THE DIAPASO·N AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC
Sixty-Fi/lh l'~nr, No.3 - Whole No. 771 FEBRUARY, 1974
The Florida SUlleoast, specifically St. Petersburg. Tampa aud Clcanv:ucr. was the scene for the 1973 A.G.O. Midwinter Conclave (rom Dec. 26·29. For tIS north erners now stlrrerillg under the strain o( a (uel-short wiuter. going to the Florida SUIlCO:!.st was a welcome and warming rcspite (oUawing the bun of ChristJ1l:ls music making. In (:ut. the CONCLAVE '73 wCilllu~r was so fine down there that we wonder why any midwinter com'cn tion should be held in the north. But CLEARWATER-TAMPA-sT.PETERSBURG then. our southern friends might IIC\'cr DECEMBER 26-29 get away 10 the north, and. in our jealousy of their climate, sheer devil· mtnt causes us 10 entice them 10 ex p :ricnce at least once our foul weatherl In gcncrnl, the Florida midwinter amclil\'e was relaxed aud friendl)'. wcll organized, and grncious - befitting its and managed 10 tame it well enough 10 1000tion. 1f the program was less excit play the notes accurately, if somewhat ing and containing little or innovation, dry l1Iusiarlly. Nothing about the organ it was lillie noticed in the fine weather seemed 10 want to cooperate with him, - onCC the sun came out on the second but he managed to provide some bit or day o( the com'ention. The convention excitement in the Reger postlude. A Review of the A.G.O. Midwinter Conclave prognm contained the usual rate or re· cilals, a clloral program, two concerts Panel Discussion with organ and instrument!!l, two work· Following IUl1ch at the Unh'ersity of shops. and some good entcrtainment. Tampa. c\'cljthing mOl'ed to the stu What seemed 10 be a large number of dent union lounge on Ille campus. The by Robert Schuneman and Marilou Kralzenstein A,G,O. members (in comparison to excilement of exploring the marvelous olher midwinter conclaves) braved the \"ictorian building in which this lounge fuel shortage and chaotic airline sdled is located almost detoured me from at nics to get there, and most ·or those in tending the panel discussion. It is a attendance secmed to be enjoying them huge building with large, southern·style selvC1. \'crandas built all around it. It had been a grand hotel in its day. bc(ore the Opening Recital: William 'VlUtehcad Uni\'ersity of Tampa bought it. The or the playing was quite bland, although Choral Clinic Daniel Moe Progr.lIu: Toccata, VillarICico and University has kept the style and fla\'or good technique, ror which Mr. Cundick Thursday evening was given over to Fug"e~ Ginastcra; 3 Chris,mas Pit!ct!s, or tl,e place. and it is still rilled with is known, was present from beginning an anthem reading se~lou and choral Opus 19, Mitronl; Prelude and Fugue womlerrul grille work, fine old wood to end. clinic by Daniel Moe, director or choml in /J minor. nwv 54-1, Bach; 5ym/11lOny work, some exquisite old furniture, and To introollce tIle ornamented prelude aclivities at Oberlin Con5ef\'atory of ;n C, Sowerby. Aeolian·Skinner, -IM/ tasterul inlerior decorating. The Jounge on N,m komm der Heiden Heiland, the Music, Oberlin, Ohio. Well known rrom 59R, Christ United MethO£Jist, St. l'eters· i!l in a domed portion of the building; perrormer chose to play the 4·part his long tellure at lhe University or burg. tJllIS the panel discussion on "Music chorale on a loud registration domi· Iowa preceding his appointment at Although Illy delayed airline flights and/in Worship - A Long View" was natcd by fat chorus reeds. How such a Oberlin. and also as a composer or caused me to arrh'e too late to hear given a good 3.. 1 seconds of acoustical vulgar sound could possibly be com choral and church music. Mr_ Moe led Mr. Whitehead's recital, all reports from reverberation for erfect. Oh that this patible with this most plaintive advent the group through a variety of contem~ those in atlendance would indicate that acoustical environment had lJecn ex chorale prelude is incomprehensible lo porary choral music, spouing problem it was a riuing and bright opening ror changed ror the dry atmospherc or most me. Let's hope that the perrormer in areas and exhibiting a great amount of the convention. Containing a V:J.riety or or the churdu,'1I. The music would h3\'C advertcntly pushed the wrong piston. insight into various choral problems. modem music. the program was fitting ht."Cn more cnjo)'able, and this panel After that ~ock, it was a surprise to Certainly Mr. Moe is one of our best for both the season aud the occasion. I discussion would have been more in, rind the dJorale prelude pla)'C~d with a choral clinicians. and was able to bring wish that Northwest Orient Airlines telligible. Nevertheless. the participants fair amount or good taste_ a great amount or material to bear on could ha\'(~ accommodated me ror this (The Rev. Horace T. Allen. Jr., Asso For Bach's fantasy Mr_ Cundick chose the matter in a short mnmant of time. recital. ciale for Worship ror the United Pres ;1 soft 8' and 4' nute combination, fol byterian Church USA and The Presby lowing it with a plenum registration ror Harold Gleason St. John's ChOU; Rohert Rayfield terian Church US; Daniel Moe, director tIle fugue. While it is not uncommon Friday morning was devotcd to an Thursday morning, Dec. 27 opened of the Oberlin Choirs; Daniel Pinkham. to perform this lyric fantasy with 8' organ master class given by Harold with Morning Prayer at St. John's Epis teacher, and composer (rom nOSlon; and and 4' Principals, the usc of flutcs alone Gleason. Dr_ Gleason's credentials as copal Church. Tampa. St. John's Choir ,\Iec Wylon. Ol1f<1nist and master of the provided too sharp a contrast with the a teacher, musicologist. orR3t1i~t and or men and boys sang the service and choir at the Cathedral of St. John Ille ftlgue, and destroyed the entire propor· author are well known, and his age at sevef'31 motets (l'lainsong preets and Divine, New Vork Cit}') did their best lions of Ihe work. An exaggerated arti 82 has not slowcd him duwn a hit. His responses and Te De""'1 'Vyton I'etlite, to ramble through answers to questions culation in tIle fantasy. an unstcady subject, "The Orgelbiichlein: An Ideal 'Viii an and Anglican Chant Psalms, posed by tIle moderator. the Rev. H. tempo in the fugue. and other faCiors Instruction Hook by Joh.mn Sehastian "0 How Glorious" by Hutchings, "There Alcxander Viola, associate rector of contributed to a ,'cry unsatisfactory per bach," aUowed him to bl'illg all of his Is No /lou" by Joubert. "0 Mngna"l1 All Soul's Parish, Asheville, North caro rormance. ,'aried talents into a morning of infor, Myslt!rium" by ViCloria). while Robert lina. The questions dealt with the \'0- Mr. Cundiek C3.me more into his ele· mal talk punctuated by dcmollStration Rayfield playcd prelude (Notl e1ranger cation o( the composer in the churcll. ment with the Vicrne Trip'yqlle. Regis of \'ariOlls chorales from the work by by d',\qnil1 and Variation on "Puer na how composer and congregation might trations were skillful, and occasional his wire. Catharine Crozier. The morn· IllS ell" rrom Cathie SympIIOU)' by Wi join together in producing good music, pleaSing interpretati,'e nuances indio ing was noteworthy. When a musicolo dor) and postlude (Varialiorrs and what is the nature of music in the alled that he has an understanding of gist spt.'aks on SUdl subjects. he usually Fugut 0" au Origiual 'n,trile, Opm 73 churdl in our day. and how might wor~ this type of music. His own Sonatina lectures about facts, hoth hiSlori£31 and by ReS«)· ship (ie. l1Iusic) be organizetl in local was pla)'ed crisply and accurately. The ::wal)'tical. When an organist lectures. The choir is madc up of boys hom parishes. Althongh it was tli(£icult to work is hasically in a pseudo· Hinde he lIsually deals primarily wilh lech the parochial school at St. John'S hear, we doubt that many answers were mithian style wiLh a few French accents nique and interprelatlon. When a Church, allli the men are unpaid. Since fonnd, but the subjects were explored Ihrown in for good measure. TOlTes' leacher lectures, he is u~ually most con the progrolln booklet said that the choir (rom the \'arious points of view - Communion is an innocuous piece which cerned about pedagogical values, Dr. sings 3. daily scT\'iee, I had expectations clerical and musical. did nothing to enli\'Cn the program. Glcason is extraordinary in Ihat he does of much better singing than what we -RS The concluding work by Sowerby was all or these things equally well. But heard. Intonation was not always accu possibly the most successful perronnancc C\'en more cxtr:Jonlillary is his penetrat, rate, and the tone quality of the boys Rohert Cundidc. of the afternoon. It t'C\'ealed charm and ingly queslioning mind. It ClUSCS him was breathy. Rut Mr. Diggers has work.ed Progmm: Couct!rlo del Sigr. TlIgli~ui. more nair Ulan one usually heaTS in to ask questiom that Clllllot be an hard :and long to ronn the choir and Walther; Nun komm dcr Heiden Hei pcrConnanccs of tJlis work, As an en· swered by any or the above methods kct:p it singing. and it was obvious that land, nwv 659, Fantruie and Fugue in core, Mr. Cundick oUered a pallid tran alone. and which ran inlo tlle area or the choir had worked hard 10 do this C mi"or. BWV 537, Badl; Cornel Vol scription or a Swedish folksong whieh conjecture. But olle finds, when one program in spite of Ihe winler school wilary in E. 