent. nale inspired by the chromatic harmony Kuhn organ in the Essen Philharmonic Anneessens organs had good, well- foreshadowed in the title of the work. Hall, and is now also the curator of the voiced pipework, although it must be Also represented is a true masterwork Eule organ, Duisburg Philharmonic Hall Eule organ at the Duisburg Philharmonic said that their mechanisms were some- of the North German tradition, the Prae- Hall, the venue for this recording. what unreliable and that their instru- ludium in E Minor by Nicolaus Bruhns, a The boldness of the opening contrasts —Francine Maté ments were somewhat lacking in bril- virtuoso organist and violinist who stud- nicely with the warmness of Holst’s own liance even by the standards of the day. ied with Buxtehude. It was reported that hymn in the middle of the work. Francine Maté is organist/choirmaster and So far as the Bridlington Priory organ is Bruhns often took his violin with him to Clear, crisp registrations and playing director of the Bach Festival at Grace Church, concerned, subsequent rebuildings have the organ loft, playing it and accompany- in Henry Smart’s arrangement of Han- Washington, D.C., and serves on the staff of long since eliminated these defects, and ing himself with double pedal playing as del’s Concerto for Organ and Orchestra, the Library of Congress. the instrument as it now stands is a very his own continuo. Only fi ve organ works op. 4, no. 5 are heard on the second track fi ne four-manual, 76-stop Nicholson or- and the fragment of a Praeludium in D on the CD. Stangier’s broad musical ges- gan of 2006, incorporating the best of Major have survived to our day; these tures in Vierne’s Carillon de Westminster Virtuoso! Music for Organ. Daniel the original Anneessens pipework. The works show a bright musical imagina- offer a sweeping wash of sound between Moult performs virtuosic twentieth- acoustics of the building are also very tion coupled with technically demanding the poignant sweetness of both Vierne’s century music on the organ of Brid- fi ne, and one just wonders what it would music. It was the second son of Johann Claire de Lune and Frank Bridge’s Ada- lington Priory. Fugue State Films be like for sound if the church still had its Sebastian, C.P.E. Bach, who later stated gio. The transcription of the famous DVD and CD, FSF-DVD 003, avail- medieval choir and transepts, at which that his father was a great admirer of the “Nimrod” from Edward Elgar’s Enigma able from
JULY, 2012 17 progresses through Jehan Alain’s Fantas- published in 2011 by MorningStar Mu- able, the publisher has done just that in After the initial impetus from Walsh, magorie, an extremely fi ne performance sic Publishers. A bit about the genesis the detailed indices in the back of each one of the most prolifi c publishers of of Dupré’s Trois Préludes et Fugues, op. of these pieces and the three collections book. The opus numbers of the original arrangements from Handel in the later 7, the Thème et Variations from Langlais’ that house them may be in order. Most volumes, which ranged from op. 5 to 22, 18th century was H. Wright, who pro- Hommage à Frescobaldi, and Durufl é’s originated as organ improvisations. One are not retained. Some of the original duced not only a collection of the over- Toccata from his Suite, op. 5. of the great improvisers, Manz often tempo markings have been changed— tures from his operas and oratorios and We come then to three very interest- used extemporizations in the process some slower, some faster (all, I think, for several sets of choruses, but also these ing compositions by more recent com- of enriching congregational singing. In the better). In some cases, fi rst lines of arrangements of the oboe concertos, posers. The fi rst of these, entitled Goth- the late 1960s his congregation gave texts (and occasionally tune names) have possibly published ca. 1785. The num- ic Toccata (1983), is to date the only him the gift of a state-of-the-art record- been updated. Those who grew up with ber of movements in the six concerti work for solo organ by the Australian ing system, with controls built into the the original volumes will note a slightly varies from two (No. 6) to fi ve (Nos. 2 composer Graeme Koehne (b. 1956). console of the famous Schlicker organ different look: new covers and different and 5), with Nos. 1 and 3 having three, Based on atonal themes, the composi- in Mount Olive’s gallery. Microphones, paper; and new music notation replaces and No. 4 having four. Interestingly, tion builds up from relatively simple which could pick up organ, choir, and the original CPH plates (which dated, I No. 1 in Bb concludes in G minor, and in beginnings to a climax of amazing com- congregation, were suspended above. suspect, from the era of hand engraving No. 6 the opening allegro is in D major, plexity. The next work on the recording The system,2 with a cassette recorder, in Holland). the second and concluding movement in is Miroir (1989), one of several works for and then a reel-to-reel tape recorder (a Although the publisher doesn’t mention the tonic minor. No. 4 opens with a mas- solo organ by the eclectic Dutch com- Revox, along with Manz’s personal Na- it, this year marks the 50th anniversary of sive French overture; the opening with poser Ad Wammes (b. 1953). The piece gra), could be switched on instantly by the publication of that fi rst volume of cho- its 32nd-note runs is followed by a fugal has something in common with the im- the organist. It seems an ideal system for rale improvisations. I remember it well— central movement with a syncopated pressionistic writing of Louis Vierne and recording improvisations, one that Manz my teacher introduced me to it. Now’s the subject, the movement concluding with has a gentle, haunting, ethereal quality also regularly used to record and critique time to add these to your library, or fi ll in a return to the style of the opening. No. that is evocative of refl ected light beams his practicing and service playing. The any missing volumes. And please consider 5 opens with a prelude and fugue, which dancing on a mirror. basics of the system, with updated re- introducing them to your students, so that also appear in other keyboard adapta- I have not entirely fi gured out the cording technology, are still in place at another generation of organists (and their tions of Handel’s pieces. The Gavotte- title of the next piece, Praeumbu- Mount Olive. congregations) can enjoy the imagina- like movements that conclude concertos lum—not Praeambulum—super MI Concordia Publishing House initially tive colors, rhythms, and counterpoint of Nos. 2 and 5—the former having a set FA, composed in 1994 by another published the chorale improvisations these still-engaging settings. of variations, the latter being in da-capo Dutch composer, Andries van Rossem in ten volumes that appeared gradually —David Herman ternary form—are most attractive. (b. 1957). Its mystical style reminds me from 1962–80. Their second life began The University of Delaware The allegros and vivaces are full of of Olivier Messiaen, particularly of the in 1987 when the copyrights were trans- Italianate vitality and exuberance, the movement La Vierge et l’Enfant from ferred to MorningStar, who reissued Notes slow movements display a controlled 1. Some 45 new pieces for organ solo (or La Nativité du Seigneur. Perhaps this them. In so doing, as mentioned in the organ with instruments) were subsequently warmth. Two of the allegros are based is why Daniel Moult juxtaposes it with Publisher’s Note, “Some minor adjust- composed, and published by MorningStar. on fugues that had appeared in the 1735 Transports de joie d’une âme devant la ments were made . . . to refl ect the [then] 2. I am grateful to Mike Wolsted at Mount Walsh publication of Six Fugues or Vol- gloire du Christ qui est la sienne, from continually evolving performance prac- Olive and to David Cherwien, the current untarys for the organ or harpsichord, Messiaen’s L’Ascension. This concludes tice of Dr. Manz.” (I wish the charming cantor there, for adding to my knowledge of but a close comparison of these with the the recording and Daniel Moult gives setting of Hyfrydol had been left alone; the recording system. versions included in the collection under a fi ne performance that exemplifi es the I think the refreshingly thin texture was review will be rewarding. Other move- Virtuoso! title of the recording. I par- overly complicated by the addition of a ments are also to be found in the set of ticularly enjoyed the Koehne, Wammes, new voice in the left hand.) The pieces Handel’s Celebrated ‘Oboe’ Concer- eight suites for harpsichord published ca. and van Rossem pieces on this DVD/ were regrouped in the new volumes, and tos. An anonymous late 18th-century 1720; the fugal allegro of concerto No. CD combination. in a few instances the keys were lowered. adaptation for Organ, Harpsichord 5, here transposed from F# minor to D —John L. Speller Two of the best-known settings, Cwm or Piano Forte of Handel’s Six Con- minor, is a reworking of the third move- St. Louis, Missouri Rhondda and Lobe den Herren, for ex- certi Grossi, Op. 3. Edited by Gerald ment of the sixth suite, and the binary- ample, have been moved down a step, Gifford and published by Edition form allegro in D minor that concludes refl ecting the tonalities of these tunes in HH: HH288.sol, £16.95, concerto No. 6 is a revised version of the recent hymnbooks.
18 THE DIAPASON In Memoriam: Jacqueline Englert-Marchal 23 September 1922–21 April 2012 Ann Labounsky
acqueline Marchal was born in Paris fl oor Paris apartment on the Boulevard dance were about 150 friends, including Jon September 23, 1922, daughter de La Tour-Maubourg, facing the dome three Americans: James David Christie, of the illustrious blind organist, André of Les Invalides. There they continued Jon Gillock, and Mrs. Michel Snethlage, Marchal, and Suzanne Greuet-Marchal. the salon tradition, entertaining students the wife of her nephew. Cremation fol- She passed away quietly on April 21, and friends from around the world. lowed, and her ashes were placed next 2012 at the Georges Pompidou Hospital Among Giuseppe and Jacqueline’s to those of her husband at Père Lachaise in Paris, just short of turning 90, after close friends was organ builder Victor Cemetery on May 11. suffering for several months with con- Gonzalez. It was Gonzalez who had en- It has been my very great privilege to gestive heart failure. Her long and infl u- larged the house organ for Marchal at be counted among her friends; to be the ential life was devoted to furthering and 22 rue Duroc, where he taught for so benefi ciary of many of her great kind- maintaining the legacy of her father, An- many years. Likewise, in 1952, he built nesses during her long life. Among the dré Marchal (1894–1980); to the Institut and installed a similar two-manual in- most recent of her American visitors, in des Jeunes Aveugles (the School for the strument with 16 stops and 1,147 pipes July 2011, was Jeremy Jelinek, age 15, a Young Blind), where he taught; to her for their apartment on Boulevard de La student of mine from Pittsburgh. Jeremy husband, composer Giuseppe Englert; Tour-Maubourg. This became a favorite wrote the following in response to news and to providing amazing hospitality to place for students to practice, and it so of her death: organ students, particularly Americans, impressed their friends that Maurice who studied in Paris. Durufl é used it as a model for his own I will never forget last summer when I Jacqueline’s childhood memories of Gonzalez instrument. visited Paris. I was so blessed to have the opportunity to meet Mme. Englert. Her her parents’ home, 22 rue Duroc in Par- Jacqueline continued to serve as Mar- sweet and kind personality was personi- is’s Seventh Arrondissement, included chal’s guide for most of his subsequent fi ed through her generous hospitality. Not frequent encounters with famous lead- nineteen tours to America, sometimes only had she invited me into her home, but ers of the musical world. Her father accompanied by Giuseppe after their she invited me to come at my leisure. She André Marchal was already a highly re- marriage. Among the high points of these would have let me continue to play the pipe garded concert organist and teacher, and Jacqueline Englert-Marchal years were Marchal’s dedicatory recital organ in her apartment all day. She insisted her mother, Suzanne Greuet-Marchal, in 1975, during his last U.S. concert tour, that I stay and make myself at home. Meet- was a singer of note who also taught at for them to practice, and translated for on the newly installed organ in Alice Tul- ing Mme. Englert was a once in a lifetime opportunity and event that will always be the Institut des Jeunes Aveugles. Their them at lessons. ly Hall in New York, and many trips to memorable and special to me. I am so sad home became a center of hospitality Her love for America and Americans Oberlin College, where he often served to see a woman of such Christ-like humble- and lively conversation, reminiscent of began early and remained an important as guest faculty member. Even after Mar- ness and selfl essness pass away. However, the famous Paris salons, where artists part of her life to the end. As a teenager, chal’s death, she and Giuseppe continued I am assured that she has been taken to a and musicians, young and old, gathered she learned to speak English by living to travel to America, where they par- more appropriate place—a place of eternal to discuss their passionate views while for a time with an English family in Eng- ticipated and presented papers in events rest where she will experience true happi- enjoying aperitifs. Among the frequent land. In 1938, at age sixteen, Jacqueline such as the symposium on André Mar- ness and joy. Requiescat in pace. guests in this salon were famous French accompanied her father on his second chal and Giuseppe Englert at Duquesne and international musicians and art- American recital tour, handling all the University, and a conference at the Uni- Jeremy’s experience was only the lat- ists: organist/composers Louis Vierne, details of taking care of him, translating versity of North Texas in Denton. est of hundreds of students and friends Jean Langlais, Jehan and Marie-Claire for him, and managing his travel sched- Giuseppe preceded Jacqueline in over the years. All of them say, in re- Alain, and Maurice Durufl é; musicolo- ule. She received her baccalaureate de- death in 2007. In the years since then, sponse, “Amen.” gist Norbert Dufourcq, founder of Les gree in 1940 from the Lycée Victor-Du- she was cared for and assisted by their In 1982, Jacqueline and other sup- Amis de l’Orgue; and the English critic ruy on Boulevard des Invalides. English nephew, Michel Snethlage, the son of porters founded the Académie André Felix Aprahamian. She remembered was her forte. Subsequently, in 1944, she Giuseppe’s sister, Amalie. Michel ac- Marchal in Biarritz, France. It was that it was Louis Vierne who was like a earned an undergraduate degree from companied her to the subsequent Biar- charged with keeping Marchal’s sig- grandfather to her, who taught her to tie the Sorbonne in English literature called ritz organ competitions, in annual trips nifi cant legacy alive and fl ourishing, her shoes! Jean Langlais, who lived only “License d’anglais.” Later, she worked to Lausanne, Switzerland each summer, and over the ensuing thirty years, it has two doors away on the same street, like- in Cleveland, Ohio, in the library of the and in Paris spent many hours organiz- done so. Jacqueline supported it with wise was a special friend. At one Christ- Cleveland Museum, and earned a mas- ing papers and mementos of her father, generous gifts of her time and treasure. mas, she proudly showed Langlais the ter’s degree in English Literature at the mainly for the Bibliothèque Nationale’s It is the resolution of the members of crèche given to her by her grandparents Cleveland Institute of Art. André Marchal Archives, and for her the Académie, both French and Ameri- by guiding his hands over the scene. In- For the fi rst part of the Second World husband Giuseppe, including record- can, that the next organ competition in spired, Langlais composed his famous War, the Marchal family lived in Hen- ings of Marchal’s performances on the performance and improvisation, to be La Nativité from Poèmes Evangéliques. daye, in the Basque country of France, French National Radio, which have re- held in Biarritz in October 2013, will be For Jacqueline, rue Duroc was affec- which had not yet been occupied by the cently been issued on the Solstice label a memorial to Jacqueline. Those desir- tionately called “organists’ row.” Germans. Jacqueline secretly made an as Hommage à André Marchal. Even ing to contribute may send a check, in Early on and throughout her life, Jac- American fl ag in anticipation of Ameri- during the last weeks of her life, she re- dollars, to: Académie André Marchal, queline also became involved in helping can troops landing on the Basque coast. mained vitally interested in all aspects of c/o Mr. Ralph Tilden, P. O. Box 2254, the blind students at the Institut nearby When the troops marched in front of organ culture and continued to be par- Banner Elk, NC 28604. Q the “organists’ row” on Boulevard des In- their home “Guéréza,” she proudly dis- ticularly sensitive to the need for diplo- valides and the graduates of the school at played her fl ag and invited them in for matic handling of the various personali- Ann Labounsky, Ph.D., is Professor and the Association Valentin Haüy at 5 rue tea, coffee, and gateaux. ties in this fi eld. Chair of Organ and Sacred Music at the Mary Duroc. It was a great source of pride to In 1954, Jacqueline married Giuseppe Jacqueline was memorialized in a ser- Pappert School of Music, Duquesne Univer- sity, Pittsburgh, Pennsylvania. Author of Jean her when the main hall at the Institut Englert, a composer, organist, and pu- vice of benediction, on May 4, at the par- Langlais: The Man and His Music, she stud- was renamed Salle André Marchal after pil of her father. The religious wedding ish church of Saint-Pierre du Gros Caillou ied with André Marchal and Jean Langlais in her father. ceremony took place in Hendaye, at St. in Paris. Marchal student and interna- Paris from 1962–1964. From 1930, beginning with Lee Ir- Anne’s Church, with her father as organ- tional recitalist Susan Landale served as win, American students came to Paris to ist, and Norbert Dufourcq acting as his organist. Music included compositions study with André Marchal in his home. stand-in to give her away. As a wedding by Bach, Franck, and Brahms—the style Visit The Diapason website: Many of them were Fulbright Grant present, Jean Langlais composed his and interpretation of which is part of the www.TheDiapason.com recipients who were required to state suite of pieces known as the Organ Book great legacy of André Marchal. In atten- on their applications which school they for the couple. The fi nal piece, Pasticcio, wished to attend. Marchal was soon de- was built on two themes derived from clared to be a school, and for many years their names in Braille notation. Shortly that followed, it was Jacqueline who wel- thereafter, Jacqueline and Giuseppe comed them, found housing and places took up residence in a beautiful fourth-