'Valond; Triptyque. Opus he said should provide his listeners with lives as active. full and long a me in \'aCllion and the load of Christmas 58, Vierne; SOllatina, Cundick; Com sounds approximating as much as possi all these areas as Dr. Gleason hilS, that scrvie(.':5, One might have wished for a lI/l",iolll Tones; Toccata, Sowuhy. ble the sonorities for whidl the Salt these questions lead to the most pro more lively and snappier approach to Reuter 8M/!J7R, First United Metho Lake City Tabernacle organ is famous. round conclusions. After giving much the service, whidl seemed long and dist, Tampa. It is questionable whether tJlis was an historical and analytical information sometimcs dismal in atmosphere. but A mther nondescript perronnance of appropriate gesture for an audience about tlle Orgtlbiichlt;n as the instruc one alw3)'s doesn't get what one wishes. the Concer'o del Sigr, TagUt!ui by composed largely of professional organ tion book par excdlt!rlct. Dr. Gleason Mr. R:1yrield struggled with the very Walther opened a generally unmemor ists. h:u~h Casavant organ in dry amustia, able recital by Robert Cundiek. Most - Mil (Conanued, pagu 2-3) The Little Black Box THE DIAPASON Established in 1909 Ca.s.scUc recording de\icrs are great little dC\'ices. Thc.'Sc lillie black boxes trimmnl in chrome and ltainless steel and cquippnl wjth handles and carrying CI5eI aft' producu 0( the ntW technology which has addnl sc,'cnlccn new wooden An InlernaliontJi Monthly Devoled 10 llie Organ to our world. Ousdtc recorders nt:Ikc it n.sy for anyone 10 make :I bVe recording tile Hdrpsicllord and Clwrcll Mluic anywhuc without ahe awful mess or dr.lgging around hc;n·y and extcnsin: equip ment. Onc mill' even make secret rrcordings with thnc little dcvicu if they arc built concclty. But mOdi of them 3["('n'l. Most of the little bl.. ck boxes belch out FEBRUARY, 197( Editor iI loud CLACK when tumt'd on or oIL And they han= the nasly h3bil of run· ROBERT SCHUNEMA.N ning out l:Ipe at the most inopportune moment, SUl:h 015 in the middle of a FEATURES , or Concie"... '73: A Ro.lew of the A.G.O. SOllenc!! in a (< A.G.O. Conclave '73 acticulatioll anti phrasing than was to ginal pieCt', tJ eserving of wider per whether the music iI ··simplc to mocl· be heard in the organ part. One suspects formance. This first perfonnance was erate" in difficulty. This basis for the (Contiuued from pdge 1) that Ronald Copes has not yet learned well done by all plal'ers and technicians. subject mailer leads me to ask scvenl to use baroqne bowing, fingering, :tnd The Handel concerto that concludttl questions: What is music ror "small or· vibrato techniques, ror the apprO:tch the program was anticlimactic and out gan? More importantly, what is a small a!liked, "What was Bach tltinLing :tbout here was basically mooern. and would or phase with tJle rest of the program. organ? Stanley'S organ at the Tcmple as a teacher when he wrole and taught ha'·c been better were it more in the I would have lited the program much Church may ha,'e been small in number these ""ork!?" It is a good question, old style. Schroeder's five pieces were better without it. Completely unstable o[ stops, but was the sound small? ami one can only conjecture at the :tn· better, howe\'er, and they receivcd as articulalion and rhythm, tempo prob. Many o[ Reger's chorale preludes can IWeT. But Dr. Gleason'l familiarity with exprcssi\'c a pcrronnance as this kind lems hetween organ and orchestra. hazy be playttl on a small organ, but do they the writings (words a.nd music) of Bach of modern German motlalism will per. intonation rrom the strings, and the sound good in such restricted .pace? and his contcmporaries have led to mit. Nicely crahcd. the pieccs arc never usc of a questionable edition all con· Frncobaldi had a small or~n by mod· viewpoints in anS''''er to the question theless still second rale as serious mu· tributed to problems of the per£orm em standards. but what happens when which are both earthy, practical, hu sical literature, in this writer's mind. ance. But chief among these problems the Toccalll lor a,e Elevation is mo\'ed morous, ;;and )'et proround. Thus, his Robert I'owell's two·mo\'ement Sonatifle was the stylistic one, since the organist to dry acoustics in a smwl space? class was beyond what one expt'Cts from i~ heavily weigh led IOwan! a Hinde chose to register with large plenums on Walther's chorale prelude on Lobe den the musicological endeaver, ;;and imme· mhhian st}'le. Both mo\elllen15 are defi· occasion, used the pedal often, and Herren can be pla.yed on only :t fcw diately stimulating and rewan!ing. 'Ve nitely lonal. and there is Hille new or rilled much 100 much of the continuo stops adequately. but is it musically a.live are indeed fortunate 10 have teachers innO\'ath'e in the piece. It is well cra.ft hannonies with organ sound. Even three and af£ccti\'ely prcsented without tile such as Dr. Gleason with us, and the cd. and the performance was excellent manuals of fCbristr.ttion were used in the large Gennan plenum and resonant ped audience admowledged this with a abrain, first movement. Handel's clear :1I1d clean al reeds? And then too, is music such standing ovation. Mr. Pinkham prefaced tI,e pedonn two·\,oice lextures get lost in such han· as the incessant bundle of monthly of· alice of tJle concla\'e commission - his dling, and this reviewer would have fcrillg1 from our present day publish. piece for organ, tape and violin - with prefered to have ended the concert with ing houses - lillie dturch pieces writ· Organ and lrutnuucnu some OOllunents about the work. The Mr. Pinkham's work clean in his cars ten by church composen for church work itself is an attempt to exploit with no distortion. In spite of this per· situatiolls (read "inferior" Cor "dtUrd,··) V. Earle Copes, organist; Ronald the idiomatic possibilitics of each in· sonal objeclion, both of the musical - is this stu£( really to be recommcnd· Copes violinist; dtambcr ordtcstra. Pro· strument. DrieD},. the piece begins with Copes (Sr. and J .r) arc to be congratu cd? In answer to the last question, I gram: Sonala J ill n miJJor for violin a tape texture, adds the violin in both lated for bringing an interesting and think not. In answer to tJlC others, l and keyboard, Bad,; Fiu#! Pieces lor bowed and piuiCluo passages, and then nried program, especially the new think that it is time 10 consider the l'ioU" and Orgarl, Schroeder; SOllaline adds organ to the trio. The organ part work.s which were premiered. appropriateness of the music to the sit lor Violin and Orgdrl (compol'iCd for builds a chord with eight key wcighu uation, the acoustics of the room, the this pcrfomrancc) • Robert Powell; which is held im.lefinitcly against the William B:ttcs kind of sound that Ole organ maL:.es, Mourn lor a,e Ecfipse 0/ His LiglU lor violin and lapc parts. This explotles and Ihe musical succt.'s!I of the worL:.. If violin, organ lind tape (commissioned inlo a second settion of violent inter· William Balt.os, racuhy member at the we do, I am sure that much of what we for this perfonllance) , Daniel Pinkham; change between the instruments. This Unh'crsity ot West Florida, gave a lee call music for small OllfolRS will be dif. Concerto in F, Opus "/4, Handel. second section is completely aleatoric ture·recital on "The Small Church Or~ ferent than what we commonly assume Mr, Copes was jointtl by his IOn in in seCtiOIlS for each pla}'cr, and the gan and Suitable Service Music" a.t the to be the case, and there will be lots a program of varied styles :tnd sounw. organist must add stops against the 8- First Uniled Methodist Church of Largo of good music for tlte small organ in a Opening with a perfectly fine perform. nOle chord which is held. The $fition (Reuter 2M/8R) . His prcsenta.t.ion in small church. But it probably won't be :tncc of Bach', Sonata, Mr. Copes (Sr.) includes a large:: pedal cadenza ",hich cluded the playing of works by 'Valtlter, any easicr to perfoml than music for did a man'elous job of hBndling a con· leads back to tl,e Ihird section, which Stanley. Reger. Pepping, Held :tnd a large organ. In fact, chamber musi tinuo part at tile organ. allowing all of retums to Ihe textures of the first. and Bender and the distribution o[ a list cians will tell you that miniature music the harmony 10 speak, lines to sing, and stops are removed on tlle 8-note chord. of music for the small org::m. His cri is the hardest and most dl{ficult music the bass 10 support the whole (in the Exprcssh'ely, the title is borrowed from teria for what makes music appropriate to perfonn, None of this entered into absence of a basso continuo instrument) , tlle book of Ecclesiastes. and the three for the small church organ was deter Mr. Bates' lecture·recital. which was a Mr. Copes Gr.) played the violin part sections explore the various sides of the mined by whether the music could ac· practical exposition and listing {or the expressively and surely. but with a act of mourning - hom passive to vio· tually be played on the number o{ keys, amateur church musician. slightly different approach ,in tenns of lent and bitter. It is a suong and orl· pedals, and ranks of pipes as weB as - RS 2 THE DIAPASON Calimrine Crozier (In.'sent, wllt.,ther he is talking or play. tered witll as mudl (:olor as the Austin Organ and Ordtestra Finale 1'rogram: Toccata and Fugue in F, ing. Following brief rcmarks made up organ (:ould provide, the Bach chorale Gene Hancod;., organ soloist. Florida Come Redeemer 0/ ,MaFikind, How mostly of quotes [rom Mcssiaen, Ligeti, prclutit'S, or at least thc (jrst two, were Gulf Co;lst Symphony, Invin Ho(fman, Ih'iglltiy Shines the Morning Star, Bux. and Richanl Fclciano, and which sef\'ed quite understated. In this way, a pleas· condu(:tor. I'rogram: OUldoor Overture, tehudc; I'arialions on "WII)' Art Thou Lo layout the thesis o[ the music at ant contrast was establishcd betwecn Copland: Romeo and juliet Suite 11 Troubled My Heart," Schcidt; Smlata 1 hand ('"this is music which uses sound each picce on the (jrst pan o[ the pro ( ~Iovelllents I, III, IV, and VII), Pro· ill E·fiat, By tile H'aters of Babylorl, To (or sound's sake"), he went on to play gram. Un(ortunalely, howe\'er, one had kofic\'; Organ Concerto in G miflor, jordan Came Our Lord, fi'e All Believe pieces which dcmonstrate the contem the impression that the Bach chorale )Joulenc; Concerto lor Organ and Or in Due l'me God, Bach; Four Varia porar}' composer's predilcction with preludes were uscd more as intcrludcs chestra, Joseph Goodman (premiere): tions atl a TorlC ·/low, Cor Klo'C; I'aria "ardlitcctllral sound." Most of the betwecn Ole movements o[ La Nativite Pilles Of Rome, Rcspighi. Pasadena tio"s OFi a Theme of Clemellt jaFlne pieces used clectronic tape, and none rill Seigneur than as compositions in Community Church, St. Petersburg, quin, Alain; Partita on "Awake A I'oice o( the performances were as exciting their own right. Surely Hadl's purposes Moller -lM/62R. Is Calling," Distlcr. 1:lentrop 2M /·16R, U$ the), might ha\'e been in a more would have been bctter seT\'cd by bright l.ckerd Collegc, St. Petersburg. "IiVe" acoustkal sUlTounding and wiul cr registration. Still, all of Llle dlorale With her cwtomary grace, Calliarine an organ that was not so buried (this preludes werc executcd with a(:curaq Thc large and gaudily modem IJasa· Crozicr provided hel' listeners with the session was held at Sl. Pcter's Episcopal and darity. The Canonic I'ariations dena Community Churdl served as a l) pc of well· polished performance that Catht.-dml. St. Pctersburg, Austin 3M/ which (:Unduded tIlis section o[ Lllc pro. wuccrt hall for the finale o[ the wn lher expect o( ber. -lIle 19iO Flentlop 64R) . hom Llle expresslOnistk pointa· gram wcre as well played as one usually \·ention. Crowded and split apart be· organ at Eckerd ColIege also provided lislll of Ronald "erera's IlcverberatiorlS hears them, 01' belter, a(:tual1y. Yct, the tween risers and main floor, the ordlcs a 1IIuch needed change o( pace trom the (organ and lape) , tIle block pointalislll, strength inherent in this work was not tra was not placed ideally (or good poor instruments that one had previous contrasting dynamiCS, pitches and in coll\'eyed to the listcners, and tIlc ardl' cnscmble pla)ing, and it was a strange ly been subjected to. After two days of tensities in -. isne's L"m;'lesceuces, the itectural proportions of the work. were sensation to be scatcd on a floor which boring or irritating organ sound, one viulent olHbursts of the tape part whidl distorted. rises (rom back to (ront. really needed the intensc, yet refined, ~ ti(les the org-olll parts in I:dciano's What docs one play after Messiaen I understand "ia rumors tlmt the or sonorities oE this excelleut Hemrop in StO/IS, the slow, sustaincd textures of and Bach? A diHkuit pmblem. The elllo'Stra and Mr. HoUman made good strulUent. the study in changing dusters o( Wil· Quodlibet SF 42569 lor Organ and use of Guild money to grab an extra Buxtehude's Toccata and Fugue in F liam James Ross's f' Jet N am Memorial, Tape o( Hcrbert Bielewa which Llle lchea 1'sal o[ the orchestral solo pieces eCCecthcly opcned the program, with to the \'cl!t'd refercnccs to lhe Dies /rae artist chose sounded a bit shallow after - picces whkh \\ere to be playt.