JULY, 2012 19 A Skinner Centennial—Opus 190 at Grand Avenue Temple United Methodist Church, Kansas City, Missouri John L. Speller
he original Grand Avenue Temple Kreiser had played at the original dedi- TMethodist Church opened at Ninth cation recital of 1912. It opened with and Grand in Kansas City in 1870. This one of these, Kreiser’s stirring Festival was a Victorian Gothic brick church with March, in which the Tuba and Cornope- an imposing spire, and it had a two-man- an got a good airing. This was followed ual-and-pedal Marshall Brothers tracker by another piece from the original re- organ. The congregation had outgrown cital, a transcription of Tchaikovsky’s An- this church by the early twentieth cen- dante from the Symphonie Pathétique, tury, so in 1910–1912 a new and much in which we got to hear some of the qui- larger neo-classical church of poured eter strings, fl utes, and color stops. Dr. concrete with brick facing was construct- Schwandt followed this with Théodore ed on the same site. A contract for the Dubois’ Toccata in G, in which the or- 44-rank, four-manual-and-pedal organ gan again gave a good showing of itself. was signed with the Ernest M. Skinner The Swan from Saint-Saëns’ Carnival of Organ Co. of Boston in 1910, and the or- the Animals followed, and gave an op- gan, Skinner’s Op. 190, was opened with portunity for showcasing the Choir-Solo the new church in 1912. The original English Horn. Marshall Brothers organ was electrifi ed Dispensing with a planned inter- and moved by Skinner to the Assembly mission, we then moved on directly to Hall of the new church, where it re- the second half of the program, which mained until the 1930s. opened with Mendelssohn’s Sonata, op. Skinner Op. 190 was donated in memo- 65, no. 1, whose last movement enabled ry of Christian Edward Schoelkopf (1833– us to hear how stunningly rapidly Op. 1906), a wealthy real estate developer and 190’s pitman action with double primaries philanthropist who had been a member Skinner Opus 190, Grand Avenue Temple United Methodist Church, Kansas City, continues to operate, even after a centu- of the Grand Avenue Church. The dedi- Missouri ry. Then followed a piece by a composer cation recital was played by Edward F. I had not heard of before, but which had Kreiser (1860–1917), a well-known local also been played at the original recital of organist and composer who was organist 1912: At Twilight by J. Frank Frysinger of the Independence Boulevard Christian (1878–1964), a soft and gentle piece that Church in Kansas City. Kreiser is chiefl y sounded exactly the way its title might memorable for the fact that he was con- suggest. The composer of the next piece tinually having affairs with other women, was Powell Weaver (1890–1951). Weav- which eventually so enraged his wife that er is interesting in that after a stint as on March 3, 1917 she shot him dead. Mrs. organist of First Baptist Church in Kan- Kreiser was put on trial for capital mur- sas City, he became organist of Grand der but, as was not unusual in crimes of Avenue Temple Methodist Church. His passion in Missouri at the time, the jury composition The Squirrel is an absolute- acquitted her on the grounds that her ly ebullient and delightful piece for the husband’s infi delity justifi ed the action. softer registers of the organ, and it seems A century later, Grand Avenue Tem- that it was composed with the Grand Av- ple United Methodist Church is on the enue Temple Skinner in mind. Again, it National Register of Historic Places, and sounds exactly the way its title suggests, the citation unusually lists the Skinner and it gave Schwandt an opportunity to organ as well as the building. Op. 190 show off the mutations added by Skin- has become a regal and venerable old ner in 1949. The last 25 minutes of the lady and has of late been nicknamed recital were taken up with an improvisa- “Victoria” in honor of the British Queen. tion on a submitted theme. The theme Wilhelm Middelschulte, Marcel Dupré, was submitted by Michael Quimby and Virgil Fox, Fernando Germani, and Jean turned out to be The National Anthem. Langlais are among the many famous Schwandt suggested that we should all organists who have given recitals on the rise and sing The National Anthem to organ. In 1949 Ernest M. Skinner, Inc. start with, and speaking as a British citi- (Carl Bassett, president and treasurer; zen, I must say I have rarely been more Ernest M. Skinner, technical director) moved than the result of this. It certainly added an additional twelve ranks, includ- beats the way in which The National An- ing a Flute Celeste, Choir mutations, them is mostly sung by rock stars these and a fi ve-rank Pedal Mixture. Apart days. Then we all sat down and were de- from these changes, made by Mr. Skin- lighted with nearly half an hour of varia- ner himself, the organ remains entirely tions, culminating in a stunning fugue in its 1912 condition, making it the oldest and cadenza. extant four-manual Skinner organ in the This was a very long recital—even world that remains as its builder left it. without the intermission—and it must Michael Quimby has been taking care of have been a grueling experience for both the instrument since the mid-1970s and the recitalist and the organ. Suffi ce it to has been carrying out a phased restora- The restored Swell 8′ Oboe and 8′ Cornopean say that both Schwandt and “Victoria” tion ever since. As a result of this, the managed this with fl ying colors. Neither instrument was in good condition until a English Horn, for which it is hoped fund- The organist was John D. Schwandt, as- of them ever missed a beat. Q roof leak about fi fteen years ago poured ing will be available shortly. Meanwhile, sociate professor and founding director ′ John Speller has bachelor’s degrees from rainwater into the instrument, severely there is another English Horn, at 8 of the American Organ Institute at the Bristol University and a doctorate from Ox- damaging the Swell. Fortunately, all this pitch, on the Choir-Solo—what luxury! University of Oklahoma. The recital, at ford, and spent much of his career working as damage has now been repaired, apart The 100th Birthday Recital took place which I was fortunately able to be pres- an organ builder. He is now retired and lives from the reinstatement of the Swell 16′ at 3:30 pm on Sunday, March 25, 2012. ent, included three pieces that Edward in St. Louis.
20 THE DIAPASON Grand Avenue Temple United Methodist Church, Kansas City, Missouri Ernest M. Skinner Organ Co., Boston, Massachusetts, Op. 190 GREAT: 61-note windchests, unenclosed, 6″ w.p. 16′ Bourdon from Pedal 16′ First Bourdon 8′ First Diapason 61 pipes 1–17 zinc, 18–61 common metal, leathered lips 8′ Second Diapason 61 pipes 1–17 zinc, 18–61 spotted metal 8′ Philomela from Pedal 32′ Diapason 8′ Waldfl öte 61 pipes 1–12 st. wood, 13–36 open wood, 37–61 harm. metal 8′ Erzähler 61 pipes 1–12 zinc, 13–61 common metal, ¼-taper 4′ Octave 61 pipes 1–5 zinc, 6–61 spotted metal 4′ Flute 61 pipes 1–5 zinc, 6–61 common metal, 25–61 harmonic 2 2⁄3′ Twelfth* 61 pipes spotted metal 2′ Fifteenth* 61 pipes spotted metal 8′ Tuba from Solo 16′ Ophicleide Chimes 20 tubes SWELL: 73-note windchests, enclosed, 8″ w.p. 16′ Bourdon 73 pipes stopped wood 8′ Diapason 73 pipes 1–17 zinc, 18–61 common metal, leathered lips 1 8′ Spitzfl ute 73 pipes 1–12 zinc, 13–73 spotted metal, ⁄3-taper 8′ Gedeckt 73 pipes 1–44 stopped wood, 45–73 spotted metal 8′ Salicional 73 pipes 1–12 zinc, 13–73 spotted metal 8′ Voix Celeste 73 pipes 1–12 zinc, 13–73 spotted metal 8′ Flute Celeste II+ 110 pipes 1–12 stopped wood, 13–61 spotted metal Console 8′ Aeoline 73 pipes 1–12 zinc, 13–73 spotted metal 8′ Unda Maris II 134 pipes 1–12 zinc, 13–73 spotted metal 4′ Octave 73 pipes 1–5 zinc, 6–73 spotted metal 4′ Flute 73 pipes 1–5 zinc, 6–73 spotted metal, 25–73 harmonic 2′ Flautino 73 pipes spotted metal 2 2⁄3′ Mixture III 183 pipes 12-15-17, spotted metal 16′ English Horn 73 pipes zinc and spotted metal 8′ Cornopean 73 pipes zinc and spotted metal, harmonic from note 43 8′ Oboe 73 pipes zinc and spotted metal 4′ Clarion 73 pipes zinc and spotted metal, harmonic from note 19 Tremolo
1 CHOIR: 73-note windchests, enclosed, 7 ⁄2″ w.p. 16′ Gamba 73 pipes 1–24 zinc, 25–73 spotted metal 8′ Diapason 73 pipes 1–17 zinc, 18–61 common metal 8′ Gamba 73 pipes 1–12 zinc, 13–73 common metal, fl ared 8′ Concert Flute 73 pipes 1–12 st. wood, 13–36 op. wood, 37–73 harm. metal 8′ Dulcet II 146 pipes 1–12 zinc, 13–73 spotted metal 8′ Quintaton 73 pipes 1–12 zinc, 13–73 spotted metal 4′ Flauto Traverso 73 pipes 1–24 open wood, 25–73 harmonic metal 2 2⁄3′ Nazard* 61 pipes spotted metal 2′ Piccolo 61 pipes spotted metal, 13–61 harmonic 3 1⁄5′ Tierce* 61 pipes spotted metal 1 1⁄3′ Larigot* 61 pipes spotted metal 1 1⁄7′ Septieme* 61 pipes spotted metal 8′ Clarinet 73 pipes common metal 8′ Orchestral Oboe 73 pipes zinc and spotted metal 8′ English Horn 73 pipes zinc and spotted metal 8′ Vox Humana 73 pipes common metal 8′ Carillons 61 bars Tremolo SOLO: enclosed with and largely duplexed from Choir, 16′ Ophicleide 20″ w.p. ′ ′ 8′ Orchestral Oboe, 8′ Clarinet, 8′ Voix Celeste (fl ared), 8′ Concert Flute, 4′ Flauto 8Philomela from Pedal 32 Diapason ′ ′ ′ 8′ Gamba from Choir Traverso, 8 Gamba (fl ared), 8 Vox Humana, and 8 English Horn 8′ Voix Celeste 61 pipes 1–12 zinc, 13–61 spotted metal, fl ared 8′ Concert Flute from Choir 4′ Flauto Traverso from Choir 16′ Ophicleide 73 pipes 1–12 wood, 13–73 zinc and common metal, harmonic from note 31 8′ Tuba from 16′ Ophicleide 8′ Clarinet from Choir 8′ English Horn from Choir 8′ Orchestral Oboe from Choir 8′ Vox Humana from Choir 8′ Clarion from 16′ Ophicleide 8′ Carillons from Choir Tremolo from Choir PEDAL: 32′ Diapason 1–12: 20″ w.p., 13-85: 6″ w.p.; 16′ First Bourdon, 16′ Violone, and Harmonics V: 6″ w.p. 32′ Diapason 85 pipes 1–73 open wood, 74–85 common metal 16′ Diapason from 32′ Diapason 16′ Violone 32 pipes 1–14 zinc, 25–32 spotted metal, in façade 16′ First Bourdon 61 pipes stopped wood 16′ Second Bourdon from Swell 16′ Bourdon 16′ Gamba from Choir 16′ Gamba 2 10 ⁄3′ Gross Quint from 16′ First Bourdon 8′ Octave from 32′ Diapason 8′ Gedeckt from 16′ First Bourdon 8′ ’Cello from Choir 16′ Gamba 4′ Harmonics V* 160 pipes 15-17-19-b21-22, zinc and spotted metal 16′ Ophicleide from Solo 16′ Ophicleide 16′ English Horn from Swell 16′ English Horn 8′ Tuba from Solo 16′ Ophicleide 4′ Clarion from Solo 16′ Ophicleide * Added by Ernest M. Skinner, 1949 + Added by Ernest M. Skinner, 1949, replacing 8′ Claribel Flute
Couplers Pedal Organ toe studs 1–4 Swell to Pedal 8′, 4′ Reversible toe paddle for “Great to Pedal” Choir to Pedal 8′, 4′ coupler Great to Pedal 8′ Hitch-down toe paddle for Sforzando Solo to Pedal 8′, 4′ Setter piston Swell to Great 16′, 8′, 4′ [No General Cancel piston] Choir to Great 8′ Solo to Great 16′, 8′, 4′ Crescendo and expression pedals Swell to Choir 8′ Swell expression pedal Swell to Swell 16′, 4′ Choir-Solo expression pedal Choir to Choir 16′, 4′ Stop crescendo pedal Solo to Solo 16′, 4′ Great to Great 4′
Combination action: electro-pneumatic cap- Send a free sample copy of THE ture system; couplers not on General pistons DIAPASON to a student, friend, or General thumb pistons 1–2 Great Organ thumb pistons 1–4 colleague. Contact editor Jerome Swell Organ thumb pistons 1–5 Butera: Choir Organ thumb pistons 1–4 Solo Organ thumb pistons 1–4 847/391-1045 Reversible thumb piston for “Great to Pedal” [email protected] coupler
JULY, 2012 21 Jehan Alain: His Life and Works Aurélie Decourt
Saint-Germain-en-Laye, 3 février 1911–Saumur, 20 juin 1940 On February 3, 2011, Jehan would have been 100 years old. But he met his death at the beginning of the Second World War, leaving a wife, three little children, and a great musical heritage. Last year, in many places in France, but also in Germany, Switzerland, Belgium, and of course in the U.S.A., his memory was celebrated and numerous commem- orations took place, one of the most im- portant in Saint-Germain-en-Laye, his birthplace, with great musicians coming from all over the world, among them such famous Americans as Lynne Davis, James David Christie, and Norma Ste- vlingson, among others. The Alain cen- tennial in Wichita last September was a very important opportunity because it took place in the U.S.A., where there are many fans of Jehan Alain’s music. I also gave two lectures at Oberlin College in Jehan Alain’s “official” portrait The four children October. The man, himself, gathers ever more fans. I will try to present Jehan Alain’s rich personality and his original works in two articles: the present one will deal with his biography and personality; the second will describe the sources of his musical inspiration, focusing on orientalism, and will analyze his creative process. Young Jehan Alain (4 years old) In fact, Jehan Alain’s personality is ex- tremely rich. In addition to his musical gifts, he also knew how to draw, and he wrote letters full of poetry, tenderness, and humor. These qualities make him an attractive man. Thanks to accounts of his family, his friends, and various musicians, but also through his own refl ections on religion, love, and life in general, we can better understand his human and excep- tional artistic qualities. A prolifi c and original musician: Albert Alain, organist, composer, and organbuilder (1880–1971) Albert Alain’s infl uence on his son Je- Albert Alain’s organ with Albert Alain standing, 1950 han was essential. He gave him an ap- preciation and love of music, that is to say matter of fact, Albert Alain was connect- Pédale serious music, well constructed and well ed with all the famous organists of the 16′ Soubasse performed. Albert was a prolifi c com- 1920s and 1930s, from Marcel Dupré to 8′ Basse poser, with 469 opus numbers, primarily André Marchal, and also Joseph Bonnet 4′ Flûte short religious vocal works. Thus, church and Alexandre Cellier. music held a fundamental place in Jehan’s This organ is very interesting for sev- Albert and Jehan Alain were most in- training; he retained an appreciation of eral reasons. It shows the technical prow- fl uenced by the organ of the abbey of Gregorian chant and its modes. Ever ess of a single man, who built everything Valloires, built in 1845, but with several since he was old enough to turn the pages in it (except metal pipes). The aesthetics ancient stops. The sonorities of this in- of a score, his father brought him along to of the specifi cation show great originali- strument, very original for the time, en- church services; little Jehan thus learned ty, especially in the beginning, 1910—Al- chanted Jehan and Albert. Here is an ex- at a young age the order of the liturgy. bert Alain conceived a neo-classic organ, tract of a letter Jehan wrote to his friend His father acquainted Jehan with revealing himself as a precursor. What is Denise Billard in 1930: well-written music. Albert Alain ex- more, the organ inspired many registra- Jehan at his father’s organ celled in harmony (obtaining the First tions in Jehan Alain’s works; it fostered There is a three-manual organ here Prize in harmony at the Paris Conser- Marie-Claire Alain’s vocation. It gave a which is splendid, and (which is) located stops remaining mute. This is the reason in the most “acoustigenic” place I have vatory in 1904). He also gave Jehan the testimony, at a time when electric action ever met. It contains some old pipes two for several registrations on Jehan Alain’s opportunity to discover sixteenth- and came into fashion, to mechanical action. or three hundred years old that are “fully- works. Albert Alain completed the fourth seventeenth-century music. Finally, he Albert Alain carefully studied many in- fl avored”. Unfortunately, it has a huge de- manual and the organ in 1950. directly conveyed to him his personal struments in the Parisian area, as well as fect: it is not tuned according to our pitch. In order to play from memory, you have to Grand orgue passion for music. In one of his letters, an organbuilding method, entitled Roret ′ Jehan wrote, “Half of my head always et Guédon, a sort of abstract of Dom think one measure ahead of time to trans- 16 Bourdon pose by ear. Finger memory is the only 8′ Montre thinks about music.” Bedos’ work, L’art du facteur d’orgues. 8′ Flûte harm. Albert Alain was a remarkable teacher. Finally, he talked with his teacher at the true memory. . . . But this instrument is marvelous to play around eleven at night, 8′ Bourdon* He gave lessons to his four children— Paris Conservatory, Alexandre Guilmant, when silence is perfect in the countryside 4′ Prestant Jehan, Marie-Odile, Olivier, and Marie- who knew much about organbuilding and you play pianissimo the low notes of Plein-jeu III* Claire—who all became professional and advised him to return to the typical the pedal which make the atmosphere musicians; two of them were exceptional stops of the 17th and 18th centuries. quiver. It’s really moving. Positif artists. His children are extremely in- Here is the specifi cation of the fi rst or- 8′ Salicional 8′ Cor de nuit debted to him for his strong impact on gan in 1914, with the Cornet décomposé Albert Alain wanted for his organ new 1 5⁄3′ Gros nazard their musical education. on the Positif. Later, in the 1920s, the sonorities and new registrations in order 4′ Flûte organ would have three manuals, with a to play Couperin, Daquin, Clérambault, 2 2⁄3′ Nasard The organ Récit (Solo). and above all J. S. Bach, Buxtehude, and 2′ Doublette 3 Albert Alain was a very original man. Pachelbel. So the specifi cation of his or- 1⁄5′ Tierce Grand orgue 1 ′ He developed such a passion for the or- 16′ Bourdon gan mixed together the post-romantic 1⁄3 Larigot gan that he undertook what seemed to 8′ Montre infl uence with a return to the 17th- and be a crazy project: to build a home organ ′ 18th-century French tradition. Récit-Bombarde 8Flûte harm. 8′ Principal (diapason) by himself. This home organ would keep 4′ Prestant In the 1930s, Albert Alain planned a ′ him busy for his entire lifetime (1880– fourth manual, Récit-Bombarde, includ- 8Flûte trav. Positif 4′ Prestant 1971). Planned initially in 1910 for 19 ing a Plein-jeu and the typical batterie 2 ′ 8′ Cor de nuit ′ ′ 2⁄3 Quinte stops, the organ amounted, in 1950, to 4′ Flûte douce d’anches: Bombarde 16 , Trompette 8 , 2′ Doublette 42 stops. 2 Clairon 4′. But Jehan Alain never saw 2⁄3′ Nazard Plein-jeu III One could say that this organ was Al- 2′ Doublette this fourth manual completed. On the 16′ Bombarde 3 ′ bert Alain’s fi fth child. It infl uenced the 1⁄5′ Tierce contrary, the organ was in perpetual 8Trompette musical life of the 20th century. As a 8′ Basson-hautbois transformation in the 1930s, with certain 4′ Clairon
22 THE DIAPASON Manuscript of the First Fantasy
Another source of inspiration, Gre- of exoticism: Asian or Arabian, with com- gorian chant, was of paramount impor- bined sources. Jehan visited the 1931 Co- tance. From his earliest childhood on, lonial Exhibition in Paris and the music he was used to accompanying and para- that he heard there inspired him, but he phrasing it. He incorporated it into cer- transformed it, retaining only its spirit. tain works such as the Postlude for the Oriental infl uence is very important, Letter to Denise Billard, 1931 Offi ce of Compline. It was composed in especially in the two fantasies for organ. Valloires, inspired by the mystical atmo- I will write about the Second Fantasy at Récit-Solo ed with a smile: “Don’t hesitate to make sphere of the chapel at nightfall. length in my next article; it is essential 16′ Quintaton (sans 1e octave) such mistakes often!” In the same spirit, monody was very in Jehan Alain’s creation paths. (See il- 8′ Gambe Jehan amused himself by decorat- precious to him and he composed sev- lustration above: the manuscript of the 8′ Voix cél. ′ ing his harmonic exercises with hearts eral monodic pieces such as his Suite for First Fantasy.) 8Flûte conique pierced by an arrow. During the 1933 piano, 1935. Jehan was not a theorist, contrary to Ol- 4′ Flûte octav. 4′ Salicet exam, this resulted in his receiving a sim- The musicians he most frequent- ivier Messiaen. He was interested in the 2 2⁄3′ Quinte ple promotion instead of a fi rst prize! ly mentioned were J. S. Bach, César impact of these sonorities upon his own Cymbale II His humor, his pleasure at telling Franck, and Frédéric Chopin. Concern- sensitivity. In any case, he wrote several 8′ Cromorne jokes and making people laugh, led him ing Franck, he said that he was “extra works under this rather oriental infl uence: 8′ Hautbois to write letters to several young women terrestrial,” but for him Bach was the Togo and Tarass Boulba, both for piano. who became his favorite correspondents: “greatest of all.” Pédale ′ Denise Billard, a pianist, with whom he Chopin was his favorite as a pianist. A committed man and a poet: 16 Soubasse discussed his pianistic technique, Aline Jehan very often played his music. One His friendships and 8′ Basse 4′ Flûte Pelliot, and Lola Bluhm. He described anecdote: oftentimes his friend Aline his correspondence 4′ Bourdon his impressions, his feelings, his dreams, Pelliot knew that Jehan had arrived at Friendship was of utmost importance Mixture II and all of a sudden, in the middle of a the conservatory because she heard to him. His letters and his writings prove 4 ⁄5′ Tierce letter, he began to draw. You can see the somebody playing Chopin’s First Bal- that he was faithful to his friends: “Affec- fi rst illustrated example in this letter ad- lade—Jehan Alain, of course! tion is a totally inexhaustible rich type of * stops not yet connected dressed to his friend Denise Billard with Exotic music was in fashion at the time, poverty. I do give to you and, above all, I a drawing, dated August 26, 1931 (see il- but it was hybrid, a very confusing type do not want any gratifi cation.” The four children—Jehan, Marie- lustration above). Odile, Olivier, and Marie-Claire—were Jehan immensely benefi ted from his deeply affected by their father’s organ. ten years of study at the conservatory. Scattered leaves ... from our Scrapbook How could they be offered a more beau- While still retaining his originality, he tiful toy? Since their early childhood, started writing in a more sophisticated they had been nursed by the sounds of and rigorous way and further developed the instrument and their little fi ngers his musical ideas. Far from being held From a review of as this and to larger discovered the sense of touch, thanks to back in his inspiration by the rules, he Spirited Sounds in a organs such as one in its accurate mechanical action. was, from then on, able to transcend Small Sacred Space nearby Nashville’s new them in composing a new and very per- (AndrewJPeters.com) Schermerhorn Symphony A precocious musician sonal music. Center. Schoenstein’s Jehan put his hands on a keyboard as Andrew Peters, pastoral instruments are notable soon as he was able to stand up; his mu- Various infl uences musician at the Second for their flexibility, depth sical talents were evident at a very early Early music was an important source Presbyterian Church of expression, smoothness, age. He worked with his father, then of inspiration; in his father’s vast library, in St. Louis, MO., ably clarity and coherence of with other professors. Finally, at the Jehan discovered works by early French, tone, richness of color, age of eighteen, in 1929, he entered the Italian, and German masters. This in- demonstrates this Paris Conservatory of Music, where he spired him to compose his Variations fine, versatile little and judicious allocation remained for ten years. on a Theme by Clement Jannequin. He Schoenstein at Historic of voices for maximum He studied harmony with André dedicated this piece to his friend Pierre Franklin Presbyterian usefulness. Andrew Bloch, fugue with Georges Caussade Segond, saying: Church in a multifaceted Peters’s program includes (who had taught his father), and com- program. Schoenstein’s music from four centuries position with Paul Dukas. Jehan really It ought to be possible for a musician unique design and and four countries. appreciated Dukas but only studied with of the twentieth century to retain the soul tonal philosophies of this early music. The language does not apply equally to small James Hildreth him for one year because Dukas died in matter, only the spirit speaks. 1935. Roger-Ducasse succeeded Dukas. instruments such The American Organist In 1936, Jehan entered the organ class Jehan discovered François Campion’s of Marcel Dupré, one of his father’s old lute tablatures, which he transcribed friends. In memory of their friendship, into modern keyboard notation. He said Dupré was very affectionate to Jehan. that he preferred the simplicity of this He appreciated Jehan’s gift for impro- music to the complexity of works from visation. According to a fellow student, the end of the nineteenth century, such one day Jehan was improvising during as those by Vincent d’Indy, for example. Schoenstein & Co. the class. He had not concluded accord- Jehan said in a letter to Denise Billard, at ing to the strict established rules. When the end of 1934: “Pure and simple mu- Established in San Francisco 1877 he realized it, he cried out, “Ah! I am sic is often more beautiful than delirious www.schoenstein.com ❧ (707) 747-5858 mistaken!” and Marcel Dupré respond- richly dense music.”
JULY, 2012 23 Drawing to his sister Marie-Claire: pedalboard and console
Jehan and his brother Olivier on the motorcycle
Jehan and his daughter Lise
His friends’ opinions were very signifi - cant to him, as is shown by this anecdote he shared with Aline Pelliot concerning his piece Le Jardin suspendu, which he also called a chaconne: The Dwarf The chaconne which I played for you yesterday, do you really like it? Are you organ also dates back to 1936. In August sure? Would you prefer a G-sharp? If it pleases you, I will use a G-natural. 1937, Jehan simultaneously fi nished Lita- nies and the second of his Three Dances. In the same way, he wrote in the Pref- There is a lot to say about Litanies, his ace of his piano works: most well-known piece. Litanies is a cry of anguish and distress. After the ethere- Here is a series of impressions. Don’t Drawing by Jehan: playing saxophone al dream of Le Jardin suspendu and the try to fi nd there a lesson or an argument; Jehan and Marie-Claire, 1933 classicism developed in the Variations, just consider them as a passing vision . . . My goal would be achieved and I would he spoke to them about Christian mor- Jehan Alain confi des in us his tortured experience great joy if each reader would als. In 1938, he wrote in his diary: “There he confessed to his mother: “I am nei- soul, without mask and reserve. Doubt- suddenly fi nd himself within one of these are only two possible ways to live: either ther a pianist nor an organist, but a semi- less, it is this absolute sincerity, this direct lines. Deeply moved, he might stop mo- as a priest or an apostle, or, on the other acrobat, a sort of sincere charlatan.” character that makes the work a success mentarily before continuing, touched by a hand, to have small children, to live as an He had a highly developed sense of for all audiences, even on the fi rst hear- bit of the pleasure one feels upon receiv- artist and to have a fi rm religious faith.” humor, sometimes a bit too easy-going. ing. As Gavoty reports, Jehan added, ing a friendly glance. On the level of personal commitment, He loved associating words with strange his Christian faith partially explains his or harmonious sonorities: This prayer is not a lament, but an irre- The correspondence is essential in or- ultimate gesture of sacrifi ce: he gave his A cataract-like cascade: une cascade sistible storm which overthrows everything in its way. It is also an obsession: it must fi ll der to understand his development, his life for his family, for his country. This cataractique the ears of men and of the good Lord! If, artistic state of mind and his sensitivity. can only be understood in the context of Flowing funny trickling water: l’eau in the end, you do not feel exhausted, it’s In a letter to Denise Billard, dated Au- the Catholic faith in the 1930s. This was dégouline rigoline dégoulinde because you will neither have understood gust 15–20, 1933, Jehan wrote: the way that he was brought up. These Jehan has drawn lots of fantastic cows. nor played as I wish. were his family values. His last words He saw these cows when he was in the Downstairs, in the living room, an ex- were: “May Providence especially pro- family house in the Alps, near Chamonix. Three weeks after the completion of cellent violoncellist is playing with Papa. tect small children in France!” Every summer, the entire Alain family Litanies, Jehan and Marie-Claire Alain’s But his playing makes me nervous. Oh, it’s frightening what a string can render. spent their holidays there. They were sister, Marie-Odile, died in an accident This man expresses that which one should A poet: his passion, his humor and hiking in the mountains and, one day, in the mountains. Jehan wrote the dedi- never express . . . this type of latent pain his dreams they had to take refuge in a hut because cation that appears in the 1939 edition: which each person carries deeply inside Jehan had a wide-range personality, of a violent storm. They sang by memory himself, which moans even in the midst of which varied from the deepest melan- lots of things, and then Jehan wrote on When the Christian soul no longer fi nds the greatest joys. . . . Now I would like to choly to a bursting joyfulness. His music a wrapping paper a short song, amidst new words in its distress to implore God’s hear a diabolic music; something like jazz mercy, it ceaselessly repeats the same in- expresses his inner anguish. thunder and lightning. He wrote letters vocation with a vehement faith. Reason which contains only trumpets . . . some- Jehan was an eminently changeable to his little sister that were bristling with thing which fl aps like a strong wind. I has reached its limit. Faith alone pursues cannot stand music which sounds like driz- person, capable of being deliriously designs and humor, for example this one its ascension. zling rain that drizzles on for entire days, happy one minute and equally sad the (see illustration above: a design of the without respite. . . . following minute. Completely free from console pedalboard): In the same way, he added the subtitle No news from my friends . . . what have convention, he mocked routines, made to his Second Dance: “Funeral Dance to they been up to? Is it my fault? It’s true fun of the “bourgeois,” being at the same I was mistaken, I put the console in place Honor a Heroic Memory.” And he wrote that people who pretend to know how to time a good father to his family and a of the pedalboard and the pedalboard in about this piece: “There is no contradic- live are strong. I believe I will never know place of the keyboard. You can see on the conscientious church organist. All who drawing how I manage to play now. In the tion between dance and distress. Dance, that. I feel like writing a letter to Destiny knew him remember the incomparable like music, expresses itself without a con- in order to receive some information. . . . end, it’s only a matter of habit: all I have to Should we take our suitcases for the long humor of his jokes, bordering on the ri- do is to play with my heels a little more, and cept and it can translate in such a sub- trip? When I die, will someone remember diculous, whereas the dominant thought there you go. The only disadvantage is that lime manner that which words cannot me? Will I have known how to do some coming from his music is that of a pro- I’m always pulling Pedal couplers instead say without brutality.” good around me? . . . It is benefi cial to found sadness. of manual couplers, but within a fortnight, This period of mourning made Jehan imagine eternal mercy! He wrote: “The world creaks painfully everything will be all right. gloomier. His music also conveyed the like a giant windmill which indifferently tense pessimistic atmosphere in Europe His family and his Christian faith crushes all good and bad acts, all the de- Of course, little Marie-Claire was able to at the end of the 1930s, as threats of In 1935, at the age of 24, Jehan decided sires, all the passions, all the faults . . . ” understand this. She already knew every- war became ever clearer. He then wrote to marry a childhood friend named Mad- But he soon corrected: “And yet what thing about the organ. these premonitory words: “Always kiss eleine. Their marriage was very happy a fi re, what a thirst for living eats me up! your wife and your little daughter, as if it and very shortly afterwards they had three I long to live an ardent life with all its Dreams and poetry were the last time you would see them.” children: fi rst Lise, followed by Agnès and suffering and irrepressible joy.” Many a dream can be found in his In 1938, Jehan composed in just a few Denis. (See illustration: Jehan and his Jehan never surrendered to melan- writings, tales, stories and imagination days the Modal Mass, then the Aria for daughter Lise.) choly. He wrote: “Everywhere the comic (see illustration: the Dwarf). organ. He completed the Three Dances, Jehan adored little children. He was is mixed with drama. When we have suf- but the score for orchestra was lost with very sensitive to the childhood world. fered a great deal, we need to laugh a The later works: griefs him in 1940, when he was in the process He drew many designs for them, of fairy great deal.” and struggles of completing it. Fortunately for us, not tales and animals. He said: “Musician’s Physically very agile, he loved working The masterpieces having had the time to copy it all, he de- ears which have not heard the laughter with engines and acquired a motorcycle The Suite for Organ, composed as cided to make a transcription for the con- of a child have only heard the sound of in 1932. (See illustration with motorcy- early as 1934–35, was awarded a prize in cert organ and sent it by mail to Noëlie scrap iron.” cle, above.) 1936 by Les Amis de l’Orgue. This was Pierront, only nine days before the Ger- Jehan had a very solid Christian faith. He played saxophone when he was a a satisfaction for Jehan, who had not ob- man attack. And the mail miraculously During his service in the army, he tried soldier in 1933–34 (obligatory military tained a prize in composition at the Paris arrived: this is the only remaining auto- to convert his fellow soldiers; otherwise, service). At that time, on March 2, 1934, Conservatory. His Second Fantasy for graph version of this masterpiece.