-d the Miss Crozier employing a judicious ami sinl..ing clustcrs with desccnding the preceding material. One \\'as pre· following week on tile symphony's sub amount of rhythlllic llexlbility and ten· textures that make an extended sigh pared, howe\'er, to hear this sort o[ saiption scries. The picces for organ sion. Of ule chorales which (ollowed, ag-olinst an ascending intensity in Wil· music since Miss Keiser's recital had :md orellcstra were dleated in rehearsal How Briglllly Shi"es tile MomUlg Star liam Albright's Last Rites «(or organ been preceded by a program o( avant time, and the per(ormancc showed it. was remalkable for its cOUlinuity. Witb and tape) - all o[ this music pungently garde organ music. Malcolm William· Aher a ragged beginning of Copland's a mediocre performer, this piece disin c.'xplon.: tI thc use o[ sound for its own son's Stephen at Peat:e, which c:alne (I\'erlUre written ror a high sellool band, tegrates into a series o[ disconnected sake, but not without extra-musical rd· next, was a bad choicc. So sweet, it did the orchestra provided a surprisingly sections, but under Miss Crozier's hands ercncc. SOllie pie(:es fared bcttcr than 1l0LlIing but cileallCn the program. The good per[orman(:c of the Romeo and it was a well,unl(ied work. I, [or one, othels: (lhe material used in the I'cn;ra l'rt!lude et Fugue sur Ie nom d'Alain Julie! lIIusk. Only occasionally did the was (:onstantIy aware o[ the chorale picce did not warralH lhe lengtIl o[ o( Duru£lc whidl dosed this \'ery am· weaker second dlair players show theme, or fragments o( it, running puiod, to my car; Fclciano's technique bitious recital was not in itself strong through in solo passages, but the group through the composition, binding it i!; fad Ie, but somewhat ob\'ious in con· enough to be Llle ideal coudwion after as a whole managed 10 give a tightly together. Hearing this piece well.played, tent, and nol ghcn to c:arC£ul elabora· so lUudl potent Messiaen. Yet, it was knit perfonnance as an enscmble. which uccurs seldom enough, • was tion; Ross has not thought carefully enjoyable because the performer played Right from the beginning o( LI,e ag-olin amazed at Uuxtehude's geniUS (or enough about the harmonic implic:atiolls it with wmplete technic'011 and artistic I'oulenc concerto, there was trouble. taking a number of di\'erse ldcas and of the nolL'S whidl (orm clusters in his manelT. She captured perfectly tIle (iii· Since the tempo o[ Llle work is set by wmbining them into somcthing bigger piece - the)' orten pwduce chordal tex· b'lee dlamCter o[ the Pn!lude, and she the organist in the opening solo state than the sum o[ tIleir parts. turcs that border 011 the dkhc . .Much employed a pulsating rubato whkh mcnt o[ Llle theme, it is the duty o[ SdlCidt's \'ariatiulls on "lI'lIy Art or all this lIIusk could bccome instant g'ol\'e the entire work a delight(ully "i the conductor to take this tempo. Mr. Tllou Troublcd, My Heart" was Icss "kitsch" upon repeated hearing, but I IJmlll qua lit}'. J-Jo((man either (ailed or rc(used, 1n was reminded that at least lhe works stlccesslully performcd. "I his work Although Lllc final scctiun o[ Llll.' dt'Cd , tempos throughout Llle piece wcre u( William Albright seem to grow upon sounds best whell a (:onsiderable amount program ([rom lliclewa on) taperet! off erratic, and most of tIle blame (:ould be each bearing. was strouger o( articulation is employed to bring out Last Rites in illh:nsity, the basic idca was so fas· laid at the conductor's feet. At times, the subtleties o[ the Hnes. Since Miss as music this time than we have c\'el cinilting that one hopes Miss Keiscr Mr. Hanco(:k bravely tried to adjust so Crozier's st)le is essentially a I(.'gato one, heard it before, and I am convinced will re·think this program and do a that the organ might get togethcr with these subtlcties were missing. Onc might that his music contains much more o f modified \crsion again. We definitely the ordlestra, but to no a\'ail. Entrances ilbo ha\'e hopcd for more imaginath'e dcpth than some other composers writ· need lIIorC stimUlating programs of this wcre ragged, intonation was at timlo'S legistr:ltion ill some uf the movellients, ing in this gcme. high c:alibre at A.G.O. conventions. awful and at best [uzzy, solo instrumcn· particularly the earlier onlo'S. This is One thing still puzzlcs lUe about this t:11 parts were on Llle brink o[ collapsing Thinking about the total eCCect 01 not to say that any o( the legisu-ations kind u( musk, howe\'er, and that is the in plact.'S, and ensemble was well nigh the program, • am impressed willi the were poor. It is simply a fact that the lhythmk problem. So (ar, (:omposers non-existent. In short, the per[orman(:e apparclll case with which the artist instrulllent can produce more ad\'en for organ and tape ha\'e been almost was a disaster, In spite of a blatant plaYlo-d such a technically alld artistkally turcsome sonorities, and this set of \'ar· totally (Olicemed about the sound and error in the opening statcment, Gerre demanding plOgram. Also impressive iiltlons would hale been the ideal work the sonoritics and affects protluced by Hancock did a valiant job o( trying to was her skill at adapting Messiaen's to show of( sudl sounds. the sounds and textules. \\'hell weilk· hang the pie(:e togeLllcr, and there is musk to a dull instrument and to an Bach's Sor ll1 ll1 N o. I irl was ex nesscs arc obsen'cd in the music, til.:)" no doubt that he is capable of a stirring £·flill e\·ell dUller acoustical cll\'ironlllent. If im ariabl)" ha\'C to do with the lengths pcr(onnance of Llle piece. It was just ecuted with techllkal perfection and lhere is one wmposer in all the world u[ time a sound is used or held, and not possible with Mr. HoHman and his exquisiic tasle. I'anicillariy clljo)'able whose works (:ry out [or Ih'cly acous was the Adtlgio mo\'emelU. By lilt: II'n· the timing o[ all the sounds in the ordlt.'Stra. piece. lobe explured yet arc the in· tics, it's ~Il.'ssiaen. The tempi "hich las of 1J1Il1yhm, whidl followed, was the performcr chose were ex.actly right Joseph Goodman's concerto, written also well pla)'lo-d, but the registration tillite possibilities affordcd rhythmic texturt'.;, and pulsation by the electronic (or this \'Cll' dry roolll. Moreo\'er, in HI64 in memory of Hugh Porter, was was disappointing. At this point in the throughout Llle entire program one was given its first pcr(onnanre at this con· program, we had heard straight l'ositif media - (:ertainly these p05Sibilities arc lar grealt'r than composers ale paying aware thal Miss Keiser was enjoying cert. The styles o[ Goodman's teachers reeds (Without an)' £Inework added) the IlIlisic. When an org-olnist c:an do (Hindemith, Piston and Malipicro) are ollen enough, and I, at least, WOUld dllentiun 10 nl/W. How sound mo\'es in lime is LlIC crux o( the problem, how· that, in spite of an uuinspiring instru· all evident in his work. Melodk and ha\'e \rekomed new sounds. I kept rhythmic (:Qunterpoint are evident e\'el', and no malleI' i( the ~uund is ment ami a discouraging room, it's a lhinl..ing huw mall)' beautiful (:ombina real mark u( pro(essional musicianship. throughout all three 1ll0\'cments within tiolls were being ignured. Of the three ba~it::llly static. or e\'cn if the silences - MK generally tonal concepts. As a work, it Hach dlOrales, IIle All Believe ill arle betw~eu sounds arc great. the rhythm must be dealt \\ ith sooner or later. I slrikes me as onc which relics too much T,..,e God was lhe lIIust successful. The 011 rcpetition - repetition of melodic interpretation o( the "Credo" was really illll COII\'inced that our best composers Amidsl all the music making, the con· today ale thuse who arc aware of this \eution settled down to a good meal at material and motil'es, rhythmic repeti· strung and (:onvillcing. tion, and harmonic repetition. In gen· Four "ar';al;olls on a Tone-Row b)' and arc attempting to deal \\"iLlI it the Hilton Hotel on Friday evening_ creati,'ely. The banquct was (:Orelial and jolly witn crOll, tile ears tire o[ eaelt phrase much Cor Klo'C (eatmed constantly changing before Goodman has dlosen to altcr it legistration, as is appropriate to LllIS -RS gootl hUDlor in e\'idellce all O\'er. After thc usual introdu(:tiolls, Mrs. Lilian or leave it behind (or new material. type u[ scrial composition. The Alain The work docs have a tight, if overly Marilyn Keiser Murtagh was presented as the guest variations suffered from the dr)' ,ICOllS expallsh'e, stmcture. The pedonnance lkal setting. Howe\'er, if one wishes to Program: Dic" Parmi NOIlS, Messiaen; speaker for the occ:asion. This grand lady o( Ule organ concert mallagemeUl was at least better in tcrms o[ enscmble, play an Alain work all this L)lle u[ or AlJei" GolL m dcr HUl, sei Ellr (hlghet· and there wcre fewer ragged edges than ta [rom C/livieriibung 111), Badl; Les (,eld needed no introduction to the g<1II ill this type o( room, I'"rillliOlis 011 in the I'oulenc, but most of the same Messial'u; large audiellce, and she provided thelll a Theme of t;lelllcr" JlItHiequin is not lJergers, "om Himmel l:tull problems wcre e\'ident i[ e\'ell to a lesser a bad choice. der Ellgel Scliallr (OrgeJbiiclileill), with a spritcty, but bncf, expose ot hcr work in the concert management t.lcgree. At least the nOllo'S were reason· Distlel's P'lTlita: AWlIke, a "oice Is Bach; Les Anges, Mcssiaen; Aile;" Golt abl)' correct, and une did not have Llle (Trio from CilivieriUllwg III), Bach; lield. Appropriately titled "Collcert Cullmg, like all o[ the other works Oil fecling that the work might wJlapsc at Les En/a,lIs de Dieu~ Messiaen; Canonic ManagcmeUl - ". hrlo"C Ring Circus," the program. \\as a reminder that Miss ,Mrs. Murtagh pro\'ed to tIle audience illl)' moment. Croziel' is a conscientious, well disci. ',lr/tltw,1S Oil ""om Himmel Iwcll," Dadl; Quodlibet SF-l2.i69 for Organ and that hel work is indeed entcrtaining, I'robably as a crowd·pleaser, Mr. Ho[[· plined musician, with a [me ~Cllse of J lipe, Bielawa; SlcjJlicll lit Pe .. ce (LIlllc e\'en though ilt times trying. So human man dIOse to wipe out the two con line ilnd ~ood taste. C(Imis of tilt: ~(';lItS), Williamson; PnJI· was her t.ll", that I ceased attempting temporar), wmks by doing The Pi'les of - MK ude cl Fuguc .WI" Ie ,,(nil d'A 11I i", Durn· to imagine what her title prepared ill /lome. Certainly tJle performance was St. Peter's dttht d r.d, St. Petersburg, Ill)' IUltld - con(:ert orgalllsts as the belter, but I wish that condu(:tors would Alec W)'ton fIco Austin 3M/ fi.1R. alllmais in the Lllree rings, conscnator), get U\'er the paranoid need to program Satunlay mortling opencd with olle Although it ma), nut ha\'e been in· and uuh'ersllY prufessors as their uain· "dlestnuts" [ollowing per[ormau(:es o[ o( the most stimulating sessions of the tended as such, the collcen by Marilyn ers With whips in haud. the church as contemporary music. Nothing can be entire (:Oll\ention. Finally, the program h.eiscr turned out to be an '" Holllllla;;e lilt; "big top,' and Mrs. Murtagh as Ule more destructh'e to the music o[ our was mm'ed to the distinctly (:olltempor· :'1 Oli\ IeI' ~Iessiilcn_" ~othing could cutrcprelleur sealed in her tra\'elling own day than to relegate it to occasion :ny. and it was welcome noise to this quite compete with the collccti\'e impact w:.gon at lhe side o f the circus grounds. al sandwidl [iJling in our programs. If re\iewcr's e:lllO . When I attend thcse of Llle [our movements o[ La Natiuih! Oh well. these prcmonitions usually pedonners and condu(:iors do not value (Oll\'entiolls, I often wonder if the or· till Seiglleur. 