24 THE DIAPASON 8th armored cavalry
The citation
to say: “If you love Jehan Alain, if he Grove Dictionary, a book on Albert Alain in Jehan in the dunes in Dunkirk 2001, and in 2005, Jehan Alain, Biographie, speaks to you, that you think likewise, Correspondance, Dessins. In March 2011, then my dream is fulfi lled.” Q she organized the French centennial of Jehan The War han won his military medal: in May 1940, Alain’s birthday in Saint-Germain-en-Laye September 1, 1939–June 22, 1940 during the Dunkirk battle, he carried out Aurélie Decourt, Jehan Alain’s niece and and published a book on the Alain family On the fi rst of September, the German (this is the text of the quotation) “a very biographer, studied history and art history (Une famille de musiciens au XXe siècle, Par- army invaded Poland; France and Great perilous contact mission, completely de- and holds a Ph.D. in musicology at the Uni- is, Hermann, 2011), including a new chapter Britain, according to their commitments, fying the danger involved” and collapsed versity of Paris-Sorbonne. She has published on Marie-Claire Alain’s life. First translation declared war on Germany. But it was asleep upon returning. We have a photo- articles in journals such as L’Orgue, La Tri- of this article by Carolyn Shuster-Fournnier; called “the phony war” because during graph of this (see illustrations: a photo of bune de l’Orgue, Diapason, and in the New new English translation by Laetitia Decourt. nine months, there was no attack from the dunes, and a citation). neither French nor British armies against Defy all danger: this was the pre- Germany. (See illustration: design of the dominant driving force that fully ap- 8th armored cavalry.) pealed to Jehan Alain in the spring of INCE 1979, we have One of the fi rst to be mobilized, Je- 1940, following months of boredom. han left as early as the fi rst of September His physical agility, his skillful driving of designed and built over 1939 for northern France. A simple sol- the motorcycle, and his absolute cour- 120 new pipe organs for dier, Jehan found himself in the middle age compelled him to attempt anything. S of the men of his troop. Their equip- This context is essential to understand clients in Australia, Austria, ment was very poor: the men slept on his fi nal gesture: upon returning from New Zealand, England, straw until December and did not have England, he voluntarily enrolled in an ir- enough covers. The hygiene was deplor- regular force, to continue fi ghting. The Canada and the United States. able and Jehan suffered from remain- group advanced towards the Loire River, Our instruments, whether ing wet for endless hours, with the cold a major obstacle in the German progres- weather that numbed his hands, and sion towards the south. Jehan Alain, who tracker or electric action, have fi lth everywhere. had left on a reconnaissance mission, was been praised for their rugged The “phony war” lasted for ages: France, confronted by an enemy troop. Trapped construction, comfortable although offi cially at war with Germany in a garden, alone, he made his decision: Opus 116 since September 3, 1939, did not launch instead of fl eeing, an unthinkable choice, consoles, responsive key any attack. On the contrary, the French or surrendering, Jehan emptied all of his troops stationed behind the Maginot line cartridges, jammed his gun and encoun- actions and tonal integrity. adopted a defensive strategy. tered the Germans who shot him down. New cases, keyboards, In these conditions, Jehan’s superiors The German offi cer rendered him hom- windchests, reservoirs and appreciated his talents: in fact, he imme- age for his bravery. According to the in- diately proposed to animate recreation habitants, for several days, sheets of mu- pipes are all built from raw periods, religious services, and evening sic scores, which had slipped out of his materials within our two activities. He even founded a choir sidecar, were carried away by the wind known as the “Small Singers with Loud and found in the countryside. workshops located in Saint- Voices,” teaching them how to sing, mak- Jehan’s gesture was a part of his entire Hyacinthe, Québec. Our team ing arrangements for them, and copying life and can be better understood if one scores. He held several rehearsals and knows his personality and his social back- of experienced builders also the Christmas Mass was a huge success. ground. Today, mentalities have changed restores and rebuilds older Meanwhile, he played the piano in the and the idea of sacrifi cing one’s own life evenings for the offi cers. for the sake of honor might seem unre- instruments to make them He wrote to his wife every other day. alistic and unreasonable. But, beyond sound and play better than ever. Opus 118 He assured her of his love, spoke about these opinion differences, Jehan’s death his suffering from their separation, and unquestionably remains a symbol of made drawings for the children. His courage and total commitment. third child, Denis, was born on Novem- ber 3, 1939; Jehan obtained three days of Conclusion LÉTOURNEAU PIPE ORGANS leave to come and see him. A short yet full life: Jehan Alain died The German troops began their of- at the age of 29, but he has left us with fensive on the Western front on May an immense legacy. In my book, I have USA Canada 10, 1940, by invading Holland, Belgium, tried to give a faithful account, essen- 1220 L Street NW 16 355, avenue Savoie and Luxembourg. The Blitzkrieg strat- tially including Jehan’s own works: his Suite 100 – Box 200 St-Hyacinthe, Québec egy was successful: in the north, the selected letters, his drawings, adding Washington, DC J2T 3N1 French and the English were trapped, a biography and some critical notes. I 20005-4018 Tel: 450-774-2698 surrounded by the German army. Under hope that this book expresses Jehan Tel: 800-625-PIPE Fax: 450-774-3008 dreadful bombing, 350,000 French and Alain’s following sentiment: “If you love Fax: 202-737-1818 [email protected] English soldiers were evacuated through my music, if it speaks to you, that you [email protected] www.letourneauorgans.com Dunkirk (from May 29 to June 4). think likewise, then my dream is ful- It was under these conditions that Je- fi lled.” In the same way, I would like
JULY, 2012 25 Cover feature
Létourneau Pipe Organs, Saint-Hyacinthe, Quebec, Canada Opus 118 (2010) The Cathedral of Christ the Light, Oakland, California
From the director of music and organist In July 2009 I was appointed director of music and organist for the Cathedral of Christ the Light, well after the cathe- dral was built and the organbuilder had been selected. Unlike similar organ proj- ects, I could not take credit for the new instrument. However, even in the early stages of the design of the cathedral, the pipe organ formed an integral part of the building’s design. The cathedral’s architect, Craig Hartman, was exten- sively involved in the design of the pipe façades and the organ console, so that they complement the overall design of The Great division, with the tops of the cathedral. the wooden 32′ Trombone resonators At the time when it became clear that behind Oakland would be home to a great ca- thedral, Daniel Whalen and his wife, Katharine Conroy Whalen, thought of The organ and its canopies frame the cathedral’s omega window; the image of her mother, Gerry Conroy. The Whalens Christ is made up of perforations in triangular aluminum panels. soon made the decision to give a custom- made pipe organ in her memory and, as such, all funding for the Conroy Memo- rial Organ came from the gift of Daniel and Katherine Conroy Whalen. The organ committee did extensive re- search and visited several instruments by several different builders before the deci- sion was made to commission an instru- ment from Létourneau. Because of the layout of the cathedral, it was apparent from the project’s inception that a tracker instrument was impossible and that elec- tric action would be necessary. The or- gan needed to serve both as a liturgical instrument and as a concert instrument. It needed to be capable of accompany- ing choral repertoire and congregational singing, providing processional fanfares, and playing a variety of organ literature in The Echo Choir division both liturgical and concert settings. The instrument has been a great suc- was consequently designed to absorb cess, serving the Diocese of Oakland large seismic shocks; the entire building and the cathedral parish well in liturgi- sits on isolator pads to resist oscillations cal settings, as well as making the cathe- in the event of an earthquake. The or- dral a sought-after venue for organ and gan, too, was built to a rigorous standard choir concerts. for seismic reasons. The visible portions —Dr. Rudy de Vos The curvaceous console controls seven divisions and 90 ranks via 157 drawknobs of the instrument are built around sub- and 30 tilting tablets. stantial steel frames, which are anchored From the builder to the platform of each canopy. The ir- Létourneau pipe organs are custom- regular arrangement of the façade pipes built for their surroundings, and we ruled out the usual linear pipe racking, strive for a good fi t, both architecturally and instead, most pipes are supported in- and tonally. From time to time, we are dependently from behind by steel rods. privileged to work in some exceptional The main level of the cathedral has surroundings. We knew this to be the a substantial climate control system in- case from our fi rst contact with the Ca- conspicuously built into the nave fl oor. thedral of Christ the Light in the spring The system can heat or cool the ambient of 2006. Though the cathedral existed air to a height of approximately 15 feet only as a design on paper at that time, above the fl oor. Being built into the reli- the clarity of the worship space’s tower- quary wall, the organ chamber is likewise ing architecture was as striking as the controlled for temperature. However, use of sunlight fi ltering through the ceil- the immense volume of air above this ing’s central oculus, and the hundreds of 15-foot height has no climate control at wooden louvers making up the sides of all, and air temperatures can vary greatly the worship space. depending on internal and external con- Also striking were the locations set ditions. This is to say that temperatures aside for a pipe organ in the architectural on the two organ canopies would vary plans. Large canopies on either side of the unpredictably from the organ chamber cathedral’s central omega window were below but could also diverge between designed to display a signifi cant instru- the two sides of the building. ment, while a discreet organ chamber was Given the disastrous implications this provided behind the seating area for the would have on tuning, it was nonetheless cathedral choir. The lateral and vertical with some reservations that we agreed distances between these three locations that some form of climate control had presented a number of intriguing possi- to be provided for the organ canopies bilities but also a number of challenges. The console’s four manuals have bone overlays for the natural keys, with the ac- themselves. After many meetings and Having agreed to work closely with cidentals in solid ebony. The pedalboard notes are made from maple, with ebony discussions, a system was put into place; the cathedral’s architect, Craig Hartman caps for the accidentals. it is comprehensive and self-regulating. of Skidmore, Owings & Merrill, we de- Each organ canopy has its own microcli- veloped the organ’s visual design through Special narrow scales were developed to length wooden resonators in the bass oc- mate control system capable of provid- a process of discussion, collaboration, provide the wooden basses for the Great taves and appear to sprout up through the ing heat or cool air as required. A total and at times, mutual compromise. From and Bombarde 16′ principal ranks, while organ façades. The number of tin pipes in of eight sensors per canopy monitor tem- the outset, Mr. Hartman wanted the or- the Pedal 32′-16′-8′ Contra Bourdon the façades was carefully limited, while a peratures from strategic locations, and gan’s visual aspect to leave an organic and 16′ Open Wood are more typical, unique fi nish was developed to ensure the treated air is then directed as needed impression (no pun intended), with or- with generous cross-sections. All wood- metal did not appear overly brilliant rela- to twelve diffusers per side. From the gan pipes arrayed unpredictably, as one en façade pipes were constructed with tive to the surrounding surfaces. outset, it was understood that the system might fi nd with trees in a forest or tufts wooden skirts to conceal the pipe foot, Oakland’s previous cathedral, the could not provide absolute temperature of wild grass. The great majority of the providing a uniform appearance from Cathedral of St. Francis de Sales, was stability, but would minimize tempera- organ’s façade pipes were accordingly top to bottom. heavily damaged in the 1989 Loma Pri- ture variations among the organ’s divi- constructed from clear Douglas fi r to Likewise, the 32′-16′ Trombone and 16′ eta earthquake and was eventually con- sions as much as possible, ensuring the match the surrounding ribs and louvers. Bombarde stops were provided with full- demned. The new cathedral’s structure instrument is broadly useable.
26 THE DIAPASON The stoplist for the instrument evolved installed as the fi rst phase of the project over the life of the project, based both and was fi rst heard at the cathedral’s rite on our own design and with input from of dedication on September 25, 2008. the cathedral’s organ committee. We The Choir, Echo Choir, and one 16′ felt from the outset that the lower organ pedal rank speak through a screened chamber needed to house an instrument opening in the reliquary wall to the west that could function independently from of the central altar. The Choir division the main organ when desired. The result has the resources of a minor Great divi- was a 25-rank orgue de choeur (essen- sion, with complete principal and reed tially the two Choir divisions) that was ³ page 28