1 his is music of great art:n't allY good anyway, and it was contemporary music an)' more than that, g-oln world has receded completely into substance, and it wa~ played brillianti). good to heal' ,\Irs_ Murtagh dirc(:tl), 011 Ule)' should not program it in the first the past. Ale(: Wyton doesn't let this The four Bach wurks with which it the scene after so man)' ycars o( a(:ti\'e la(:e. If they do value it, they will not happen, and his ob\'ious excitement in alternated came orr as sewnd·best. work (01' Ule organ pro£t.'Ssiun complete r,I~itatc to Ict it stand 011 its own, un playing wntemporary music is always Whilc the Messiaen works were regis· ly behind the sa:nes. hindered b)' "popular" works, - RS FEBRUARY 1974 3 CL.\ UDE 8ALBASTRE RUlleil de floels fo rmant qUOlH! l u;ltes avec des var;atiorlS Ilour Ie c1avecin et Ie forte-piorlo, par M. ~o~f1o~er~ ojf ~rench Variation~ . Balbaslre, orgarlislt! de la M t!tropole de Paris. de l't!glisc imroissiale de Saint-Roell, du Concert Spirituel .:1 lUaitTt! de Clavecin de L'Abbaye Raiale in the 17th & 18th de PantJu!rlJorlt, &:c, ti Paris. ~enturie~ Livre de Nails. t.-ditcd by Gaston Litaize and Jean Uonfils. (Paris: Edi tiolls musicales dc la Sdlola CantotUI1l By Eileen Morris Guenther el dc la Procure Generate dc la Musi que. 1955. L'Organistc Lilurgique # 48 , 55.56.) porlrait o( Ramcau himself) . as wcll and his SOIlales en qualuor ([or harpsi Millimes de 101 Plilcc Royalc (in 1779, Claude Balbaslrc was born 22 Jann as "a very large organ, with pedals:" chord, two "iolins or two homs, and at 120 livres per year) and the College al1', 1727 in Dijon, and died in Paris Jlart of Billbastrc's renown was due to bass) arc thought o( more highl )'. In of Na\'arrc (1-10 lincs pcr ycar) , as 9 May. 1799. He was the SOil of Bcnignc his extensive knowledge o( organ con· his Pi~ces de Clavecirl (both books) wcll as the Scmillairc Saint·Magloire. Ualbaslrc and his second wife, Marie struction. Hc sccms to ha\'c bccn in he uses a three.lUm'clUcnt format, As a result o( the Rc\'Olution he Millot. His father was organist of the charge of the "augmcntations ct des which. Kirby points oUl, shows a link lost his patronage and most o[ his churdl of Saint Ml~anJ in Dijon (1691 . changcments considerables"'OD of the 10 the modern sonata. Ilc also cxhibits organ positions. (lie had obtaint-d 17(5) , and he replaced Jean Ramcau, COllcerl.S SJlirituel organ. Hc was a a propcnsity for the halian style o[ the position at Saint·Eticnnc·du-Molit the father o( Jcan . .,hillipc, OIL the mcmbcr of a commission which t l1l \'c1cd writing. "writing piea'S with titlcs through thc innllence o[ Ihe COllnt of I:ounders Church Sainl Etienne (later to diffcfCnt churchcs for the exprcss characteristic o[ the [0£111."1011 He also Noaillcs and thc Princcss of I;oy.) In lllown as the Cathedral of llijoll) . purpose of judging ncw or rCllovated publishcd dcscripth"e pieccs. some with ordcr to support himsclf and to sa\"C Claudc probably recciH'tl his firsl orbr.llls. One o[ thc many placcs listcd by portraits of famous people othcrs Wilh "his" organ, Lasceux playcd [or thc musical instruction from his fathcr. with RaugcllO' as ha\'ing becn visited by "Ics nature pictures. servlccs of thc Thcophil:lIlthropists (a whom hc studied until the lauer's organistcs cxperts" Balbastre, Scjan, Ualbastre participatcd in :111 expcri· religious sect which l'eplacoo the dcath. At that time he bccamc thc stu Charpentier and Desprez was Saint· mcnt to change the sound of thc harpsi. Catholic worship at the time o[ thc dcnt of Claude Ramcau, the youngcl' Nichol'ls·du·Chardonnct in 1790. It is chord. prt'Sulllabl)' 10 make it morc Rc\'Olution) which wcre held in Saint· brothcr o[ Jean • .,hillipc, who also had known that Ualbastre was also in\'oh'cd compctitive with the piano, b)' adding Eticnne·dn·Mollt, which for this pcriod succceded Uenignc Ualhastre at thc in the inauguration procccdings at a spcdal allachmenfs 10 it such as thc o[ tillle was callcd the J'emple de la Cathedral (1737· 1743) . In May of 1743 numbcr o[ other Parisian dmrches. in jell de blllJle and thc jell tie flutes. Picle·filiale, The church was rcstored Ualbastrc replaccd his teachcr at this cluding Saint·Germain·des I'res (1771 ) , All (our suitt.'S arc IIOW availablc in to Catholic worship in 1803, and salllc organ, ami he most likely held the Saillt·Nidlolas·des·Champs (1777), Saint modcrn editioll- , and the original LaSCCIlX resumed his [ormcr dutit'SlII post Ulcre until hc left [or Paris in Sc\'crin (1779), and Saint Sulpicc cdition is found in thc collcctions of On 2 January, 1819 he askcd to be Octobcr. 1750. (1781) • thc Lihrary of Congress. Each o[ thc relic\'cd o[ llis rt.'Sponsibilities thcrc, In I'aris Balbastrc was graciously re Balh;lstrc's activities wcre sevcrely four suites is compriscd o( six sets of nnd his rcqucst was hOllol't.'tl. Haron, cei\'(.'tl by his compatriot. J(.'an.I'hillipc curtailt'tl by the Rcmlution, and hc \ ariations on nocls, all o( the nocls in his survivancicr since 1817, was namcd gr'Hlually lost his organ positions and to sllccccd him at the partial salary o( Ralllcau. and he took SOIllC music les· a gh'en suite heing in thc samc key. his studcnts. Frccot,g: says that he had (I, D: Il, A: III, G; IV, C,) Durourcq 300 lines per year; Lasccllx, as !tOIlS [rolll Rallleau. He trallsc.-ibcd thc carlicr associatiolls which caused him has (lbsen'ed that "in this collcction, thc "l'ancicn organislc". receivcd a pcnsioll O\'crlUrc to Rallleau's PygmalIOn for to appear SllSpICIOUS, and that in in thc SalllC amount. until his dcath in harpsichord, and this brought him his gwuping by kcy is not only. . . a ordcr to place himself in iI morc practical wily o[ classificalioll. as it 1831. (irS[ succcss in Paris aud later OIL thc favorable political lighl he orrcred his is in the book o( noels o[ Dilndricu. Lascellx was without doubt a vir court. talcllts to the ncw regime bl' playing The author taxed himself grcatly in tuoso pcrformcr, and hc was particu nalhastrc's b'Tcatest mark Ull history patriotic songs likc the Man eilles on the t:omposlng a SUiIC. which is to say in larly wcll known for his imprOVisations 1l5 lOok place 011 27 March. 1755. whcn he or~r.ln of Notre·Damc. (He also pla),cd the organization of sllca:"!iioll o[ picces 011 the Lilst J udgemcnt. appearcd OIL the Cmu:ert SJ,iritllCI play· for Ule fcstivities or the ncw regime diffcrcntiated by thcir characters. their Gcorges Favrc"· has pointed out that ing his own concerto for organ and or· which wcrc held in the now·secularizcd rh)'uulls, their tIlodes."uo Balbastrc's Lasccux was one of the [cw French du~ll? Although thc [irsl two sets u( CathcdraI.) ,\ftcr thc comclltioll o[ \'ariations Ilumber from one to se\'en, organists o( the second half o[ thc 18th organ concertos hy Ilandel had alrcady Thennidor in 1795 he rt'Sulllcd his with all a\'erage being 3·plus per noel. ccntury who culth'ated all musical bccn written lIud pcrfonncd ill l<:lIglalld. wmk as judge o( organs, but his last The number o( \'ariations found most gcnrcs. At thc lime of thc Frcudl this was I'aris' (irst expusure to thc ycars wcre unhappy oncs. ohcn is two. Rcvolution thrcc o[ his opcras were form. The organ concerto was an imlilc' n .. lbastrc is oftcn citoo as being rc being mountcd in Paris. He wrotc diate success, and the periodical Ma· prescntati\'e of the 18th cClltury dcclillc chamber music (sonatas, quartcts) • cllre said that it could not " spcak lou of organ music, and his noel uriations G ILLAUME LASCEUX sacred \ocallllusic (motcts and masscs). highly of this nmclly and o[ thc singu· are among thc crilics' principal targcts. secular vocal music (romances), as I:u talcnt o[ M. Balbastrc. ..• Unfortun· While the tille reads Uecucil tie Iwell Journal de pieces d'Orgue CG1llenmll well as sc"cral books o[ music for atcl)" nonc o[ his 1-1 org:m concertos fo rm""t qllatrc l u ittCl (IIIt C ties fltlr;a des Messes, Magnificat et Noifls, Ii h:lrpsidlonl. has sUn'h'cd. He was soon added to thc tiOlU J'(alr Ie clavu;'1 ct Ie fortcJ,imlO,11D l'usage des Paro;sles et CommllllOutes His works [or organ are: Jounlal de starr o[ the COrlcerll and was thercaftcr thesc are gCllcrall)' considelcd to bc llelig;elues. pieccs d'Orglle COllUIUHlt des Messes, hcard al ncarly c\'cry collccrt. Bt.'Sides similar to if lIol the cxact noels which Only onc noel in variation has beCI! Magnificat et Nods} ti l'ulagt: des his concertos, Ualhastre also playcd drew thc largc crowds to St. Roch. locatcd, It is includcd in ,\ItJitrej Fran · Paro;sles cl COI,wllmallles lleligielues works for orchcstra or harpsichord, (Da\"al actually says: "hc lea\"cs more ca;s de J'orgue aux Xf'[e, X VIII et ( 1771 - 177~); Nouveau reClidl de m transcribcd for orgall. Thcsc picccs in· o\'er foul' suites of lIocls ill \"ariation for Xl'lIle siecles, 2 " recucil, editcd by pieces tl'orguc (1784) ; Te Dt:ulII dudt"ll o\'ctures and airs (rom opcras hy ol"g·dn."I~) Much o( the music of this Felix Raugcl (Paris: Editions de la (1786); Essai tllt!orique et tlrtltique Ramcau and l\.Iondonvillc. period was writtcn inlerchangeabl), for Schula Calltorum. n.d.) sur l'art tie I'vrgue (manuscript. 1809). In March of 175G Halbastre \\as mgan or hilrpsichonl; colUllIel'cial in llis Nouvelle suite de l,i ~ces d'Orgue namt'tl succcssor to Jcan Landrill as tercsts undouhtcdly account for the GUill;llIlIlC L.'1SCCUX was horn 3 (1 810) is dedicOlted to Nicolas Scjan, ofg'.l.1Iist o[ SI. Roch. In October, 17.fJO. " fortcpi.lIlo," thcn rising in popularity. Fcbruary. 17-10, in I'oissy, aud died in the" ' Haydn dc l'orgue:" The list is he was namcd onc o[ the four organists Thc dedication. to Madamc La P:lris slllllclime in 1831. lie was thc son complctc with ,hllliltlire de l'organ;ste of thc Cathcdral of Notrc,Damc. and Iluchesse dc Choiseul, is as follows: of I'hilippc Claudc Lasccllx, " huissier I1T (manuscript, 1819) and Douze Fugues he scrvcd there with ,\rllland·l.ouis It i5 at your hehest that 1 lta\'e \'aried for Ibe eu la prc\'olc de Jloissy"lU and his (manuscript, 1820). Coupcrin, Louis"Claude Daquin, and hal'll$icllllrd wille noels which (or a long lillie wifc Cathcrine Chapuisct. The first l;anc oUcrs tItis assessmcnt o[ Ita'·e been sanctioned by public approhation. Lasceux's musicdl output: Nicolas Scjan. You have agreeably inspin"J Ihis work Ill' your illfornmtiull we ha\'c ahout him is that A"lc leclmician allli sihed CORlI'USCr, G , llalbastre had by this time ilchievcd enthuliasm ami r~'£ogllililln, a lHl }'1II1 comic· he bebr.lll his carccr as organist in thc LascCOJ; now merits a place ill the gallery or 5CC lid in aCCf'llling this homage and consider· neighboring ,"mage o( CIH!\'rCUSC at the widcspread fame as an orgall "virtuosu, French musicians 01 Ihe end or die 18th ing it 011 an illllicalioll IIr the extent to which and his playing of \'arioltions 011 nocls, agc o[ 18. IIc camc to Paris in 1762 and centllry. 01 a "road and culth-alcd miud, I am, Madani. your vel1" humble and obedient customarily pcrformcd at thc Christmas for [h e years studied compositiun with virtu() ~o IIrg:lllist, 11",lagona t or the piano I("r\"allt. Ualbaltre. E\'e midnight mass at Saint Roch, drew Clmrles Nuhlct, a famous organist o[ forie, lie participalC5 aCli~'dy in Ihe artistic such crowds that in 1763 thc Arch· Thcse wcre \':11 iations on UurHundian the timc \\ hn was also da"ccinist of hfe or the l:allilal, is saturaled wi .1t new bishop o[ I'aris forbade his playing nuels and they arc considercd trh'ial the ,\cademic Royale dc MusiC)lIe. illl'a5, auc l i5 tlehberalcly orientt-d lowanb U 1 them because o( the diSOl'dcrs causcd b)' writers from Fetis 10 Dllrourcq. Lascctlx marricd Maric Ilcnricttc el aring {':Slhelie CUllcl'ptions. b) the crowd. (He was similarly rmbid Tr.ulitional org:lIl furms arc now gonc, I'igeoll 17 April, I 76i. and thc), hOld dcn to play his J'e Deum ill 1776 :It the and "UIC ronn par exccllcnce uf harpsi fOIll childrcn. She d ied 5 Nm"embcr, vigil of Silint Roch.) W chord lIlusic. the suitc, is uscd in con 177; , and hc ):Iler married hancoisc JEAN.JACQUES Balbastre married Maric.AntoiliclIe jUllctioll with the noel,"ltG nalhastr~ Felidte Plackh.u2 BEAUVARLET·CHARI'ENTIER t'xploils thc colnr and brilliance ur thc Boilcau, who is thought to ha\c bcen In 1769 Lasceux hecamc rc\'crsioner Douze Noiils varib tJOllr 1'C1'f'gue, avec urg:m to a degrce nul reached hy his (thc assistant organist who expects to the nicce o[ Nicolas Boilcau, and who 11 11 Carilltm des Morll, qui se jOlle. Ie predccessors in the furm. DllfOlIl'((1 re bore him lWO childrcli. hecome thc titular organist UpOIl thc jour de la Toussaint aJlres Ie MaglliJicat. marks: " \Vit h nalbastre our instnuncnt Ik'ath o[ UI C incumbcnt) to Claudc. Acculllulating title upon titlc, hc WOlS with pipes descends ill the arcna whcre Dcdies ti Melle la Comtesse d'Anmdeli NiculOis Ingrain at Saint Eticnllc"du par Mr. Cllarpclltier, Organ;ste tie aftcr 1776 named successivel} organist it joins thc h)'dnllIlis of the Romans. MOllt. and was tillliarizcd rh'c ),c.trs of Ute "Monsicur," brother of King l/Abba)'e lloyalc de St. ,'ictor t:l de la It is thc organ for the crowd with its later (with a salary or 250 lincs per Jlaro;sle /{(1)'ale tit: SI. Paul. Oeuvre Louis XVI, (16 August. 1776) as well eHects. its noises. its sm ilcs. its gasps, }'e:Il"). Hc was thc tilular whcn thc XIII . •• fi P(lr;s clie:.. Ie Duc, . •• as hal1)sichord tcacher of the Duke of and its grinding."· mg;m was rebuilt .11111 judged by Chartrcs and Maric·Antoincttc. Hc also UalbasUl" s noels arc lIot sUlillnarily Claude Ualhastre and Jcan.Jacqut.'S T\\'o nuels in \;;Iriatioll are includcd acccptcd thc organ posts at the Hcrna· dismisscd by c\'e!"} musicologist, how Ucam·arlct·Charpcnlier in Junc o[ in Charlcs Vogan, "The Frcnch Orga.n dinc Abbcy of Jlallthemonl and of the C\'cr. l:rccotlUl' uscs them as all example In; . lie held the post there for nearly School o[ the 17th and 18th Centurics," church o( Notre·l)amc·aux·Bois. Onc of of thc type o[ subject choscn by Bal· half a ccntury. aud retired himself 2 (Ph.D. dissertation, Unh"crsity of Michi· his last accoladt'S W.IS bcing named onc h'lstrc which "renccts itsclf £llfther in January, 1819, Scrviereslls oUcrs an gan, 19"18, pan II, PI). 1"·20). o[ thc [our organists of Vcrsalllcs.- the cxprt'Ssi\'c charactcr of his works interesting accoum or 50th annivcrsal1' Thc fact that there are two Bcau Ualbastre was a lIIall of wealth and whosc nature is chcerfulncss, delicacy, services. \,arlet-Chal'pemicrs, Jean·Jacqucs. thc fame, and Charh..'S Uurncy sought to charm. aud lightncss." She adds that Also in 1769 Lilsceux inhcritcd from father, and Jacqucs·Marie, thc son, has mcct him on his (amous travels in hc was inllO\'ati\,e in his combinations l\oblct thc orbr.lu post at thc Mathurills led to confusion among scholars. who Francc. Burney rclates thal U:tlbastre o( rcpctition WitJl \ ariation. (OIL all annual salill)' of 200 lincs) , crcdit one man with nocl variations and owncd a beautifully hand·painted harp His other kcyboard works, Pi~us de as wcll as Saint-Aurc. In addition to exclude thc other. failing to realize tImt sichord (paintcd wilh scencs from Ra· CltlVccill (wec deux Fugues pour l'Orgue these positions, he added to his rc· each Illan wrotc a volume of noel \'aria IUcau's opcra Castor arid Pollux, and a (Ms.; 1148). Pieces de Clavedn (1759). sponsibilities the positions at the lioll!. " THE DIAPASON nlscussing the noels uf Jacqucs-Maric: to Fetis. "the gdd he knew killed him pOliti (or organ maintenance and the the), werc 1I0t written by Nicotas, hut (1 ;66·1834) arc Felix Rallgcl,u. who in May. 1794." llIf hlowers). A further addition to his list hy his son, Louis-Nicolas. who suc lists 15 Noels with Variations: ,\side from the churche!> he sen'cd as of accomplishments was the appoint ceeded Sejan as organist at Saint-Sulpice J:"C)'rlo/uJrlic tic la MIUiqIlC.' • which orga.nist. yery little is known ahout the ment 10 succeed Annand-Louis Cou alld was known as a mcdiocre com credits him with "some noels," Norbert life of this composer. He enjoyed the perin as one of the organists of Ihe poser.1U Fane is the ollly scholar 10 IlUfOlIl"CqUI and Georges Scr\'ien.-Slt1i reputation of bcing one of the most Chapel Royal. At 2,000 per lear, he held make this Sllggeslioll. howe\'er. and all ,,'ho hoth refer to the work 15 Noi:b. talented organ isis of his time, and it Ihis post from December. 1789 tn 1791, others seem agreed Ihat this \'oilime is "slIh'is de l'air Oir petlt·on clre micux is known that he appeared as organist and again from 1814 until his death indeed the work of the virtuoso father_ qU'3U !'cill de sa (amille, (d'apres at the Cmlcat S/Jirituel (one actual in 1819. Fetis docs rise 10 the defense of I."citle de Greif),) ", Sen,jeres adds tJl4lt date, 9 May, Inl) ,I. The Re\'oll1tion dealt a se\'ere bloW" Scian though. when he asserts that a note ;uh'iscd that lhis piece could be \\'orks for organ are Six Fugucs /mur (0 Sejan. and caused him to lose all of Sejan had the inslinct for a better style used in cliHcrcnt circumstances, such as Orgllc (op. I and VI) , Trois Mnf!lIi/icnt his organ positions. Not de!>pairing. he 1 of organ music tlmn did his contempor' w(~ddings, or "puhlic fcsti\'a1s", (op. VII), jOllrnal d'Org1le 1:1 , and threw him!>el£ into the lask o[ pre ary Frenchmen, hut he perhaps over· Schol;ns crediting Jean·Jacques with Dou!e Noils (op. XIII) fll:. In addition, n~ lIting the threatened destruction of slatcs the m!>e when he asserts that tilt: compositioll of noel variations ha\"c ncam'arlet·Charpentier WOl!> a prolific the organs uf the larger parishes of Sejan was the only talented organist in hl'l'lI found uniformly to link his composer of music for h,lfpsichord and Paris, Sejan was a lIIan of great innu· Pari!> in the second half of the 18th lI:nllC with DOllze Noels "aries pour the recently·emerged piano. He 'HOle cnce, and his petitions to the Comilt! century. l 'm'to lll: . Among these arc Andre Pirro, numerous sets of \ 3riations on popUlar d'lnstruct;oIJ PlIlJ/iqllC were famrahly Scj:m wrote three sets of noel \'aria· IIcnri nachclill. Marie Louise )lcrcyra. airs fo r piano/harpsichord (op_ V. IX, receh'ed, Not 0111 )' did he sa\'c man)' :\'nrhcrt Illlfcmrcq and Charles E. XI. XII) and two seL" for two pianos important instrulllent..'I. he OIlso re tintls. The first set is in a style of \'0WIII.1= While only DlIfourcq offers a (op_ XX and XXI) . In the area of qucsted and ohtained the reinstatement writing ttadilionally associated wilh the organ, hut the other two show e\'idence publication d;lIe (Inll-I775), Vogan is chambcr music, he compo!>ed D~ ~x Can· of !ii:llaries due musicians attached 10 Ihe sole schol:lr 10 include the inscrip certos (for piano, op_ X) and some of cathedrals and churches who werc of Sejan'!> interesl in the piano. Ex tion :IS well as the fult title: DOII!e the first sonatas for \'ioHn and piano without financial support as :l result o[ amples of his pianistic approach to 1 .v ()if/.~ Imr;t!s /lour forgue, auce lin wriuen hy a French composer (np, II· Ihe Re\'oliltion. Fane '" rcporls that Ihese noels arc his usc of octa\'cs .. bro· Cllrillim rles Morts, qui S(l jOlle Ie jOllr IV. VIII) . ill r\pril of li95, Scjan himself was on ken octa\'cs, arpeggios, and notes 1I0t ,Ic Itl Toussaint apr;s Ie Magll ;l;cat. Beau\'arICl ,Charpenlier is considered the list of scholars and arlisls who were foulld on the organ keyboard.1 a11 These lli'(lic!i ;'1 Melle la Comlesse d'Arundel) one of the most original ami importalll \'otcd a "gtatifimtion ext .... onlinairc .. of \'ariations arc inlerspersed with \'ari;l par MI'. Charpentier, Organiste de composers '\'Orking in I'aris in the last 1500 lines each hy the Nalional Con tions that arc completely organistic, L'Ahhayc Royale de 5t. \ ' iclor et de la third of the' 18th century. as well as all \'elliion, howe\'er. There can be no douht Ihat I'aroisse Ro)alc de St. Paul, Oellne extrellll: l, lalt.·nlc,1 organist. In 1789 Scjan hecame the first pro· Scjan fulI}' intended these Noel \'aria. lions for the organ in light of the XIIf ... ;'1 I'aris chez Ie Duc... m A fcssor of organ at the £colc Royale litle of the collection, manllal indica enpy is in the British Museum; Vogan de ChUlIt. He was so well kllown hy tioTlS (within the \'ariatiolls as well as has !iCen a microfilm of it. NICOI .... \S S£jA~ Ihis lime that no one darcd oppose his at the beginnings), pedal indications, This potentially confusing sillialion nmninalion: Scjan'S desire:' for fair play Trois lugll~s d /Jlu.sj~llrs ~\'o~/s /Jour and registration instructions. The lat. j" 1I10st clearly \'iewed hr Xorbert led him to reqllest a test e\'en so, and rOrgllc /Jar X . Scjall, orgall;sle dc la ler. howC\-er. arc not as pre\'alent as in l>ufonrcq who seems to be the only CII(//Jt~llc du /loi, de I'Ho/~1 Royal dcs he is said to ha\'c hrilliantly impro SlT othel' composers. ~{'hnl .. r tn perceh'e that we arc con· Immlhles, de "Egli.