Létourneau Pipe Organs Opus 118 16′ Trombone Cathedral of Christ the Light, 16′ Bombarde (Bombarde) Oakland, California 16′ Fagotto (Choir) 94 stops, 90 ranks, 5,323 pipes 8′ Trompette (Bombarde) 8′ Fagotto (Choir) GREAT (II) 4′ Clairon (Bombarde) 16′ Double Diapason 4′ Schalmey 8′ First Diapason 8′ Trompeta de luz (Bombarde) 8′ Second Diapason (ext) 8′ Harmonic Flute Couplers 8′ Salicional Gt/Ped 8–4 8′ Chimney Flute Sw/Ped 8–4 4′ Principal Bomb/Ped 8–4 4′ Open Flute Solo/Ped 8–4 2′ Fifteenth Ch/Ped 8–4 2 ′ 2⁄3 Mixture IV–V Echo/Ped 8–4 1′ Sharp Mixture III 2 ′ 2⁄3 Cornet III Sw/Gt 16–8–4 8′ Trumpet Bomb/Gt 16–8–4 8′ Trompeta de luz (Bombarde) Solo/Gt 16–8–4 Ch/Gt 16–8–4 SWELL (III, expressive) Echo/Gt 16–8–4 16′ Gamba ′ 8 Open Diapason Sw/Bomb 16–8–4 8′ Gamba (ext) ′ Solo/Bomb 16–8–4 8 Voix Celeste (from G8) Gt/Bomb 8 8′ Bourdon ′ Ch/Bomb 16–8–4 4 Principal Echo/Bomb 16–8–4 4′ Spire Flute 2 ′ 2⁄3 Nazard Solo/Sw 16–8–4 2′ Flageolet 3 Echo/Sw 16–8–4 1⁄5′ Tierce ′ 2 Mixture V Gt/Solo 8 16′ Double Trumpet ′ Bomb/Solo 8 8 Trumpet Sw/Solo 8 8′ Hautboy ′ Ch/Solo 8 4 Clarion Echo/Solo 8 Light plays an active role in the cathedral’s architecture, especially with the organ’s CHOIR (fl oating, expressive) Most of the pipe construction is implied in façades. 16′ Violonbass ′ the name but, not surprisingly, the Solo divi- 8 Open Diapason sion has most of the unusual pipe forms. 8′ Spindle Flute ′ ′ The Solo 8 Tuba has harmonic resonators 8 Violoncello (ext) beginning at G20 along with closed Willis- 8′ Cello Celeste (from G8) ′ type shallots. 4 Principal The Solo 8′ Doppel Flute is made from 2′ Fifteenth 1 mahogany, has double mouths beginning at 1⁄3′ Mixture IV–V ′ C13 and has stoppers from bottom to top. 16 Fagotto The Bombarde 16′ Bombarde has 8′ Trumpet ′ wooden resonators in Douglas fi r from C1 4 Clarion through G#21. ′ ′ ECHO CHOIR (fl oating, expressive) The Pedal 32 –16 Trombone has wooden 16′ Lieblich Gedackt resonators in Douglas fi r from C1 through ′ D27. 8 Principal ′ 8′ Chimney Flute Both the Great and Bombarde 16 Dou- 8′ Dolce Flute ble Diapasons use open wooden pipes from 8′ Flute Celeste (from G8) C1 to B12. ′ The Pedal 32′–16′–8′ Bourdon unit and 4 Traverse Flute ′ 2′ Piccolo the 16 Open Wood have wooden pipes 1 throughout (Douglas fi r). 1⁄3′ Larigot 8′ Oboe Manual/Pedal compass: 61/32. 8′ Vox Humana Mixture Compositions BOMBARDE (I) 16′ Double Diapason Great IV–V Mixture 8′ Open Diapason c1–e17 12 15 19 22 1 5⁄3′ Quint f18–e29 8 12 15 19 22 4′ Principal f30–e41 1 8 12 15 19 2 2⁄3′ Mixture V–VIII f42–c61 1 5 8 12 15 16′ Bombarde 8′ Trompette Great III Sharp Mixture Wooden pipes in Douglas fi r make up a large proportion of the organ’s façade, help- 4′ Clairon c–b24 22 26 29 ing integrate the organ visually within its surroundings. 8′ Trompeta de luz c25–b36 19 22 26 c37–g#45 15 19 22 SOLO (IV, expressive) a46–e53 12 15 19 8′ Doppel Flute f54–c61 8 12 15 8′ Viole d’orchestre 8′ Viole celeste (from G8) Swell V Mixture 8′ Clarinet c1–b12 15 19 22 26 29 8′ English Horn c13–b24 12 15 19 22 26 8′ Tuba (high pressure) c25–b36 8 12 15 19 22 8′ Trompeta de luz (Bombarde) c37–b48 1 8 12 15 19 c49–c61 1 8 12 15 15 PEDAL 32′ Contra Bourdon Choir IV–V Mixture 16′ Open Wood c1–b12 19 22 26 29 16′ Double Diapason (Bombarde) c13–e17 15 19 22 26 16′ Bourdon (ext) f18–b24 12 15 19 22 26 16′ Subbass (enclosed with Choir) c25–b36 8 12 15 19 22 16′ Gamba (Swell) c37–b48 1 8 12 15 19 16′ Violoncello (Choir) c49–c61 1 5 8 12 15 16′ Lieblich Gedackt (Echo) 2 10 ⁄3′ Quint (ext) Bombarde V–VII Full Mixture 8′ Open Diapason (Bombarde) c1–b 12 15 19 22 26 8′ Bourdon (ext) c13–b24 8 12 15 19 22 8′ Gamba (Swell) c25–f#31 5 8 12 15 19 22 8′ Violoncello (Choir) g32–b36 1 5 8 12 15 19 22 8′ Lieblich Gedackt (Echo) c37–f#43 DQ 1 5 8 12 15 19 1 5⁄3′ Quint (Bombarde) g44–c61 SU DQ 1 5 8 12 15 4′ Principal (Bombarde) 2 4′ Nachthorn DQ: Double Quint or 10 ⁄3′ 2′ Open Flute SU: Sub Unison or 16′ 2 2⁄3′ Mixture IV (Bombarde) 32′ Contra Trombone Photo credit: Andrew Forrest Detail of the Choir division’s reed pipes
JULY, 2012 27 ³ page 27: Létourneau cover feature 2012 Summer Carillon Concert Calendar choruses, while the Echo Choir contrasts sign; the fi nal product has a total of 157 with more delicate colors. Essential for long-stem ebony drawknobs sweeping by Brian Swager accompanying, both divisions are inde- around the organist against a backdrop pendently expressive, feature light 16′ of rich walnut. Alert readers will note Alfred, New York Detroit, Michigan manual stops, and offer distinct celeste the console has three expression pedals, Alfred University, Davis Memorial Carillon St. Mary’s of Redford Catholic Church effects. While not surprising, we have while there is a total of four expressive Tuesdays at 7 pm Saturdays at 5:15 pm noted that the cathedral’s acoustic reacts divisions. The default mode of operation July 10, Trevor Workman July 7, Karel Keldermans in a decidedly muted manner to sound has the Echo Choir following the Choir July 17, Janet Tebbel July 14, Patrick Macoska July 24, Auke de Boer & Adolph Rots July 21, Wesley Arai from the chambered divisions when com- expression pedal, but it can be reassigned July 31, Koen Cosaert July 28, Melissa Weidner pared to sound from the canopies above. to any of the other pedals via drawknobs Befi tting its visual dominance and the as well as programmed to change pedals Allendale, Michigan East Lansing, Michigan cathedral’s great interior volume, the on the General pistons. There is also an Grand Valley State University, Cook Caril- Michigan State University, Beaumont main organ is grand in its scope. The All Swells to Swell function for good mea- lon, Sundays at 8 pm Tower Carillon, Wednesdays at 6 pm Great division is particularly large and sure. Other refi nements include remote July 1, Holiday Open Tower Event July 4, Ray McLellan fl exible, offering a 16′ principal chorus, thumb pistons operating the General July 8, Karel Keldermans July 11, Karel Keldermans a variety of foundation stops, and three piston sequencer, to allow page-turners July 15, Carol Jickling Lens July 18, Anna Kasprzycka July 22, Timothy Sleep July 25, Wesley Arai mixture options, with the Cornet stop to assist with registration changes, and July 29, Melissa Weidner being made up of principal-scale pipes. an All Pistons Next feature. August 5, Ray McLellan Erie, Pennsylvania The Swell is likewise colorful and is en- The opening concert was performed August 12, George Gregory & Julianne Penn State University, Smith Chapel hanced by its effi cient enclosure; the 16′ on February 11, 2010 by Parisian organ- Vanden Wyngaard (Chimemaster mobile Thursdays at 7 pm Gamba pipes—open down to 16′ C—are ist Olivier Latry. The program featured carillon) July 12, Trevor Workman mounted horizontally against the back well-known works by Boëllmann, Bach, August 19, Julianne Vanden Wyngaard July 19, Janet Tebbel wall of the division. The Solo division Barié, Vierne, Durufl é, Cochereau, July 26, Auke de Boer & Adolph Rots Ames, Iowa August 2, Koen Cosaert offers a number of specialized, even or- Messiaen, and Widor. Marking the fi rst Iowa State University, Tuesdays at 7 pm chestral, stops that one reviewer praised time the instrument’s full resources were ′ July 24, Sue Bergren Fort Washington, Pennsylvania as “retro Aeolian-Skinner voices.” The 8 deployed, we noted that the capacity August 28, Julianne Vanden Wyngaard St. Thomas Church, Whitemarsh Doppel Flute makes for a powerful and audience had a calming effect on the Tuesdays at 7 pm harmonically rich solo voice, while the cathedral’s tremendous acoustic. This Belmont, North Carolina July 3, Jeff Davis Viole d’orchestre and Viole céleste are equally made our instrument sound with First Presbyterian Church, Sundays, 6:30 pm July 10, Dick van Dijk razor-sharp in their tone. The Bombarde improved clarity and precision. July 22, Joseph Vaughan July 17, Trevor Workman and Pedal divisions are inextricably in- The morning after M. Latry’s con- July 24, Margaret Pan tertwined, as the Bombarde stops are cert, it was gratifying to receive a letter Berea, Kentucky July 31, Lisa Lonie Berea College, Mondays at 7:30 pm upward extensions of select pedal ranks from Mr. Hartman with his reaction to Gainesville, Florida to produce climactic choruses. The Bom- the completed instrument: “The organ is July 9, Don Cook August 6, Rick Watson & Richard Gegner University of Florida, Sundays at 3 pm barde division’s principal chorus is pleas- just magnifi cent . . . I’ve been told the July 15, Harold Rocha ingly dense, with the mixture adding architecture sings, but, at last, it truly has Bloomfi eld Hills, Michigan August 19, Laura Ellis weight and brilliance in equal measure. a voice . . . The quality and precision that Christ Church Cranbrook, Sundays at 5 pm Other pedal ranks were deliberately not Létourneau’s craftsmen brought to this July 1, Toni Raats Glencoe, Illinois shared with the Bombarde division, to amazing instrument is everything I could July 8, Ray McLellan Chicago Botanic Garden ensure the Pedal division could always have wished for and more . . . The entire July 15, Qi Yang Mondays at 7 pm ′ July 22, Wesley Arai July 2, Joey Brink have the last word; these include the 32 - ensemble—not only the pipe arrays but July 9, Stephen Burton 16′-8′ Bourdon, the 16′ Open Wood, and also the console—is truly an extension of July 29, Helen Hawley August 6, Melissa Weidner July 16, Anna Kasprzycka the 32′-16′ Trombone ranks. the cathedral’s architecture.” July 23, Christmas in July, Robert Grogan Reed choruses throughout the organ In closing, we would like to offer our Kirk in the Hills Presbyterian Church July 30, Gordon Slater are intentionally varied; the Swell trum- thanks to the following individuals with- Sundays at 10 am and noon August 6, Chelsea Vaught pets employ tapered English shallots out whose help our Opus 118 would not July 1, Toni Raats August 13, Sue Bergren to contrast against the French-inspired be the success it is: Dr. Rudy de Vos, July 15, Ray McLellan August 20, Jim Fackenthal reeds in the Choir division. The Bom- John L. McDonnell Jr., Mario Balestri- July 22, Wesley Arai August 27, Kim Schafer barde trumpets at 16′, 8′, and 4′ pitches eri, Father Paul Schmidt, Father Denis July 28, Melissa Weidner September 3, Jim Brown are particularly grand in their effect, DesRosiers, Brother Martin Yribarren, August 5, Vanden Wyngaard September 2, Dennis Curry Grand Rapids, Michigan resulting from higher wind pressure, Craig Hartman, Peter McDonnell, Ei- Grand Valley State University generous resonator scales, and Bertou- leen Ash, Eric Long, Gwelen Paliaga, Wednesdays at noon nèche-style shallots. The Solo 8′ Tuba, Mike Brown, Maryliz Smith, Jack St. Hugo of the Hills Catholic Church July 11, Karel Keldermans Thursdays at 7 pm July 18, Carol Jickling Lens speaking on 18 inches of wind, uses Bethards, and Phil Browning. July 12, Karel Keldermans closed Willis-style shallots and harmonic Andrew Forrest, Artistic Director July 25, Timothy Sleep July 19, Carol Jickling Lens August 1, Julianne Vanden Wyngaard resonators from G20 up to achieve its Fernand Létourneau, President July 26, Wesley Arai particular pealing tone. In contrast, the Dudley Oakes, Vice President for August 2, Melissa Weidner ′ Hartford, Connecticut 8 Trompeta de luz is mounted horizon- Sales and Marketing Trinity College Chapel, Wednesdays at 7 pm tally in the organ’s façade and speaks on Bryn Mawr, Pennsylvania July 4, Ellen Dickinson just over six inches wind pressure. The Bryn Mawr Presbyterian Church July 11, Trevor Workman Trompeta de luz is not so powerful as to Thursdays at 7 pm July 18, Groningen Carillon Duo Attention organbuilders. July 5, Jeff Davis July 25, Joey Brink be harmful when brought in for the oc- July 12, Dick van Dijk casional fi nal chord. The Pedal division’s August 1, Lisa Lonie ′ ′ August 15, Dan Kehoe 32 -16 Trombone rank features our For information on submis- Centralia, Illinois own Schnitger-type shallots for a fi rm, sions for “New Organs” or Centralia Carillon Kennett Square, Pennsylvania grounding bass tone. September 2, 2 pm, Tim Sleep Longwood Gardens, Sundays at 3 pm The design of the unique four-manual to sponsor a cover, contact September 2, 2:45 pm, Jeremy Chesman July 1, Wylie Crawford console was also a rewarding collabora- September 3, 2 pm, John Bordley July 8, Jeff Davis tive effort with Craig Hartman. It was editor Jerome Butera: September 3, 2:45 pm, Carlo van Ulft July 15, Dick van Dijk at his suggestion, for example, that the August 19, Doug Gefvert shapely upper portion was constructed 847/391-1045 Chicago, Illinois August 26, John Widmann using laminated strips of quarter-sawn University of Chicago, Rockefeller Chapel [email protected] Sundays at 5 pm Luray, Virginia oak. Our intention was to provide a July 1, Joey Brink Luray Singing Tower uniquely uncluttered and timeless de- July 8, Stephan Burton Tuesdays, Thursdays, Saturdays and Sun- July 15, Anna Kasprzycka days in July and August at 8 pm, David July 22, Robert Grogan Breneman, carillonneur A gift subscription to July 29, Gordon Slater July 19, Dick van Dijk August 5, Chelsea Vaught July 24, Gerald Martindale August 12, Sue Bergren August 9, Charles Semowich THE DIAPASON August 19, Jim Fackenthal Madison, Wisconsin The perfect gift for organist colleagues, students, teachers, choir directors, Cohasset, Massachusetts University of Wisconsin, Thursdays at 7:30 pm and clergy. Send in the form below with your check and know that your gift St. Stephen’s Episcopal Church July 5, 12, 19, 26, Lyle Anderson Sundays at 6 pm will be just right. For information, contact editor Jerome Butera, 847/391- July 1, Mary Kennedy Mariemont, Ohio 1045;
28 THE DIAPASON Minneapolis, Minnesota St. Paul, Minnesota Central Lutheran Church, Sundays 11:15 am House of Hope Presbyterian Church July 8, Sue Bergren Sundays at 4 pm Bert Adams, FAGO July 15, Tim Sleep July 4, Dave Johnson Park Ridge Presbyterian Church PATRICK ALLEN July 22, Wylie Crawford July 8, Sue Bergren July 29, Lyle Anderson July 15, Tim Sleep Park Ridge, IL GRACE CHURCH July 22, Wylie Crawford Pickle Piano & Church Organs NEW YORK Montreal, Quebec July 29, Lyle Anderson Bloomingdale, IL St. Joseph’s Oratory, Sundays at 6:30 pm July 8, Julianne Vanden Wyngaard Sewanee, Tennessee July 15, Joseph Brink University of the South, Sundays at 4:45 pm July 22, Trevor Workman July 1, J. Samuel Hammond Christopher Babcock August 5, Roy Lee July 4, 1 pm, John Bordley & J. Samuel Hammond Morristown, New Jersey July 8, Anton Fleissner St.St. Andrew’s by the Sea,Sea, St. Peter’s Episcopal Church July 15, John Bordley, Ray Gotko, & Hyannis PortPort July 22, 2 pm, Gerald Martindale Charlene Williamson July 22, John Bordley SSt.t. David’s, South Yarmouth Naperville, Illinois Naperville Millennium Carillon Simsbury, Connecticut Tuesdays at 7 pm Simsbury United Methodist Church July 4, Joey Brink Sundays at 7 pm July 10, Stephan Burton July 1, Simsbury Guild of Carillonneurs July 17, Anna Kasprzycka July 8, Ellen Dickinson Dean W. Billmeyer GAVIN BLACK July 24, Robert Grogan July 15, Trevor Workman Princeton Early Keyboard Center July 31, Gordon Slater July 29, Daniel K. Kehoe University of Minnesota August 7, Chelsea Vaught 732/599-0392 August 14, Sue Bergren Stamford, Connecticut Minneapolis 55455 • [email protected] www.pekc.org August 21, Jim Fackenthal First Presbyterian Church July 19, 7 pm, Gerald Martindale New Canaan, Connecticut Storrs, Connecticut St. Mark’s Episcopal Church Storrs Congregational Church July 17, 7:30 pm, Gerald Martindale Mondays at 7 pm Byron L. Blackmore THOMAS BROWN July 30, Joseph Brink UNIVERSITY New Haven, Connecticut August 26, David Maker Crown of Life Lutheran Church Yale University, Yale Memorial Carillon PRESBYTERIAN CHURCH Fridays at 7 pm Toronto, Ontario Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA July 6, Trevor Workman Metropolitan United Church, Thursdays, 7 pm 623/214-4903 ThomasBrownMusic.com July 13, Joey Brink July 3, Toni Raats July 20, Ellen Dickinson July 8, 10:30 am, Gordon Slater July 27, Adolph Rots & Auke de Boer July 26, Trevor Workman August 3, Lisa Lonie August 9, George Matthew August 10, Yale Summer Carillonneurs University of Toronto, Soldiers’ Tower David Chalmers DELBERT DISSELHORST Northfi eld, Vermont Wednesdays at 5 pm Concert Organist Norwich University, Saturdays at 1 pm July 11, Julianne Vanden Wyngaard GLORIÆ DEI CANTORES Professor Emeritus July 7, Charles Semowich July 18, Joey Brink University of Iowa–Iowa City July 14, Gerald Martindale July 25, Trevor Workman Orleans, MA July 21, Gordon Slater August 1, Andrée-Anne Doane July 28, Anna Kasprzycka August 4, Elena Sadina & Sergei Gratchev Valley Forge, Pennsylvania Washington Memorial Chapel AMES ORROH, AAGO, PhD STEVEN EGLER Norwood, Massachusetts Wednesdays at 7:30 pm J D July 4, Jeff Davis Central Michigan University Norwood Memorial Municipal Building Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Mondays at 7 pm July 11, Dick van Dijk July 2, Lee Leach July 18, Trevor Workman Samford University Artist in Residence July 4, 3 pm, Lee Leach July 25, Margaret Pan Birmingham, Alabama First Congregational Church July 9, Stefano Colletti August 1, Julia Littleton Saginaw, Michigan July 16, Auke deBoer August 8, Doug Gefvert Organ Consultant Organ Recitals [email protected] July 23, Joey Brink August 15, Doug Gefvert, Irish Thunder July 30, Trevor Workman Pipes and Drums August 6, Lisa Lonie August 22, Jonathan Lehrer August 29, Lisa Lonie A Professional Card in August 13, George Matthew, Jr. JOHN FENSTERMAKER The Diapason Victoria, British Columbia Ottawa, Ontario Netherlands Centennial Carillon TRINITY-BY-THE-COVE For rates and digital specifi cations, Peace Tower Carillon Sundays at 3 pm, July–August contact Jerome Butera July & August, weekdays, 11 am Rosemary Laing, carillonneur 847/391-1045 Andrea McCrady, carillonneur NAPLES, FLORIDA [email protected] July 1, 9 am, Andrea McCrady West Hartford, Connecticut July 10, Julianne Vanden Wyngaard First Church of Christ Congregational July 17, Joey Brink Sundays at 3 pm, June–August July 24, Trevor Workman July 12, Gordon Slater, 7 pm July 31, Andrée-Anne Doane TEPHEN AMILTON WILL HEADLEE August 14, student recital Williamsville, New York S H September 29, George Gregory Calvary Episcopal Church recitalist–clinician–educator 1650 James Street Wednesdays at 7 pm Syracuse, NY 13203-2816 Owings Mills, Maryland July 18, Janet Tebbel www.stephenjonhamilton.com McDonogh School, Fridays at 7 pm July 25, Auke de Boer & Adolph Rots (315) 471-8451 July 6, Buck Lyon-Vaiden August 1, Koen Cosaert July 13, Dick van Dijk July 20, Adolph Rots & Auke de Boer July 27, Margaret Pan Gary L. Jenkins August 3, Edward Nassor ANDREW HENDERSON, DMA Central Presbyterian Church Calendar Madison Avenue Presbyterian Church Director, Schmidt Concert Series Philadelphia, Pennsylvania Carmelite Monastery First United Methodist Church of German- New York, NY town, Mondays at 7:30 pm Curator of Organs July 2, Jeff Davis This calendar runs from the 15th of the month of www.andrewhenderson.net Rose-Hulman Institute of Technology July 9, Dick van Dijk issue through the following month. The deadline is Terre Haute, Indiana the fi rst of the preceding month (Jan. 1 for Feb. Princeton, New Jersey issue). All events are assumed to be organ recitals Princeton University, Grover Cleveland unless otherwise indicated and are grouped within Tower, Sundays at 1 pm each date north-south and east-west. •=AGO chap- A two-inch Professional Card July 1, Jeff Davis ter event, • •=RCCO centre event, +=new organ dedi- July 8, Dick van Dijk cation, ++= OHS event. in The Diapason Information cannot be accepted unless it speci- July 15, Trevor Workman For information on rates and specifi cations, contact Jerome Butera: July 22, Margaret Pan fi es artist name, date, location, and hour in writ- July 29, Robin Austin ing. Multiple listings should be in chronological order; [email protected] 847/391-1045 August 5, Julia Littleton please do not send duplicate listings. THE DIAPA- August 12, Lisa Lonie SON regrets that it cannot assume responsibility for August 19, George Matthew, Jr. the accuracy of calendar entries. August 26, Steve Schreiber LORRAINE BRUGH, Ph.D. September 2, Nick Huang UNITED STATES Rochester, Minnesota East of the Mississippi Associate Professor Mayo Clinic, Mondays at 7 pm July 9, Sue Bergren University Organist July 16, Tim Sleep 15 JULY July 23, Wylie Crawford Selwyn College Chapel Choir, Evensong; Ca- Valparaiso University July 30, Lyle Anderson thedral Church of St. John the Divine, New York, Valparaiso, IN NY 4 pm www.valpo.edu University of Rochester, Hopeman Memo- William Atwood; St. Patrick’s Cathedral, New rial Carillon, Mondays at 7 pm York, NY 4:45 pm July 9, Trevor Workman Nathan Carterette; St. Paul Cathedral, Pitts- 219-464-5084 July 16, Janet Tebbel burgh, PA 4 pm July 23, Auke de Boer & Adolph Rots Singing Boys/Keystone Girls Choir; Sunday in [email protected] July 30, Koen Cosaert the Park, Lebanon, PA 7 pm
JULY, 2012 29 CALIFORNIA LUTHERAN UNIVERSITY Peter Latona; Basilica of the National Shrine 5 AUGUST of the Immaculate Conception, Washington, DC Stephen Fraser; St. Patrick’s Cathedral, New MICHELE JOHNS 6 pm York, NY 4:45 pm A.Mus.D Kyle Johnson, DMA Edie Johnson; Madonna della Strada Chapel, Karen Barr; St. Paul Cathedral, Pittsburgh, PA Loyola University, Chicago, IL 3 pm 4 pm Organ — Harpsichord University Organist Rebecca Yoder; Basilica of the National Shrine The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV 16 JULY of the Immaculate Conception, Washington, DC 6 pm School of Music Janette Fishell; University Memorial Audito- www.callutheran.edu rium, Gainesville, FL 7:30 pm 7 AUGUST 17 JULY Ray Cornils; First Parish Church UCC, Bruns- Clarissa Brown; First Parish Church UCC, wick, ME 12:10 pm KIM R. KASLING Brunswick, ME 12:10 pm Rosalind Mohnsen; Old West Church, Bos- Brian Jones Laurence Carson; Old West Church, Boston, ton, MA 8 pm D.M.A. DirectorDirector of Music Emeritus MA 8 pm David Davies; Riverside Church, New York, NY 7 pm St. John’s University Choir of Selwyn College, Cambridge, UK; TRINITY CHURCH Cathedral of the Incarnation, Garden City, NY 8 AUGUST OSTON Collegeville, MN 56321 7:30 pm B Christopher Creaghan; Riverside Church, Peter Kranefoed; Methuen Memorial Music New York, NY 7 pm Hall, Methuen, MA 8 pm Charles Ludwick; Christ Episcopal Church, Nathan Laube; Ocean Grove Auditorium, Roanoke, VA 7:30 pm Ocean Grove, NJ 7:30 pm JAMES KIBBIE Blake Doss; First English Lutheran, Appleton, 18 JULY WI 12:15 pm The University of Michigan Kevin Birch; Methuen Memorial Music Hall, Methuen, MA 8 pm 12 AUGUST Ann Arbor, MI 48109-2085 Amanda Plazek ORGAN CONSULTANT Gordon Turk; Ocean Grove Auditorium, Ocean ; St. Paul Cathedral, Pitts- 734-764-1591 FAX: 734-763-5097 burgh, PA 4 pm Grove, NJ 7:30 pm www.gabrielkney.com Christopher Jennings; Basilica of the Nation- email: [email protected] Richard Frey; First United Methodist, Hershey, al Shrine of the Immaculate Conception, Wash- PA 7 pm ington, DC 6 pm Mary Lou Peeples; Visitor Center, Old Sa- Michael Dulac; Shrine of Our Lady of Guada- lem Museums & Gardens, Winston-Salem, NC lupe, La Crosse, WI 3 pm David K. Lamb, D.Mus. 12 noon Scott Dettra; Cathedral of St. Philip, Atlanta, ARTHUR LAMIRANDE 14 AUGUST Director of Music/Organist GA 7:30 pm Katelyn Emerson; First Parish Church UCC, First United Methodist Church Curt Sather [email protected] ; Cathedral of St. John the Evan- Brunswick, ME 12:10 pm Columbus, Indiana gelist, Milwaukee, WI 12:15 pm www.youtube.com/watch?v=WTkDk-cX1X4 812/372-2851 Thomas Fielding; First United Methodist, Ap- 15 AUGUST pleton, WI 12:15 pm David Arcus; Methuen Memorial Music Hall, Kirstin Synnestvedt; Sinsinawa Mound, Sin- Methuen, MA 8 pm sinawa, WI 7 pm Michael Stairs; Ocean Grove Auditorium, Ocean Grove, NJ 7:30 pm 22 JULY Helen Anthony; First United Methodist, Her- David Lowry Andrés Mojica, with fl ute; St. Patrick’s Cathe- THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD shey, PA 7 pm dral, New York, NY 4:45 pm Donald VerKuilen; St. Joseph Catholic 1512 BLANDING STREET, COLUMBIA, SC 29201 Luke Mayernik; St. Paul Cathedral, Pittsburgh, Church, Appleton, WI 12:15 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY PA 4 pm Joan DeVee Dixon & Alice Fiedlerova; Sinsi- Florian Wilkes ROCK HILL, SC 29733 ; Basilica of the National Shrine nawa Mound, Sinsinawa, WI 7 pm of the Immaculate Conception, Washington, DC 6 pm 17 AUGUST Dennis Siebenaler; Shrine of Our Lady of Tom Trenney, silent fi lm accompaniment; Mer- Guadalupe, La Crosse, WI 3 pm rill Auditorium, Portland, ME 7:30 pm ANDREW PAUL MOORE 24 JULY 18 AUGUST A.S.C.A.P. Harold Stover; First Parish Church UCC, Tom Trenney, workshop; Merrill Auditorium, FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Brunswick, ME 12:10 pm Portland, ME 9 am Andrew Shenton; Old West Church, Boston, Performathon; Merrill Auditorium, Portland, ME 345 SADDLE LAKE DRIVE MA 8 pm 10 am ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 Harry Huff; Riverside Church, New York, NY Walt Strony & Dave Wickerham, pops con- 7 pm cert; Merrill Auditorium, Portland, ME 7:30 pm David Arcus; Christ Episcopal Church, Roa- Gordon Turk; Ocean Grove Auditorium, Ocean noke, VA 7:30 pm Grove, NJ 12 noon LEON NELSON DOUGLAS O’NEILL 25 JULY 19 AUGUST Cathedral of the Madeleine Nicole Keller; Methuen Memorial Music Hall, David Christopher; St. Patrick’s Cathedral, Director of the Sanctuary Choir Methuen, MA 8 pm New York, NY 4:45 pm Southminster Presbyterian Church Salt Lake City, Utah Gordon Turk; Ocean Grove Auditorium, Ocean David Arcus; St. Paul Cathedral, Pittsburgh, Grove, NJ 7:30 pm PA 4 pm Arlington Heights, IL 60005 [email protected] 801/671-8657 William Osborne; Visitor Center, Old Salem Mu- Richard Pilliner; Basilica of the National seums & Gardens, Winston-Salem, NC 12 noon Shrine of the Immaculate Conception, Washing- Michael Hey; Cathedral of St. John the Evan- ton, DC 6 pm gelist, Milwaukee, WI 12:15 pm MARILYN MASON Rollie Hebeler; St. Mary’s Roman Catholic 20 AUGUST CHAIRMAN, DEPARTMENT OF ORGAN Church, Menasha, WI 12:15 pm John Weaver, masterclass; Merrill Auditorium, UNIVERSITY OF MICHIGAN Mark McClellan; Sinsinawa Mound, Sinsina- Portland, ME 1:30 pm wa, WI 7 pm Hell, Heywood & Hohman; Merrill Auditorium, ANN ARBOR Portland, ME 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it 26 JULY with awesome technique and a thrilling command of its daring writing.” Nathan Laube; St. Saviour’s Episcopal, Bar 21 AUGUST The American Organist, 1980 Harbor, ME 7:30 pm Fred Swann & John Weaver; Merrill Audito- James Grzadzinski, with strings, fl ute, and rium, Portland, ME 7:30 pm mezzo soprano; Sacred Heart Parish, Palos Hills, Mark Engelhardt; Old West Church, Boston, SYLVIE POIRIER IL 7 pm MA 8 pm LARRY PALMER 29 JULY 22 AUGUST Adam Brakel; St. Paul Cathedral, Pittsburgh, Ray Cornils & Peter Richard Conte, with Festival Brass; Merrill Auditorium, Portland, ME Professor of PHILIP CROZIER PA 4 pm 7:30 pm Rosalind Mohnsen; Basilica of the National ORGAN DUO Anne Horsch; Methuen Memorial Music Hall, Harpsichord and Organ Shrine of the Immaculate Conception, Washing- Methuen, MA 8 pm 3355 Queen Mary Road, Apt 424 ton, DC 6 pm Chelsea Chen; First Presbyterian, Skaneate- Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Christopher Houlihan; Shepherd of the Bay les, NY 8 pm Lutheran, Ellison Bay, WI 7 pm David Bohn; First Presbyterian, Neenah, WI SOUTHERN METHODIST UNIVERSITY Canada James Grzadzinski, with brass; Sacred Heart 12:15 pm Parish, Palos Hills, IL 4 pm (514) 739-8696 Sister M. Arnold Staudt, OSF; Sinsinawa Dallas, Texas 75275 Mound, Sinsinawa, WI 7 pm Fax: (514) 739-4752 31 JULY Douglas Beck; First Parish Church UCC, Musical Heritage Society recordings 25 AUGUST [email protected] Brunswick, ME 12:10 pm Gordon Turk; Ocean Grove Auditorium, Ocean Carson Cooman; Old West Church, Boston, Grove, NJ 12 noon MA 8 pm David Briggs; Riverside Church, New York, 26 AUGUST NY 7 pm Zvonimir Nagy; St. Paul Cathedral, Pittsburgh, PA 4 pm 1 AUGUST Benjamin LaPrairie & Russell Weismann; A four-inch Professional Card Paul Murray; Methuen Memorial Music Hall, Basilica of the National Shrine of the Immaculate Methuen, MA 8 pm Conception, Washington, DC 6 pm in THE DIAPASON John Skidmore; St. Joseph Catholic Church, Sue Walby; Shrine of Our Lady of Guadalupe, Appleton, WI 12:15 pm La Crosse, WI 3 pm For rates and specifi cations David Jonies; Sinsinawa Mound, Sinsinawa, WI 7 pm 28 AUGUST contact Jerome Butera Raymond Nagem; Old West Church, Boston, 2 AUGUST MA 8 pm 847/391-1045 Gordon Turk, with orchestra; Ocean Grove Au- ditorium, Ocean Grove, NJ 7:30 pm 29 AUGUST [email protected] Frederick Teardo; Methuen Memorial Music 4 AUGUST Hall, Methuen, MA 8 pm Gordon Turk; Ocean Grove Auditorium, Ocean Gordon Turk; Ocean Grove Auditorium, Ocean Grove, NJ 12 noon Grove, NJ 7:30 pm
30 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Leon Couch; First English Lutheran, Appleton, 13 AUGUST WI 12:15 pm Gordon Turk; Spreckels Organ Pavilion, Bal- Stephen G. Schaeffer Stephen Steely; Sinsinawa Mound, Sinsina- boa Park, San Diego, CA 7:30 pm wa, WI 7 pm Recitals – Consultations 18 AUGUST 30 AUGUST Christopher Houlihan, Vierne symphonies; Cathedral Church of the Advent Ralph & Marillyn Freeman; St. Paul Lutheran, Church of the Incarnation, Dallas, TX 3 pm and Birmingham, Alabama Neenah, WI 12:15 pm 7:30 pm www.AdventBirmingham.org 19 AUGUST UNITED STATES Norman Paskowsky; St. Mary’s Cathedral, West of the Mississippi San Francisco, CA 3:30 pm Nicholas E. Schmelter ROBERT L. 15 JULY 20 AUGUST Bach, St. Matthew Passion; Silva Concert Hall, Dennis James, silent fi lm accompaniment; Director of Music and Organist SIMPSON Eugene, OR 4:30 pm Spreckels Organ Pavilion, Balboa Park, San Di- ego, CA 7:30 pm First Congregational Church Christ Church Cathedral Karen Beaumont; St. Mary’s Cathedral, San 1117 Texas Avenue Francisco, CA 3:30 pm Saginaw, Michigan 27 AUGUST Houston, Texas 77002 16 JULY Carol Williams and guests; Spreckels Organ Ty Woodward; Spreckels Organ Pavilion, Bal- Pavilion, Balboa Park, San Diego, CA 7:30 pm boa Park, San Diego, CA 7:30 pm Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE 17 JULY INTERNATIONAL Organist and Director of Music David Troiano Tom Trenney, silent fi lm accompaniment; Our Saint John's Cathedral Savior’s Lutheran, Sioux Falls, SD 8 pm DMA MAPM 15 JULY Denver, Colorado 586.778.8035 19 JULY Marijim Thoene; St. Teresa Church, Bialow- www.sjcathedral.org [email protected] Christopher Houlihan, Vierne symphonies; ieza, Poland 12 noon Cathedral of Our Lady of the Angels, Los Ange- Marijim Thoene; St. Kazimierz Church, Bia- les, CA 7:30 pm lystok, Poland 7 pm Philip Crozier; Stiftskirche, Cappenberg, Ger- 20 JULY many 5 pm Marcia Van Oyen Christopher Houlihan, Vierne symphonies; Emmanuel Hocdé; Cathedral, Chartres, Joe Utterback Cathedral of Our Lady of the Angels, Los Ange- France 4:30 pm First United Methodist Church les, CA 7:30 pm Peter Stevens; Westminster Cathedral, Lon- COMMISSIONS & CONCERTS don, UK 4:45 pm Plymouth, Michigan 22 JULY 732 . 747 . 5227 mvanoyen.com Louis Perazza; St. Mary’s Cathedral, San 16 JULY Francisco, CA 3:30 pm Umberto Pineschi; Chiesa di S. Maria del Carmine, Pistoia, Italy 9 pm 23 JULY Gillian Weir; Oundle School, Oundle, UK Diane Bish; Spreckels Organ Pavilion, Balboa 5 pm David Wagner Park, San Diego, CA 7:30 pm • •John Hudson; St. Peter’s Church, St. John, DMA Kevin Walters NB, Canada 10:30 am Madonna University 28 JULY • •Sharon Pond; St. Peter’s Church, St. John, M.A., F.A.G.O. Lynn Trapp, with choir and brass; St. Olaf NB, Canada 6:30 pm Livonia, Michigan Catholic Church, Minneapolis, MN 7:30 pm • •Polyphon; St. Peter’s Church, St. John, NB, [email protected] Rye, New York Canada 7:45 pm 30 JULY Carlo Curley; Spreckels Organ Pavilion, Bal- 17 JULY boa Park, San Diego, CA 7:30 pm Mario Duella, with soprano; Santuario della Ma- donna delle Grazie, Portula/Novareia, Italy 5 pm Davis Wortman 4 AUGUST Andrew Condliffe-Jones; St. Werburgh’s, KARL WATSON David Gell, Old Spanish Days’ Fiesta; Trinity Chester Grosvenor, UK 1 pm Episcopal, Santa Barbara, CA 3 pm Stephen Farr; Westminster Abbey, London, SAINT LUKE’S St. James’ Church UK 7 pm 5 AUGUST • •Richard Kidd; Our Lady of Perpetual Help, METUCHEN New York Nahri Ahn; St. Mary’s Cathedral, San Fran- Rothesay, NB, Canada 1:30 pm cisco, CA 3:30 pm • •Gayle Martin; St. Paul’s Anglican, Rothesay, Michael Kleinschmidt; Grace Cathedral, San NB, Canada 2:45 pm Francisco, CA 4 pm Kurt-Ludwig Forg; St. James United Church, Montreal, QC, Canada 12:30 pm UDOLF UIDERVELD 6 AUGUST RONALD WYATT R Z Elizabeth & Raymond Chenault; Spreckels 18 JULY Illinois College, Jacksonville Organ Pavilion, Balboa Park, San Diego, CA Philip Crozier; Sint-Janskerk, Gouda, Holland Trinity Church 7:30 pm 8 pm Galveston First Presbyterian Church, Angus Sinclair, with bagpipes; St. James’ An- Springfi eld 10 AUGUST glican, Orillia, ON, Canada 12:15 pm Larry Palmer; First Presbyterian, Santa Fe, NM 5:30 pm 19 JULY Philip Crozier; Bovenkerk, Kampen, Holland Charles Dodsley Walker, FAGO 12 AUGUST 8 pm Ethan Haman; St. Mary’s Cathedral, San Karen Electra Christianson; Gloucester Ca- Artist-in-Residence Founder/Conductor Francisco, CA 3:30 pm thedral, Gloucestershire, UK 12:30 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
William Webber, C.A.G.O.