~e St. Su//Jicc, MCIII \'ised a fugue on that occasinn. (Fetis .. hlering two collections of nod \'aria· I,re d~ la Legion t1'Hm"'~llr. 'Italcs Ihat althongh he held the tille tiun!i, "'ritlen hy two men. Dufourcq The modern edition mes the ahm'e of or~an professur there. he taught i':ocl \ariOitiollS were :l "irtllosic rden 10", .. Jean·Jacques Beau\'arlet· title and is edited hy G. (sic) Ver only ,ml/f'J!.,t: . hecall!>C the organ was genrc which grew out of the fe\'er for f:lmrpelltier, alreadr mentioned and Hasselt and ~f . 'l\. Gucr\'i1Ie (paris: nc\'cr (ol1lpleted due 10 the Iroubles imprmisation which swept the 17th and his sun Jacques·Marie. composers of Procure Gene .... le dll Clergc, n,d_) camed hr the Remlution.) He also 18th celltmies. "Thile SUUle \'arialions \ari:llions•. . "ltJ Howe\'el" since the held ule po!>ition of profcs.ror of orgall elUplo}' \'err simple figuration, others onl}' nocl!ii 10 "'hich we ha\'e access arc Nicolas Scjan was IH)rn in Pari!> on at Ihe Instil"t "alitHlal rlr Mu,~iquc use rapid finger-work. Sometimes there hy lean'Jacques, we shalt deal exclu· 17 March. 174:i , and died there on 16 (Cmuen'{l toi,c) from its foundation in is a pattern of increasing rhylhmic ~h'elr with the collection Dou!e Noels. March. 1819. lie was the SOli of li9:;_ J\lthough he undouht<.'(lIy laught lIIolion; with Geoffroy there is a definite Two noels, .. Ah! ma \'oisine eles \'om Nicolas Sejall :111<1 Genc\'ie\'e Made· :I numher of studcnts. Fmncois lUin lestuml pattern (as therc is alsu said r;lchcc" and " Pour I'amour de Maric". lainc 1:leury. his wife. The yonnger is the only name that has hcen record to he with the wor),; Cigault). The :ne gil-en in Charles Vogan's disserta· S(~j;1II was expected IU follnw his rather's ed,l~ technique of \'ariatioll is figural, with lion. Part U. profes."ioll (his father was a mcrchant). \\Thile Scjan WilS wilhoUl his organ lillie usc of contrapuntal de\'ises and Not hadng seen thc collection in its hut ha\'ing ftl'quentIy hl'ard his uncle, position!> dnring the Remlution. he did little harmonic change, Loui!> .Claude elllireh'. we read with illterest Ihe the nr~ : l1Iist Gilles·Sicnlas Forqueray 1I0t cease performing for that period of 1laquin remains Ihe "prince of noels," dl.'SCriptiulls oHered hy Dufourcq alld (organist (If lIumerous Parisian time_ On II September li9,' he was hut :III these pieces (with the possible I'irrn, Illlfourcq !iia,'s Ihat Jean-Jacque!> churches) , he de\"cIoped an enthusiasm he:ml on the first nrg;1II to hc illSlalled (1IIl.'Stioll ahout the pianisticall)' orien "h:ls tried tn turn out SUint: crfecth-cl\' ful' that instrulllent. in the O/Ierrl (then COllIl.'(i the Tlu:ritre ted work of Balbastre and Scjan) arc !iii mple \:ll"i:lliom 011 'Oil s'en \ont ccS Studying organ with Forqueray, and rit's Arts) , and he participatcd in many worthy or perfonnance. ~:ti" her~crs ' , 'Joseph cst hien mariC'. harmon} wilh nordicI'. IIII1Sic director ft.'Sth'als of the RC11Uhlic_ It i!i hoped that the present serie!> flf 'Qllni! ilia \'oisille. eHu f:1chec?', 'II al the church SOIints·lnnocents, his "'hen the ReH,lution was m'er. articles will stimulate interest and n'est rien de pillS temIre: ' Un hergere skills tlC\'el0l,ed quickly. At the age of Scj;1I1 returned In his org;m at Saint further re!>earch in this not yet fully jolie: etc" clC, . ,"'. Pirro declares: 1:1 Scjan is leporled 10 ha\c illlpro. Sulpice. and was ~ Iso naml'd organist at appreciated art form. "It suffices to mention the: D()u :. ~ \ i~tI a T c DCIIt" on thc organ of the church S.. int-Louis-des·In\'alides Noiff,{ hy Ihe same composer, , , In· FEBRUARY 1974 5 What is tempernment, and why is it being 2:1). neccssary? Granting iLs necessity, what ~ .. ,...... arc the objections 10 equal tempera. I • mellt, which has been in common usc (~l =-:& ., 6 for more than a century and a half? t@1 e",::- Q A Practical Introduction ThI:SC arc some of the questions which will occur immttllately to many readers, who may consistcntly have avoided r'• ...... l this rormidable branch of the science of To Unequal Temperament music. The subject is complex ind~d, but ,\nd since, as we can easily be seen, no not basically difricult; whethe~ it is power of 5/ 2 can e\'er be the S3me as diFficult or nor. it should be of Interest By Dale C. Carr to e,-ery practicing musician, since it any power of 2, Ihe frequency of (un· affects such basic issues 3.5 what is tempered) b: will necessarily be differ· meant by "playing in tunc," I hope to ent from that of anv (un tempered) c. The ralio of frequencies ht!c as rlefincd he ahle to show in this paper the el' lhnn j . Com'erse)" if one tempers notes as accuratcly placcd as possible.t simplicity of the numerical ideas under. ahm'c is called a rfitnnic commn - di. those fOllr fifth!'! 10 set within tIle h'ing thc nomenclature of the subject tonic hecau!le hI! and c are two difFerent bounds of a previously tuned pure mao lones: this comma must he distributed tempernment, and 10 encoura~e as many jor third, aile ril1(1!'i the fifths quite {9s • :!mong the vafioll~ tempered fifths - readcrs as possible 10 ~"periment wi!h ncar the limit of tolcmhle smallness: m since we are mf'a~urln~ around the ,'arious temper3.ments, order to diS each will he tcmpered by ~ of what cm'cr which may best suit their needs. circle of fifths - un Iii it i!li 1I!Iicd UP. if When the proper sizes of the inter· Ihe oclayc b to rcm:!'n pure, i.e, if ht is called s),nlonic commn, which is de· fined as thc mtio of frequencies e (meas· 1'0115 e'g, g·d, d·a. and a'e have been es· i ... to h,we the So'1me freCluencv a~ c. (Tt Dictionaries ddine the ,'el"h "temper" ured up four "ntempered fifths from tablished on the basis of the ulItem· in terms such 3.5 "dislort," "T1I3.ke im· i!li worth mentionin~ th:tf. in "'e~lfern pered major third c,e, the difficult part music :It least. untemnerec1 oCI Since the ratio of frequencies of two more of t Ie notes nl dl and g will need notes a fifth apart is, like that of the experiment), the interval c·e will be of to be raised slightly. But if 3.·e i~ too twelfth to the octave, 5:2, wc should necessity tempered: In bet, it will be impure (i,e, less pure than the mte.. · be able to determine the frequency of t \'als already tuned, but of course still the pitch hi, for any given starting • wider than an IIntc:mpered fourth) , you point C by multiplyi~g the frequency ha"c not tempered e nough, and some 1 • uf c by 3/2 lwch'c tulles. that IS, by notes will need to be lowered a bit. The (3/2, u. Howe,"'cr, the octa\'t.'S of c will amount of alteration needed will prob. t ha\c the frequency of r. multiplied by stretched a.lmost beyond the bounds of ably be quite small, if )'OU have worked (Frcscobaldi: Ele\'ation Toccata, Fiori some power of 2 (tilt: ralio of the octa,'e tolerability. In numben, (!1j2) • is great. carefully, but it is esM:ntial to get these mwicali no. 47) 6 THE DIAPASON ~ The often enmuntered statement that meanLOne has eleven usable fiftha and one unusable fifth called the "walt' is similarly imprecise. Then: are eleven FIGURE 1 FIGURE 2 fifths. and they are all usable. albeit " 35 narrow as can be tolerated." But A ,- what is called the "wolf" is no fifth at all, but 1 tlimished sixth (gI-eb) . ,V,""'-- •Y. e 1)_;:7 IJ ' ....\ , ',. , ~ I,. ) _ I G~ B .. 11 - 1. -; Bt> 0 'f ...----- ~\ ~- , " f I '4l~~'- G ' 6,;.\ 'I D, ~ , 1,.,., - U_ _ I.'' lu-ry1=;;: }.,t'1~"_-. z":- ...... and it is scarccly more dissonant per st ;:. s a's'" 0 A - than the diminished fourlh, though C ,., .,., f- \. ' 'l4 much less common. Such an outlandish ...... 0 J,.,\. interval clearly deserves to sound dis· sonant, 35 indeed do all the other aug mented and t1iminished intervals. One ",ti-~L' ....-~C# need only abscne the COrTect. hannamc I " E . Ipelling of tl,c notes, a useful habit in .,,/ ,! \ , '1/ any case, 10 avoid the kind of muddling ~:41--:j C~ _ . " :(0 which the subject of mcantone temper ament has 50 extensively suffered. Then \ '/,n<.. ' ! '~ - Gtr one will not be surpristd but pleased to A..... , ,' "' disco\'cr that the interval eb·f, sounds appropri3tclr different from the minor ... D* thirds d-{ and e-g, FIGURE 5 FIGURE 4 .i"l" ~= A , £' ~ ••:.-¥' .'!: A D E ·7'tJ 'Iu~ C0~\ G __. II; ~ .~/ 'I":'-. CJ>::. \ ' 'D-:f - , , - (i"'D- and tbat the interval c-(# resolves nicely D_!F :J - to bog, while the interval b 'f. with the ~'f ~1.1 ,\ ' /~ - ,~ t . 1. ,~J.I same number of haJ['lleps as c.f:;:, mov· ,\ h. t; -''4 D ' /L ~ ing similarly to bb·f#, does not resolve "L:~ 0 ~ -::--....f ., 3~ () \ I /-'. at all, ...-----B u _~ ~/ O~l 0 ~ be..t ton;"s 0 Z A.,,,, . G~4l 0 , \" .~ A3 ' lL~ I- - ¥ 1 \.1/< / ' \.'~ ~ ~ /~ .. /C / ;/~ 0 a ~orsl ton-'cS .. i y," '\ #- ' 0 E ~ C--...... /c A little experimenting along these lines C~I• 'A: \l,..#' ~ ~ 0 , \ " '''' A G# /1\ ~ E . will go far 10 demonstrale the extent to /' 0 _ ~ - • I \. >~ which constant exposure to equal tem· .. o_~ perament has dulled our ean to many $ II 'Etf-:TC 0 - ~-G1F kinds o[ fine harmonic dCUlils. ~ Another solllewhat muddled matter is . , ~~I'S ~ /..- , \ '/"f*,l' the relationship betwecn tonality and .\., 'D~ Afif . 1). meantone temperament. One reads [re, ~ quentl)' that pieces written in tonalities having up to three sharps or two flats are playable in meanlone. This is not In each 01 the .. four figure., on amount rowed by V.c comma. The number inside the triad, ignoring the plul and minu, slgnl. (Th. strictly true, besides being anachronistic. printed outside a triangle repre.enh the triangle give. an indication of the amoun' .ign, ora irrelevant becauht It i. hare only It would be easy to gh'c numerous ex· fnx'ton of 0 comma by which the adiacent of tempering whkh Q given triad a' 0 a que,tion of IIow muclt the interval. hov. amples o{ pit.'CCS composed in these interval has been t."'pered: . 1,/.. indicate., whole hOI suffered: II It the tum of th beeR tempared. and not of whether they simple tonahtit.'S which for various rea· for example, that an interval has been nor· 'rodian. for the fifth and the third of tho. have been Mode larger or ,moUer.) sons do not sound good in meantone. Consider the C·major prelude of Bach's Well.tempered (N.B. not Equal·tem pered) Clavier (book I): the ab" in m. 14 and 25 will sound out of tune i[ the temperament has been sc:t aJ describcc..l abo,,'e - they witl sound like gI's, to be exact: .. \ ... ~rn.... that, since bolh of the ab's occur in once will be aware tl13t (whh narrower augmented inten'als, Ihey might as well major Ihirds and perfen fmhs, and sound out of tune. My answer is that Iherefore much narrower major se ... · I • 7 T-- ",:,'" / ~., ';~ it would surely be far better to retune enths) leading (ones in meantone tem • • the necessary g# keys to ab's, and let perament arc very noticeably lower than f~~""'" ,_ t- "", I .., the two notes be diSJonant without be in equal temperament_ Yet one reads " ing muwned. The distinction is im in many places, even in the works o[ portant to anyone interested in learn· otherwise knowlegeable authors, that , ~ ing 10 hear details which a 17th or Ihe char3ctcr o{ a leading tone is (.. .• ~tr.....l 180H'Cntuf}' musician would ha... e heilrd strengtheued when it is sJlarpened,* or . automaliCllly. e\'cn that the wide (siel) major thirds And having mentioned the possibility of meantone make an ugly sound when o[ retuning. I ought to add here that played on a tierce or rornel stop.- Quite ... , . • ,. . ~ '1. T~ '1 ';1" ...: .... many 17th.century kcyboard works will • +.. Ihe contrary. the pure major thirds o[ require retuning o[ one or more black (\ meanlone go well with any mutations, ~.I'--I sr...... ' t'~1 keys if they arc 10 be played in mean lone: Tisdall's Pa\,:ma Chromatic.a in and until Lile end o[ the 18th century. the Fillwilliam Virginal Book - "chro· t..... ell string playen were accustomed 10 , .-,--=: matic" because it uSC! many black keys, ~I ~~ • lowering their leading tones. and to . ' \I r .... not becausc of a few chromatic passing toncs - reqUires that eb and bb be adjusting their open strings to the key tuned down to d:;: and a#, as do KerU's boanI, with its nanow £ifths, 35 neces· It is clearly 1II0re accurate to say thal OU5; but thL")' Ol\'uiLl contusing the i ~ ue Toccata # 4 (con dureuc e ligature) sary to secure good intonation.' those pietcs must be :lVoiLled (when by Ole imprecise U5€: of precise terms. Rack ag:ain to Bach: 35 mentioned meantone is med) which contain cer· Furthermore, by 3\'oiding mmtion of and Louis Couperin's suites in B minor if lain notes. (for example ab when tuned tonality altogether, they amid the error and II major, to namc only a few works. above, one tunes the two g#'s up to as g#), or tllat certain intervals meas· of applying laiC 18th·century harmonic Couperin's suitc in F requires ab instead ab's, all the lIoles o[ thc first prelude will ured [rom cerlain notes Clnnot be play· theory to music of the early 17th ecn of g#. on the other hand. be correctly tuned. But the discerning ed in tune (tbe major third on C#. (or tury. ear will obscne tltat the piece still does example). These fonnulations are 10 Returning to Bach's prcluLle, 1 should And aile more digression: anyone who simple :md obvious as to seem tautolog· like to deal with the pouible objection has sc:1 a mt."aillunc lemper-mtent jU5t (Continued p. 8) FEBRUARY 197" 7 , - (Continued fronl 1" 7) temperament. were so complicated as to be, practicaU: 1951. (",clinical) not really sound right In meanlOnc. speaking, lVorthle5!. but which were (Sec Figure 2) 2. Kellct3t, Herbert: Zur mwi"aliscllen The first measure sounds wonderfully nevertheless malhemOltically acrurate. Temperatur, insbesondere bei Jollan" rich with tJu~ doubled third c·e - which This simple alteration of tuning pro Meantone, \Verkmeister. 3nd Kimberg. SebtlStian Baell. Kassel. Onden, 1960. sounds comparatively harsh in equal cedure has drastic practical results: one er, having each only (our tempered in· (practical: pro-Kimbergc:r: quotes many temperament - hUI lhe third bar. with em now play fairly comfortably even terva.ls, each o( which is tempered by Gennan sources) its dimi"i~hed fifth h·r. is 50 u"expect- in the remotest keys, which were limply a significant and readily sensible 5. Link. John W_, Jr.: Tlleory and Tun not available in mean tone. The tunmg amount. stand head and shoulden above ing: ..fron's mtantone ond Itfarpurg's equ31 temperament 3.5 far as ease of of 3n unemphasized B major triad. for temperament "l". Boston. Tuners SUP"' example, will pow virtually unnoticed, tuning is concerned. Furthermore, Werk ply. 1969. (practical; theoretical back meister's and KimlJergcr's methods while the simplest and most common ground included) triads sound extremely solid and stable. make a clear distinction between the ef· \ liH 4. Klop. G.C.: Syllabw bij de monde i Part of one objection to this tempera rCC15 of various tonaliliC3, something ment lies just here. however: the F which neither me:l11tone nor equal tern· linge Cursus Slemmen Clavecimbd. Gar major triad is so much more stable pel.lment can justly claim to do. deren. \Verkplaals voor Clavecimbel· than the rest, being almost entirely un bouw, n.d. (practical; useful diagrams. I shall close with one last unequal some of which have been borrowed for tempered, that it interrupts the flow of temperament. first described by Thomas edly and irralion:dly colorful Lhal 3 the music just as much as the augment Young in 1800: even at tlle beginning thb article) temperament like mc.:mtonc, in which ed and diminished intervals of mean of the 19th century, the time of Beetho· 5. Hall. Donald: Tile Objective Me4J· augmented and diminished i"lCnab tone in Bach', prelude. It draws un· ven's first string quartets. unequal tern· urement 01 Goodness,ol-Fit lor Tunings sound raclic.,lIy different from the rest, justifiable 3uention to its presence by peraments were still :l practical consid anti Ttm/lcraments, in Jounzal 01 Mu i5 less than completely successful, since means of its exceptional purity. Another erationl This temperament, like the sic Tlleo')', v. 17, no. 2 (Fall, 19"). it C)(3ggerales the cUCCI of what are by objection is the fact that the key of Kirnberger method outlined above. gives (preliminary results obtai net! by 3 com· Badt's lime simply nonnal features of Ab, only three steps from F around the C major as the "best" key, with the puter programmed to judge the suita the hannonic landscape. circle of fifths, sounds rather hanh. othen arranged symmetrically around bility of \'3rious temperaments in vari· while E major. which is five steps in it. However, C major is not quite so OilS musical contexts) One becomes still more suspicious the other direction. sounds no wone pure as in Kimberger's temperament NOTES that rneantone is not the best tempera than Ab. The progression from good (more accurately. tJle fifths are purer, nle-nl for this piece upon hearing the to bad keys goes more quickly in the but the tJlirds are slightly less pure and 1. If you have an Q tuning fork instead q .C# combination in rn. 12.: nat direction than in the sharp direc seem to bear more of the responSibility of a c one. simply tune a·d·g·c·( within tion. and this (cature gives: the tempera· for the total sound: this is an example the Iimiu of the lIntemperet! third a·f, ment a ratller lopsided effect in pieces of the impossibility o( both having and going cloUJn by fifths and up by fourths. which modulate vcry rar. eating the same cake). While the "bad" and keeping the fifths narrower than A method proposed by Kimberger in keys are just as much improved as tJle pure and tlle fourths wider than pure. 1779 manages to get around both of "good" keys are worsened (another ex· The notes d, g. c, and I will need to r ,...,1 these difficulties quite ne:lltly, and is amplel) _ Young's temperament is also be higher, not lower. than in equal e\'ell easier to tune than the Werkmeis· somewhat more difficult to tunc than temperament. ter method given above: c-g·d-a-e as in any method given so far in this article, me:llntone, c-f·bb-eb·ab·db and e.b·f#: as having six: tempered £i£ths. each one Frescobaldi would have reserved such twO series of untempered fifths and tempercd by 1/6 of a (ditonic) comma a dissonance for a sp~a1 efCee!: whc~ fumths. (If the untennpcrcd intervals - still twice the amount shaved off such a striking sound appears Simply In are tuned first, it is particularly simple each equal. tempered fifth. These char· 2. Meyer, Juergen, Dr.-Ing.: Altwti" d~ passing. :J.S here. it seems to draw un to 10('11te the d: tunc the bb an octave acteristics suggest to me that it might Holz.blasinstrumente in Einuldarstellun· necessary attention to itself, _and even helow the temperament octave, and lu· be more u$Cful (or organs than for gen, (Frankfurt aIM. Verlag das Mu· to interrupt the forward rn'?tlon of the COIte tI so tl13l it bca15 equally with tJli!l harpsichords, since organs cannot be sikinstrument. cop. 1966)" In a discus piece. (rhe fon~'ard moUon of the hb and with tl,e f::: o[ the temperament retuned so conveniently. and since they sion of the tuning of a recorder by piece will also be interrupted if one octavc. The ;u:curacy of g and ° can abo must often play in keys more remote Stallcsby (1725), the author writes: must stop to retune the retuned ab" he C'asily checked by comparing the lOa· tJ13n those customarily encountered in "Die gcringe Ausweichung von h" nadl back to gI's in order to pl~y the fugue. jor thirds g·b 31td ('01.) harpsidlord music. This temperament oben komillt dem Lclttoncharactcr String quartets take the hberty of reo nabe." (,"The slight sharpness of the tuning between movementt. tho~gh I l,n 'is b·natural [makes it] resemble a leading for one find it an unnecessary disturb oS bil' ,~ ,I: tone" is the apparent nll'Olning of this ance; the whole audience becomes B somewhat unclear sentence.) alarmed however, if a harpsichordist 3. Peeters, Flor. and Mauten Albert retunes' even a few strings during 3. Vente: De Orgdllunst in de Nederlanden concerti) _ •.. (Antwerpen, Mercatorfonds. 1971). The above objections to meantone 10 Here OIbr:lin the s)'ntonic comma is di· has been used in three organs by Mich· On page 24 Vente writes of the tem' Bach's C major prelude should lead the vided among Ole (our "meantone lUllll," ael Loris of B3rre. Vt .• with highly suc peraments in use before the close o( the reader to wonder whether there exists a but the remaining schisma falls on the cessful results. The method follows: 18th century: "The C# was somewhat temperament which can successfully interval fl·db, not on g#-eb as in Werk· higher than the db. Ole d. somewhat avoid the allied blandness and harsh· meisler. Can ),ou discover where it is Beginning with f, tune six unlem higher than tl,e eb. etc." .