(9(+06796.9(4-69;/,205.6-05:;9<4,5;: Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, ±(PPD/RX«DFHOHEUDWLRQRIWKHOLIHDQGZRUNRIWKH Maysville Community College LQGXVWULRXVDQGLQGHIDWLJDEOH$PHULFDQFRPSRVHU(PPD Contact Bill at 7PWLKYLHTZ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZHWVIHJVT House Organist The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford JULY, 2012 31 Gillian Weir; Salisbury Cathedral, Salisbury, 27 JULY Nenad Djukic, with recorder duo; Musée Michael Reynolds; St. Werburgh’s, Chester UK 7 pm Hervé Désarbre; Chiesa di S. Lorenzo, Suisse de l’Orgue, Roche, Switzerland 5 pm Grosvenor, UK 1 pm Raymond Perrin; Church of St. Andrew and Sostegno, Italy 9 pm Andrea Vannucchi; Chiesa di S. Giacomo, Virgile Monin; St. James United Church, Mon- St. Paul, Montreal, QC, Canada 12:15 pm Isabelle Demers; Christ Church Cathedral, Bargi, Italy 4:15 pm treal, QC, Canada, 12:30 pm Victoria, BC, Canada 8 pm Christopher Houlihan, Vierne symphonies; 20 JULY Church of the Gesu, Montreal, QC, Canada 15 AUGUST Philip Crozier; Grote Kerk, Goes, Holland 8 pm 28 JULY 7:30 pm Blair Bailey; St. James’ Anglican, Orillia, ON, Giulio Mercati; Chiesa di S. Eurosia, Olivier Latry & Shin-Young Lee; Kathedrale Canada 12:15 pm Pralungo/S. Eurosia, Italy 9 pm Basiliek Sint Bavo, Haarlem, Netherlands 3 pm 5 AUGUST Grazia Salvatori; Musée Suisse de l’Orgue, Andrea Vannucchi; Chiesa di S. Lorenzo a 16 AUGUST 21 JULY Roche, Switzerland 5 pm Cerreto, Pescia, Italy 6:30 pm Gillian Weir; Roskilde Cathedral, Roskilde, Alexander Koschel; Kathedrale Basiliek Sint Philip Crozier; Cathédrale Saint-Pierre, Ge- Beppino Delle Vedove & Manuel Tomadin; Denmark 8 pm Bavo, Haarlem, Netherlands 3 pm neva, Switzerland 6 pm Chiesa di S. Maria delle Grazie, Varallo, Italy 9 pm Anna Picchiarini; Pieve di S. Maria Assunta, Philip Crozier; Brigidakerk, Geldrop, Nether- Gabriel Marghieri; Chiesa di Santa Maria Paul Goussot; Cathedral, Chartres, France Popiglio, Italy 5 pm lands 4:15 pm Vergine Assunta, Viverone, Italy 9 pm 4:30 pm Benjamin Waterhouse; Church of St. Andrew Stefano Bertuletti; Musée Suisse de l’Orgue, Benjamin Righetti; Eglise St-Martin, En- Alistair Reid; Westminster Abbey, London, UK and St. Paul, Montreal, QC, Canada 12:15 pm Roche, Switzerland 5 pm sisheim, Alsace, France 8 pm 5:45 pm Carolyn Shuster Fournier, with trumpet; Ég- 17 AUGUST 22 JULY 29 JULY lise Sainte-Vierge-de-la-Nativité, Cintegabelle, Jeannine Jordan; Stadtkirche, Lutherstadt Per Alman; Cappella di S. Marta e Chiesa di S. Christian Barthen; Cathedral, Chartres, France 5 pm Wittenberg, Germany 6 pm Giacomo, Campertogno, Italy 9 pm France 4:30 pm Julie Pinsonneault; Chalmers-Wesley United Carolyn Shuster Fournier, with trumpet; Michel Robert; Cathedral, Chartres, France Ian Hockley; Westminster Abbey, London, UK Church, Quebec City, QC, Canada 6 pm Cathédrale St-Julien du Mans, Le Mans, France 4:30 pm 5:45 pm 5 pm Alison Howell; Westminster Cathedral, Lon- Olivier Lavoie-Gagné; Chalmers-Wesley 6 AUGUST don, UK 4:45 pm United Church, Quebec City, QC, Canada 6 pm Beppino Delle Vedove & Manuel Tomadin; 18 AUGUST Thomas Corns; Westminster Abbey, London, Chiesa di S. Stefano, Piode, Italy 9 pm Gillian Weir; Vor Frelsers Kirke, Horsens, UK 5:45 pm 30 JULY Denmark 11 am Mélanie Barney; Chalmers-Wesley United Francesco Cera & Liuwe Tamminga; San 7 AUGUST Jeannine Jordan; Marienkirche, Bad Belzig, Church, Quebec City, QC, Canada 6 pm Petronio Church, Bologna, Italy 8 pm Philip Crozier; St. Servaasbasiliek, Maas- Germany 3 pm tricht, Holland 8 pm Johan Hermans; Kathedrale Basiliek Sint 24 JULY 31 JULY Alberto Guerzoni, with soprano; Chiesa di S. Bavo, Haarlem, Netherlands 3 pm Philip Crozier; Domkirke, Odense, Denmark Mark Swinton; St. Werburgh’s, Chester Gros- Antonio Abate, Parrocchia di Brugaro, Cravagli- Giovanna Fornari; Musée Suisse de l’Orgue, 8 pm venor, UK 1 pm ana, Italy 9 pm Roche, Switzerland 5 pm Glyn Williams; St. Werburgh’s, Chester Gros- Robert Quinney; Westminster Abbey, London, Tim Jones; St. Werburgh’s, Chester Grosve- venor, UK 1 pm UK 7 pm nor, UK 1 pm 19 AUGUST James O’Donnell; Westminster Abbey, Lon- Denis Gagné; St. James United Church, Mon- Colin Walsh; Westminster Abbey, London, UK Ami Hoyano; Cathedral, Chartres, France don, UK 7 pm treal, QC, Canada 12:30 pm 7 pm 4:30 pm Jonathan Oldengarm; St. James United Christian Bacheley; St. James United Church, Andrej Kouznetsov; Westminster Abbey, Lon- Church, Montreal, QC, Canada 12:30 pm 1 AUGUST Montreal, QC, Canada 12:30 pm don, UK 5:45 pm Thomas Scardoni; Chiesa dei SS. Giovanni e Marie-Agnès Grall-Menet; Chalmers-Wesley 25 JULY Giuseppe, Mollia, Italy 9 pm 8 AUGUST United Church, Quebec City, QC, Canada 6 pm Paul Jacobs; Westminster Cathedral, London, Brian Turnbull; St. James’ Anglican, Orillia, Diego Cannizzaro; Chiesa di S. Bartolomeo, Scopa, Italy 9 pm UK 7:30 pm ON, Canada 12:15 pm 20 AUGUST Francesco Cera; Oratorio di San Bernardo, Jeffrey Moellman, with violin; St. James’ Angli- Gillian Weir; Haderslev Cathedral, Haderslev, Santa Margherita Ligure (Genoa), Italy 9 pm can, Orillia, ON, Canada 12:15 pm 2 AUGUST Denmark 7:30 pm Wilhelmina Tiemersma; St. James’ Anglican, Peter Richard Conte; Victoria Conservatory of Gillian Weir; Basilica of St. James, Prague, Jeannine Jordan; Bartholomauskirche, Dorn- Orillia, ON, Canada 12:15 pm Music, Victoria, BC, Canada 8 pm Czech Republic 7 pm heim, Germany 6 pm Kurt-Ludwig Forg; Church of St. Andrew and 9 AUGUST 26 JULY St. Paul, Montreal, QC, Canada 12:15 pm 21 AUGUST Philip Crozier; Torrlösa Kyrka, Sweden 7 pm Mario Duella, with soprano; Chiesa di Sant’ Glyn Hughes; St. Werburgh’s, Chester Gros- Daniel Matrone; Chiesa di S. Michele Arcan- Anna al Montrigone, Borgosesia, Italy 5 pm 3 AUGUST venor, UK 1 pm gelo, Rastiglione, Italy 9 pm Hervé Désarbre; Chiesa di S. Antonio, Bor- Christopher Houlihan; Church of the Gesu, Gabrielle Tessier Christian Bacheley; Church of St. Andrew and ; St. James United Church, gosesia, Italy 9 pm Montreal, QC, Canada 7:30 pm Montreal, QC, Canada 12:30 pm Jonathan Oldengarm; Church of St. Andrew St. Paul, Montreal, QC, Canada 12:15 pm and St. Paul, Montreal, QC, Canada 12:15 pm 4 AUGUST 10 AUGUST 22 AUGUST David Enlow; Church of St. John the Divine, John Scott; Kathedrale Basiliek Sint Bavo, Gillian Weir; Viborg Cathedral, Viborg, Den- Victoria, BC, Canada 8 pm Haarlem, Netherlands 3 pm Jeannine Jordan, with media artist, Bach and Sons; Sts. Peter and Paul, Ried, Austria 8 pm mark 8 pm Daniel Matrone; Chiesa di S. Sebastiano, Triv- Jeannine Jordan; Petrikirche, Freiberg, Ger- ero/Bulliana, Italy 9 pm many 3 pm ORGAN BUILDERS William Maddox; St. James’ Anglican, Orillia, 11 AUGUST ON, Canada 12:15 pm Philip Crozier; Domkyrka, Lund, Sweden 10 am Philip Crozier; Bosebo Kyrka, Lund, Sweden 23 AUGUST L. W. BLACKINTON THE NOACK ORGAN CO., INC. Jacques Boucher; Church of St. Andrew and and associates, inc. MAIN AND SCHOOL STREETS 4 pm GEORGETOWN, MA 01833 Andreas Meisner; Kathedrale Basiliek Sint St. Paul, Montreal, QC, Canada 12:15 pm www.noackorgan.com Bavo, Haarlem, Netherlands 3 pm 380 FRONT ST. 24 AUGUST EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Benjamin Righetti; Musée Suisse de l’Orgue, Roche, Switzerland 5 pm Gillian Weir; Holy Ghost Church, Copenha- Mario Duella, with soprano and contralto; gen, Denmark 4:30 pm Wladimir Matesic; Chiesa di S. Bartolomeo, martin ott pipe Chiesa della SS. Trinità e di S. Carlo, Tavigliano, organ Italy 9 pm Cutigliano, Italy 5 pm company inc. 12 AUGUST 25 AUGUST Philip Crozier; Sankta Maria Kyrka, Helsing- Rupert Frieberger; Kathedrale Basiliek Sint 7408 Somerset Ave. St. Louis, MO 63105 borg, Sweden 7 pm Bavo, Haarlem, Netherlands 3 pm 314-504-0366 Phone Serenella Secchiero, with soprano; Chiesa di Oleksandra Kopan; Musée Suisse de l’Orgue, Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com S. Michele Arcangelo, Treppio, Italy 9:15 pm Roche, Switzerland 5 pm Patrick Delabre; Cathedral, Chartres, France Fauré, Requiem; Eglise St-Joseph, Mulhouse, 4:30 pm Alsace, France 8 pm NEW INSTRUMENTS Martin Ford; Westminster Abbey, London, UK MAINTENANCE 5:45 pm 26 AUGUST Monica Melcova RESTORATIONS Christian Bacheley; Chalmers-Wesley United ; Cathedral, Chartres, France Church, Quebec City, QC, Canada 6 pm 4:30 pm 974 AUTUMN DRIVE Benjamin Chewter; Westminster Abbey, Lon- ANTIOCH, ILLINOIS 60002 13 AUGUST don, UK 5:45 pm ABR 847-395-1919 F I N C Y Umberto Pineschi; Chiesa di S. Bartolomeo, Raymond Perrin; Chalmers-Wesley United PIPE ORGANS FAX 847-395-1991 Cutigliano, Italy 5 pm Church, Quebec City, QC, Canada 6 pm www.fabryinc.com Matteo Galli; Chiesa di S. Lorenzo, Crevola, Italy 9 pm 28 AUGUST Gillian Weir; Odense Cathedral, Odense, 14 AUGUST Denmark 8 pm Jeannine Jordan; Schlosskirche, Lutherstadt Peter Cooke; St. Werburgh’s, Chester Grosve- Wittenberg, Germany 3 pm nor, UK 1 pm Mario Duella, with violin; Chiesa di Santa William Maddox; St. James United Church, Croce, Rassa, Italy 9 pm Montreal, QC, Canada 12:30 pm sound INSPIRATION Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Advertise in A. David Moore, Inc. _ The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] 32 THE DIAPASON 29 AUGUST thema fugatum in c, BWV 582, Bach; Aria in a DAVID C. JONIES, Presbyterian Homes, BENJAMIN SHEEN, St. John’s Cathe- Gillian Weir; Høje Kolstrup Kirke, Aabenraa, with 15 Variations, J.C. Bach; Kingsfold Suite, Evanston, IL, February 27: Introduction and dral, Denver, CO, February 17: Allegro maes- Denmark 8 pm Martinson; Sonata No. 1 in f, Mendelssohn. Fugue (Sonata No. 8, op. 132), Rheinberger; toso (Sonata in G, op. 28), Elgar; Saint Bride, William Whitehead; Westminster Cathedral, Tiento partido de mano derecho de 1o Tono, Ca- assisted by Angels, J. Bingham; Roulade, op. London, UK 7:30 pm ROBERT DELCAMP, Sacred Heart Cath- banilles; Ricercar del Settimo Tono, A. Gabrieli; 9, no. 3, S. Bingham; Fantasia in f, K. 608, Richard Hansen; St. James’ Anglican, Orillia, olic Church, Tampa, FL, February 19: See the Sonata No. 2 in c, BWV 526, Bach; Choral Pre- Mozart; Flourish for an Occasion, W. Harris; ON, Canada 12:15 pm conqu’ring hero comes!, op. 90, Allegretto in lude on ‘O Salutaris Hostia,’ Saint-Saëns; Passa- Sonata on the 94th Psalm, Reubke. b, op. 19, no. 1, Grand Chorus in g, op. 84, caglia (Sonata No. 8, op. 132), Rheinberger. 30 AUGUST Guilmant; Andante sostenuto (Symphonie STEPHEN THARP, Prämonstratenser- Jonathan Oldengarm; Church of St. Andrew Gothique, op. 70), Widor; Prelude and Fugue LYN LOEWI, with Marjorie Bunday, Abi- abtei St. Johann, Duisburg, Germany, Octo- and St. Paul, Montreal, QC, Canada 12:15 pm on BACH, Liszt; Grande Pièce Symphonique, gail Chapman, Gabrielle Dietrich, Adam Ew- ber 3: Variations on The Star-Spangled Ban- op. 17, Franck. ing, Philip Fryer, and Brian Stone, vocalists, ner, op. 23, Buck; Fantaisie sur deux Melodies St. John’s Cathedral, Denver, CO, January 27: Anglaises, op. 43, Guilmant; Hel Wilhelmus, DELBERT DISSELHORST, Trinity Lu- Cortège et Litanie, op. 19, no. 2, Dupré; Jesu Anonymous 17th C.; Stèle pour un Enfant dé- Organ Recitals theran Church, Lynnwood, WA, February dulcis memoria, Gregorian chant; Première funt, op. 58, Vierne; Postlude pour l’offi ce de 26: Prelude in E-fl at, BWV 552/1, Kyrie, Gott Fantaisie, Alain; Ave regina caelorum, Dufay; complies, Alain; Variations on the Emperor’s Vater in Ewigkeit, BWV 672, Christe, aller Welt Méditation V (Méditations sur le mystère de Hymn, op. 3, Paine. Trost, BWV 673, Kyrie, Gott heiliger Geist, la Sainte Trinité), Messiaen; Alleluia, Grego- STEPHEN THARP, with Christian Col- GAIL ARCHER, Roman Catholic Church BWV 674, Allein Gott in der Höh sei Ehr, BWV of St. Agnes, New York, NY February 11: rian chant; Méditation VI (Méditations sur le berg, viola, Cincinnati Museum Center at Sonatina, Sowerby; Organicity, Wilson; Pas- 675–677, Fugue in E-fl at, BWV 552/2, Meine mystère de la Sainte Trinité), Messiaen; Stella Union Terminal, Cincinnati, OH, October 24: torale, Rorem; I Seek the Lord, Zaimont; Gos- Seele erhebt den Herren, BWV 648, Fugue on splendens, 14th century organum; Nocturne, Overture to the Occasional Oratorio, HWV pel Preludes: Book 4, Bolcom. the Magnifi cat, BWV 733, Sarabande con par- Tailleferre; Ubi caritas, Toccata (Suite for Or- 62, Handel, transcr. Tharp; Romance for tite, BWV 990, Sonata IV in e, BWV 528, Pre- gan, op. 5), Durufl é. lude and Fugue in C, BWV 547, Bach. Viola and Orchestra, op. 85, Bruch, transcr. ROBERT BATES, Christ the King Luther- Tharp; Wotan’s Farewell and Magic Fire Mu- an Church, Houston, TX, January 1: Prelude PAUL MONACHINO, Our Lady, Queen sic, Wagner, transcr. Lemare; Variations on and Fugue in D, BWV 532, Bach; Bergamas- ALEXANDER FREY, St. Luke’s Episcopal Church, Evanston, IL, February 24: Allegro of the Most Holy Rosary Cathedral, Toledo, the tune ‘Rouen’, Baker; Poem for Viola & ca, Scheidt; Magnifi cat in the Fifth Tone, OH, February 12: Chaconne, Couperin, arr. Organ, Sowerby; Organ Sonata No. 8 in A, Titelouze; Noël sur les fl ûtes, Noël Suisse deciso (Evocation-Poème symphonique, op. 37), Dupré; Andante sostenuto (Symphonie Bonnet; Prelude and Fugue in C, BWW 547, op. 91, Guilmant. (Nouveau livre de noëls), Daquin; Puer natus Bach; Wondrous Love, Johnson; Simple Gifts, in Bethlehem, BWV 603, Der Tag, der ist so No. 9), Widor; Fantasie en la mineur (Trois Pièces), Franck; Clair de lune (Pièces de fan- Held; Amazing Grace, Shearing; Prelude and MARIJIM THOENE, Tulane University, freudenreich, BWV 605, In dulci jubilo, BWV Trumpetings, Roberts; Symphony No. 4 in f, New Orleans, LA, February 29: Praeludium 608, Das alte Jahr vergangen ist, BWV 614, In tasie, op. 53), Vierne; Chorale en la mineur (Trois Chorals), Franck. op. 13, no. 4, Widor. pro Organo pleno, BWV 552-1, Fuga a 5 con dir ist Freude, BWV 615, Toccata and Fugue pedale, BWV 522-2, Bach; Organ Sonata No. in d, BWV 538, Bach. THOMAS GOUWENS, Alice Millar LINDA RANEY, First Presbyterian 2, op. 386, Hovhaness; Magnifi cat (Fifteen Chapel, Evanston, IL, February 7: Fanfare, Church, Santa Fe, NM, January 14: Praelu- Pieces for Organ founded on Antiphons, op. DOUGLAS CLEVELAND, Rockefeller dium in e, Bruhns; Chorale and Seven Varia- Memorial Chapel, Chicago, IL, Febru- Mathias; Concerto II in a, BWV 593, Bach; 18), Dupré. ary 5: Prelude and Fugue in E-fl at, op. 99, Cortège et Litanie, op. 19, no. 2, Dupré; Médi- tions on Nun komm der Heiden Heiland, Dist- Saint-Saëns; Pièces de Fantaisie (Suite II), tation, Durufl é; Litanies (Trois Pièces), Alain. ler; Carillon de Westminster, Vierne. DAVID TROIANO, St. Mary’s Cathedral, op. 53, Vierne; Air, Hancock; Sonata I, San Francisco, January 22: Toccata avanti La op. 42, Guilmant. STEPHEN HAMILTON, Trinity Epis- ANDREW SCANLON, Appalachian Messa Della Madonna, Canzona (Messa Del- copal Cathedral, Omaha, NE, February 5: State University, Boone, NC, January 17: So- la Madonna), Frescobaldi; How Great Thou CRAIG CRAMER, St. Mark’s Episcopal Sonata de 1° tono para clave I para órgano nata in A, op. 65, no. 3, Mendelssohn; Allein Art, Diemer; Fuga sobre Ave Maris Stella, Church, Medford, OR, February 26: Praeludi- con trompeta real, Lidón; Praeludium in e, Gott in der Höh, BWV 662, Fantasia and Elias; Meditation, Rheinberger; Prelude um in A, BuxWV 158, Buxtehude; Wir Chris- Bruhns; Litanies, JA 119, Le Jardin suspen- Fugue in g, BWV 542, Bach; Suite Medièvale for Organ, Fanny Mendelssohn; Offertorio tenleut, BWV 1090, Herr Gott, nun schleuss du, JA 71, Alain; Toccata, Villancico y Fuga en forme de messe basse, Langlais; Varia- Miguel, Jimenez; Drifting Clouds, d’Antalfy; den Himmel auf, BWV 1092, Allein zu dir, (BACH), Ginastera; Choral in E, Franck; Pre- tions sur un thème de Clement Jannequin, Divertimento en el Tema Antigua, Noble; Herr Jesu Christ, BWV 1100, Herr Jesu Christ, lude, Fugue and Variation, Franck; Prelude Alain; There is a happy land, Shearing; Toc- Elegy, Surzynski; Streams of Living Waters, du höchstes Gut, BWV 1114, Passacaglia et and Fugue in B, op. 7, no. 1, Dupré. cata, Lanquetuit. Hytrek; Canzona, Langlais. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, Advertise in Visit The Diapason The Diapason For rates and digital specifi cations, website: contact Jerome Butera www.TheDiapason.com 847/391-1045 [email protected] CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. 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Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine. JULY, 2012 33 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33. PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE High school dropout, no college degree, be- Jazzmuze announces the release of new music Clearing inventory—Box organ. Specifi ca- Like the harpsichord? Harpsichord Tech- ′ ′ ′ came director at New England Conservatory, for organ by Joe Utterback: What a Friend We nique: A Guide to Expressivity, second tion: 8 Gedeckt, 4 Rohrfl ute, 2 Principal. prolifi c composer, awarded MA Hon from Yale: Have in Jesus (jazz-infl uenced organ solo), and edition, by Nancy Metzger is the hands-on Case: mahogany with extensive woodcarv- George Whitefi eld Chadwick. See his “Theme, Deep River, for fl ute and organ. For information: guide for touch and historically informed ing. Key compass: 54 notes from C1–e54. Variations and Fugue” at michaelsmusicservice. www.jazzmuze.com. We will e-mail pictures upon request. Price: com; 704/567-1066. performance. www.rcip.com/musicadulce. $25,000. Will consider reasonable offers. E-mail: [email protected]. Maxine Thévenot Plays the Wolff magnum Wayne Leupold Editions new releases include: opus—The largest organ built by the distin- Jeffrey Brillhart, Breaking Free—Finding a Per- guished fi rm of Hellmuth Wolff & Associates Certifi ed appraisals—Collections of organ Seeburg Combo Player Organ/Piano— sonal Language for Organ Improvisation through of Laval, Quebec, Canada, was completed books, recordings, and music, for divorce, es- Stopped Flute and Quintadena, with octave 20th-century French Improvisation Techniques; in 2005 at Christ Church Cathedral, Victoria, tate, gift, and tax purposes. Stephen L. Pinel, coupler. Blower and vacuum pump included. Robin Dinda, Casey at the Bat for organ and British Columbia, Canada, where the superb Appraiser. [email protected]; 609/448-8427. Casework excellent. Piano works OK. All com- narrator, Op. 26 (Organ Demonstrator No. 45, for acoustics add even more enjoyment to this new ponents complete. Re-rubberclothing needed middle/high school students and adults); Denise CD. Maxine Thévenot plays: Buxtehude, Prae- for pipe valves and player action. Asking $2700. Lanning, In the Beginning—An Encounter with ludium in C (BuxWV 137); Ciacona in e (Bux- Reflections: 1947–1997, The Organ Depart- Tom Rench, Wisconsin; 262/639/3473. Improvisation at the Organ; Johann Pachelbel, WV 160); Praeludium in D (BuxWV 139); Kerll: ment, School of Music, The University of Mich- Complete Works for Keyboard Instruments, Capriccio sopra il cucu; Ruth Watson Hender- igan, edited by Marilyn Mason & Margarete Volume VII, Chorale Partitas, and Volume VIII, son: Chromatic Partita for organ (chorale and 8 Thomsen; dedicated to the memory of Albert 1971 II/3 Delaware simulated tracker-touch Arias with Variations, edited by Michael Belotti; variations); Sweelinck: Balletto del Granduca; Stanley, Earl V. Moore, and Palmer Christian. pipe organ (61) pedal (32). Perfect for practice John R. Shannon, Improvising in Traditional 17th- Bach: Pastorale in F; Bruhns: Praeludium in Includes an informal history-memoir of the or small church. 12 stops, 185 pipes. Contact and 18th-Century Harmonic Style—A Volume e; Andrew Ager: Première Suite (Procession, organ department with papers by 12 current [email protected]; 330/494-3195. Based on the Musical Language of the Mature Duo, Basse de trompette, Flûtes, Musette, Sor- and former faculty and students; 11 scholarly Baroque, Volume 1 and Volume II; Calimerio tie Joyeuse). Raven OAR-929, $14.98 postpaid articles; reminiscences and testimonials by Soares, Pequenos Prelúdios Folclóricos (Órgão), graduates of the department; 12 appendices, Volume 2: Books 5, 6, 7, & 8 (A collection of easy worldwide, Box 25111, Richmond VA 23261, Reiley Tracker Organ (c. 1890) —Two manuals, www.RavenCD.com. and a CD recording, “Marilyn Mason in Re- 9 ranks, 10 speaking stops, 4 couplers. 10′5″ preludes based on Brazilian folk songs). Contact: cital,” recorded at the National Shrine of the www.wayneleupold.com. wide; walnut and cherry case. Excellent condi- Immaculate Conception in Washington, DC. tion. Asking $42,000. Contact: Lutheran Church Historic Organs of Seattle: A Young Yet Vi- $50 from The University of Michigan, Prof. of the Redeemer, Rev. Roy Coats, 443/745-9200; Augsburg Fortress announces new music for brant History, the latest release from OHS, is a Marilyn Mason, School of Music, Ann Arbor, MI 4211 Vermont Avenue, Baltimore, MD 21229. organ: Michael Bedford, Rejoice, O Earth—Or- four-disc set recorded at the 2008 OHS national 48109-2085. E-mail: [email protected]. gan Improvisations on World Songs (ED018844); convention, held in the Seattle, Washington area. Teresa Bowers, editor, Pipings for Flute and Nearly fi ve hours of music feature historic organs Organ (ED015843); Edwin T. Childs, Commu- by Aeolian-Skinner, Casavant, Hook & Hastings, The Tracker —The Organ Historical Society pub- Two manual, 3 ranks, 6 Walker stops, detached nion Hymns for Organ, Volume 2 (ED018842); and Hutchings-Votey, Kilgen, Tallman, Woodber- lishes its journal four times a year. The Tracker console,10 years old; $6,500. Atlantic City Pipe Benjamin Culli, Praise the One—Ten Organ Im- ry, Hinners, Cole & Woodberry, plus instruments includes news and articles about the organ and Organ Co., 609/432-7876. pressions for Worship, Vol. 3 (ED018846); Emma by Flentrop, C. B. Fisk, and Rosales, and Pacifi c its history, organbuilders, exemplary organs, Lou Diemer, Organ Voluntaries on Saintly Tunes Northwest organbuilders Paul Fritts, Martin Pasi, regional surveys of instruments, and the music (ED018847); Charles Lenz, All Are Welcome— John Brombaugh, Richard Bond, and many played on the organ. The emphasis is on Ameri- Portative organ: Designed for small choral or Hymn Variations for Organ (ED018843); Organ more! Renowned organists Douglas Cleveland, can organ topics of the 18th, 19th, and 20th baroque ensembles. Four stops: 8′, 4′, 2′, and Plus Anthology—Settings for Organ and Instru- Julia Brown, J. Melvin Butler, Carole Terry, Bruce centuries, and there are occasional subjects on 1-1/3′, with the last two divided into bass and ment, Volume 1 (settings by Ashdown, Cherwien, Stevens, and others are featured in live perfor- European topics. Most issues run 32 pages with treble registers and an adjustable point of divi- Christiansen, Farlee, Harbach, Leavitt, Petrich, mances on 24 pipe organs built between 1871 many illustrations and photographs, and at least sion (b24/c25 or c25/c#26). Adjustable pitch Roberts, Stover, Weaver, ED018852); Lynn Pe- and 2000. Includes a 36-page booklet with pho- one annual issue is published in full color. Mem- between A=440 Hz and A=415 Hz. Quartersawn terson, Thankfulness and Praise—Ten Organ tographs and stoplists. $34.95, OHS members: bership in OHS includes a subscription to The white oak case. Available immediately. For more Settings (ED0188450). For further information, $31.95. For more info or to order: http://OHSCata- Tr a c ke r . Please visit our website for more infor- information, contact Létourneau Pipe Organs at visit www.augsburgfortress.org. log.com/hiorofse.html. mation or subscription: www.organsociety.org. [email protected] or 888/774-5105. TOTAL PIPE ORGAN RESOURCES 2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.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 Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215 PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com 3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com 34 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33. PIPE ORGANS ELECTRONIC ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE WANTED SUPPLIES 1995 Fowler self-contained pipe organ. Allen MDS-65—3-manual drawknob, 54 stops, WANTED—One copy of “The Aeolian Organ & Two manuals, seven ranks, all solid state con- 6 channels, 600 watts audio, 6 speakers, MIDI; Its Music” by Rollin Smith. Call Mike at 860/875- Need help with your re-leathering 1990’s vintage, good condition: $33,000. Atlantic trol. Ideal for smaller church seating up to 4666 or e-mail: [email protected]. project? All pneumatics including 200. Full details on request. Complete with 10 City Pipe Organ Co.; 609/432-7876. Austin. Over 45 years experience year warranty, installed—$44,000. Contact (on the job assistance available). Fowler Organ Co., [email protected] or SERVICES/ 615/274-6400. 517/485-3748. MISCELLANEOUS SUPPLIES Are you an organist (or enthusiast) that 1964 M.P. Möller pipe organ. 36-rank American happens to be a Parliamentarian? We would Highest quality organ control systems since Aeolian/Robert Morton-style maroon Classic specifi cation including two célestes, two like to speak with you at your earliest conve- 1989. Whether just a pipe relay, combination enclosed divisions and 32′ reed. Three-manual leather is now available from Columbia Or- nience. Please respond to Box JU-7121, THE action or complete control system, all parts gan Leathers! Highest quality. 800/423-7003, console. No casework or façades; instrument is are compatible. Intelligent design, competitive DIAPASON. www.columbiaorgan.com. in good condition but will need releathering. Ask- pricing, custom software to meet all of your re- ing $50,000 “as is” or can be rebuilt with some quirements. For more information call Westa- modifi cations. Available immediately. For more MISCELLANEOUS cott Organ Systems, 215/353-0286, or e-mail information, contact Létourneau Pipe Organs at [email protected]. ANNOUNCEMENTS [email protected] or 888/774-5105. FOR SALE The National Association of Pastoral Musi- Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ ac- cians will hold its 2012 annual convention, “Re- Austin Op. 1513— Two-manual/pedal, 4-rank parts. Let us know what you are looking for. tions and mechanisms. Highest quality ma- new the Face of the Earth,” in Pittsburgh July unifi ed. $3,000 or best offer; buyer to remove/ E-mail [email protected] (not comcast), ship. Currently in storage, playable before dis- terials and workmanship. Reasonable rates. 23–27. Events include a children’s choir festival, assembling, some restoration needed. 612/554- phone 215/353-0286 or 215/788-3423. Columbia Organ Leathers 800/423-7003. 120 workshops, an organ masterclass, and a 3350; [email protected]. www.columbiaorgan.com/col. pre-convention organ crawl, along with many other sessions and clinics. Featured organ- Atlantic City Pipe Organ Company—2-manual, ists are Charles Callahan, Alfred Fedak, and 3-rank, 5 Walker stops, free-standing DE chest Martin Pasi pipe organ—Two manuals, 24 ATTENTION ORGANISTS! Do you play in Hector Olivera. Visit www.npm.org, or phone stops, suspended-tracker action. $350,000. Web: & pipes with detached console, Peterson relay, 855/207-0293. 10 years old; $7,000 OBO. 16′ reeds, principals, a sweltering un-air-conditioned church? http://martin-pasi-pipe-organ-sale.com; phone: From the makers of the Wind-Emitting Di- 425/471-0826. strings. 609/641-9422; mywebpages.comcast. net/acorgan. odes, the Zephyr-Emitting Diodes can of- fer you sweet relief. Through the miracle THE DIAPASON E-News is mailed monthly to of ultra-high-tech black-box wireless tech- Moeller Artiste, 3 ranks, very good condition, subscribers who sign up to receive it. Don’t Ornate Gothic oak organ case—Front and nology, the small hymnal-sized unit can miss the latest news, announcements and some renovation completed, builder ready to ″, ″, ″. be placed on the console and activated assist in moving for additional cost. $10,000/ sides. H 312 W 330 D 174 Includes façade classifi ed ads (with photos) before they ap- pipes and related ranks (Principal 16′, Principal either through a toe stud, or through the pear in print! Visit www.TheDiapason.com best offer. 414/228-8737; jennifer.ankerberg@ ′, ′ crescendo pedal (to increase cooling as sbcglobal.net. 8 Harmonic Flute 8 ). $30,000. john@organ- and click on Subscribe to our newsletter. clearinghouse.com; 617/688-9290. you approach a piece’s big fi nish). You For assistance, contact Joyce Robinson, can even program a piston sequencer with 847/391-1044, [email protected]. “Previous” and “Next” buttons to adjust Small pipe organs for sale. Great prices. For 16′ Double Open Wood Diapason with chests the temperature up and down. Adapted more information, please go to our website, ″ ″ www.milnarorgan.com. and racks. 14 Scale, 5 WP. $8000 FOB Deer- from NASA spacesuit technology, the fi eld, NH. Can deliver. john@organclearinghouse. diodes use mostly harmless ions to sur- Postal regulations require that mail to com; 617/688-9290. round you with a comfortable personal THE DIAPASON include a suite number to Wicks organ, 2 manuals, 4 ranks, ca. 1990. space. Installs in an afternoon with or- 16′ Rohrfl ute 97 pipes, 8′ Principal 85 pipes, 4′ dinary sacristy tools. Specify desired assure delivery. Please send all corre- Gemshorn 73 pipes, 8′ Trumpet 61 pipes. Excel- Wood pipes. Missing pipes made to match. scent: Messiaen Mist, Bruhns Breeze, or spondence to: THE DIAPASON, 3030 W. lent condition. Oak casework and console. Lauck Damaged pipes in any condition repaired. Franck Floral. Box Air-Con, The Diapason, Salt Creek Lane, Suite 201, Arlington Pipe Organ Co. 269/694/4500; e-mail: k.reed. Over 25 years experience. Filip Cerny, [email protected]. Heights, IL 60005. [email protected]. 814/342-0975. Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected] HAGERSTOWN Own a piece of history! ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating The cover of the 100th Anni- versary Issue of The Diapason is 301/797-4309 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl JULY, 2012 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com George Baker Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Dongho Lee 2010 AGO National Competition Winner Available 2010-2012 Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Christian Lane Canadian International Organ Competition Winner Available 2012-2014 Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012 Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Celebrating Our 90th Season! *=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young