(My transla· neSS of equal temperament and. the too l0C3ted in the meantone method given pered firths around the flat side of tion.) On page 51 he wntes that the great richness of mean lOne In such aoo\'e? Ibe circle 01 filths - I·bb·eb·ab·db·gb· attempt to include the lierc.e in the pieces. Of course tl,ere are many: thco- It takLos only a little practical ex cb. As in the Werkmeister and Kirn· plenum was given up "since tJle tierce, ristt were busy throughout the 17th pcrience with this temperament to hear berger temperaments described above. in combination with meanlone tempera and 18th centuries devbing all m;lOner that the simplest keys are the best, the successive untempered fifths make ment, gave rise to all manner of har· of tempcramentt for many purposes. plogrcssing from C major in both direc for rather wide major thirds. particu monic complications." (My translation;] One of the most important was Andreas tions at equal 5peeds around the circle larly 011 db. Gb. and co. But it is Vente seems to think tJl"t wide thir I \Verkmeister. whose temperamentt have of (ifths. (1 consider C major a better just Ulesc tones which arc the least _ if C# is higher than db, then the been revh'ed in this century for several triad than F major in this temperament frequent tonics. and the harshness of tllird a·CI will be even wider than in new and restored Dutch organs, and, in because the third c·e is better than f·a. the thirds is partially oUset by the equal tcmpcr.lment - arc tlle cause of this countr)" have been uK'd by John even though the fifth. c·g is less good pority of the fiflllS in the case of these complications; he must never have Brombaugh and Charles Fisk. One o( than f·e.) Furthennore. the C major Young's temperament. The other fifths. tried the Scsquiahera of the 1521 organ the several temperaments which he pro triad is not so disturbingly pure as the measured around the sharp side from at 0051buizen. still tuned in meantone, posed is set as follows: F major triad of Werkmeister. and the 1 (f.c-g-d.-a.e) . are each tempered by with the rest of its plenum. or he would remote keys are correspondingly less 1/6 comma, as lIlated above. quickly hear that it does work. and that Begin with c-g-d·a·e as in meantone, harsh. (Friu Noack has recently built ute thirds of both the keyboard and that is. with each of these ~our fifths some instruments tuned in a temper3- \. • If the Sesquialtera are not wide but pure tempered by 1A, of a syntOniC comma. ment of Kirnberger's which is ICS!l ~ • rOI" iDtervab. ""~ it! Ia .j Then retune the e so that it becomes an "equal" and less smooth than that de· J \ -I. Boyden, D3vid 0.: The History 0/ un tempered perfect f~urth ,,:ith the a ICnbed here; unfortunately I have not Violin Playing lrom its origins to 1761 just tuned. and contmue With b, an yet heard them.) Figure three shows This will make them larger than mean .. _ (London. Oxlord Univenity Press. untemptrtd (ifth with the (retuned) the important interval relationships in tone fifths (\4 comma) . but smaller 1965). l'assage.s on pages 18~, .24~. aut! e. Next, the (ourth b-f# b widened to this temperament. A comparison with th311 equal.tempered (1/12 comma) or 570-1 discuss 18th·century vlohn IOton give about the same number of beats figure two will demonstrate the superior pure (0 comma) fifths. It will also ation. Ute tuning of the suings, and the as the tempered g·d. The rest of the in· symmetry of Kirnberger's method. make lhe most common tonic notes innuence of fixed· temperament instrU· tervals are untempered: from f# tune C# (See Figure 3) closer to their major thirds. resulting OIents in ensemble music. and d as a series of untempered fifths If I have suessed the e:ue of tuning in 11)e greater apparent purity of these alld fourths, and (rom c IIIne f, bb. and these unequal temperaments, I have a more common triadS. eb in the same way. substantial body of historical precedent (See Figure 4) Dale Carr began I,u study 01 the o~ The literature of keyboard tempera· S."" witll Verle R. Larson at Drde U~I' ments is enonnous, and spans the cen 1Jersil),. and studied ",ere later willi 8 \ • turies practically from the invention o( Ituslell Saunders. He gradllattd from [~ Dortmoutli College, wliere lie majored I..---' the keyboard to the present. I have list - ed a few of the most valuable modern i,1 mus;c and sturl,'ed organ witli tht ~-~ .".,~ works below, in the hope that rcaden late Milton Gill. Oa,er leacliers have i"c1udtd This method is not entirely accurate, (or doing so. Harpsichords which need will be inspired not only to experiment H(,rriell Slack Ilichardsoll and lI"rlmrd Slrunk s/leorer. He studied mU but is so simple as to be quite usc(ul, ed to be rClempcred frequently for use along whatever lines may occur 10 them and the matJu~matiClI enor is in any with instruments a.t varying pitches as they attempt the methods described sic hislory at lhe University 01 CaUlo~· case almost negligible_ We h3vc distri would have been quite an intolerable here, but also to try to discover for 11;11 at Ilerkeic),. wllere he earned Jus buted the syntonic comma among four bother if the tuning proccs.s was 50 com themselves more of the attitudes and //Itlsters degree ill 1.966. On a f!.eyllolds perfect Hfths (c·g·d-a and b·(#), but plex as to require a great amount o( approaches o( 17th and 18tl,·century FcllowsM" he studIed argon willi Gtu· have then proceeded around the circle time. This was in (act the basis of one musicians and theorists toward this end· tou Leol,Jlarclt in Amsttrdafn. He is now of fifths as if we had distributed the of the important objections to equal (ollege orgfHlist at Dartmouth, wliere lie ditonic comma. In fact, the difference temperament in the 18th century: the lessly fascinating subject. also semes as music I,brariatl. He /las between the two commas. called a number of tempered intervals (12) was presented organ. harpsichord, attd cham· schismQ, is very small indeed, and it so great, and the amount of tempering BIBLIOGRAPHY ber recitals in New England. Berkeley. ""ill require it careful job of tuning if per inten'al (1/12 comma) so finicky. nlHl AIIl.JterJom : previous orticles alld the error is to be noticed at all. Figure that practitioners rightly despaired of 1. Barbour, J. Murray: Tu"ing and ,n flewl hove a/Jiltared In The Art ~f two ,hOWl the relationships of various adlieving accuracy. while theorists rev Temperament. a historical SUrlIey. East the Organ, in Musical Times. and HI fifths and thirds for this Werkmeister elled in the discovery of methods that L3nsing, Michigan State College Press. The Wodd Book (forthcoming edition) . 8 THE DIAPASON ATHIRD KIND OF ORGAN If you are among those who think the world offers just two kinds of organs - pipe or electronic- think again. There is now a third - the Allen Computer Organ - which uses neither pipes nor oscillators for its tone production. Instead, the prodigious information storage and retrieval capacities of the modern digital computer are put to musical use. Its concept is rather like a vast multiple tape recorder, in which organ tones of utmost fidelity are stored, to be summoned forth at the organist's touch, except, of course, that no tapes are really used. One needs no crystal ball to understand the extraordinary suc- cess of our Digital Computer Organ. The entire world, it seems, has been waiting for this new kind of instrument. Visit your nearest Allen representative and hear for yourself, or send for our demonstration record. ~Ilttl ORGAN (0. MACUNGIE, PA. 18062 e 197) ------Allen Organ Co. Department D-274 Macungie, Pa . 18062 o Please send information on the Digital Computer Organ. o Enclosed is $2.00 ($3.00 outside U.S .) Please send narrated Demonstration record. Name Addres> ~------~------hoMs a IIlOlstcn ti(..'g'rce Crom Convene College. and is a c.,ndida tc for the [lhO Appointments dt.'grcc at the Unh'enity of North C.UD lina. Chapel I-iii!. Mr. Slechnan rccci\l(!d YALE his bachelor and masters degree Crom SCHOOL OF MUSIC the Unh ersil)" oC Norlh Carolina. Chap. eI Hill, where he is also a candidate (or Ihe Ph)). ,\ddilionOllly, he has been an instruclnr in thc music dcp;ntment at 3rd Organ Symposium the Uni\'el"5 il)" u( North C.uolina. The I:ollndation has upcned a br:lltch oUice ;11 120 Greenwich SIll'et in Bethlehem March 13·15, 1974 Pa .. for the lise o( the Cllalogcrs and Ihe fuuherolnce o( Ihe Fountlation'l work in the area. DAVID LENNOX SMtTH JOINS ARTIST RECITALS MANAGEMENT ,~ T he addilion uf David Lennox Smith MAX REGER 10 the rosier o( organists represented by Arti!lt Recitals. concert management of Exploring the DiHering Interpretations 1.05 Angeles, Calif., has been announced J)u\id f . Hewlcll has been appolntcc..l b)' Ruth Plummer, executive director of the Master's Work urg.an h t ami I.. hoinu0I5Icr of St. Janie.. '! of the m:lIlagcmCIl(. [Iliscopul Chun:h, Grc:tnficld, Mana· A nathe o( Camornla, Mr. Smith it chusctts. ,\ graduate o( the JuiUianJ url,ranlsl and choinni1!5ler or the Fint School, Mr. !-I ewlcn has hclt.! prc\-ious linitcd Methodist Church, S:mta. Bar POSiliulIs in l'aris. France. ='t.'w York bara. Caliromia. He holds ule BA de City. am) lIIosl reccntly at Christ gree (rom Whittier College. and the MA Church. l-'ilchburg, Ma.s.sachusclts. 1·le dt.'gl'CC (rom Occidental College. He is Presentations by: has been a sUlLl e1l1 of Alexander Me· CIIo-enlly a candidale (or UlI! D~L\ de Cunt)' I UU\ it! Md\. Williams, Marcel gree at the Eastman School of Music. Michael Schneider DUprC and \'CIIIUIi d e Tal" His teachers have becn David Craig head, Robert Prichard. and Ladd Robert Bailey Philip Prince Thomas. He also holds the Performer'J Certificate ill organ (rom the E:utman Ridulrd n, Oa)'pool, JC'.1nnlllc S. In· Benn Gibson Robert Schuneman .'khool o( l\l llsic. grnlll, ami Robc.·J"t F. Su.--=hnan have been Jock Hennigan James Wyly all(loillh.'d to the Mor..a ", iall Music Foun· Mr. Smilh has concertized widely 011 and others dation in Winston·Salem, North Caro the Wt.ost Coast. and he was We winner lina. ' I he three young lIIusicologists will or the 1967 Western Regional Competi. underiOlke the C"oItOlluging o( the manu· tion o( the A.G,O. and the 1971 Nation· Charles Krtgbaum, Ca-Ordtnatar script ,lful printed music collections o( al Organ Playing Competition spon the .·oundatiun in Bethlehem. 1101 •• and sored by Ule First Congreptional in WinlilllTt·Salem. Mr. Claypool is a Churd) or Los Angeles. gr.uluale o( the nil en it)" o( ChiClgo, Mr. Smith was visiting lecturer in or· holds .1 lIIaslc r'$ d<.'g'rt.'C (roUl Nonh. bran at thc University of Southern Cali· W'-"SIt'11I l1 nil'ersit)" of Chicago, and has (onlia during tlte 1973 summer session. For details and reservations, write or phone: Yale School of Music, lx't'u music progr.lIll d irctlOr of radio tn miD he was inlerim organist and 96 Wall Street, New Haven, Conn. 06520. Tel. (203) 436.8740. sl;l1iulI WEFM, Chicago. the nation's choinmuter at All Saints Church. Pasa. nldest .~el"iulls lIlusic radio station. MR, dena. He has prc\ iously served ChUTChrs IngfOuu is .. ~ratlllate or Salem ColIl'ge, in Califomia and Lyons, New York. The First Presbyterian Church Glens Falls, New York - GRAND ORGUE - - POSITlF- FlH FEET Bourdon 16 Flute bouchee 8 Montre 8 Pre~tant 4 Flute a chemince 8 Flute <, fuseau 4 Prest ant 4 Nasard 2 ~!, Flute conique 4 Quartc de nasard 2 Doublette 2 Tierce 1% Cornet I II ?:- n/. , Larigot 111:, Fourniture IV Jl". , Fourniturc IV I Cymhalc III ;11 Cvmbale III Ih Trompctte 8 Cromornc 8 Trcmblant - RECIT- FF FT - PEDALE- Bourdon 8 FI·I·T Viole de gambe 8 Montrc 16 Voix celeste 8 Soubassc 16 Octave 4 Octave bassc 8 Flute octavinnte 4 Ilourdon 8 Octavin 2 Ilasse de choral 4 Plcin Jell V 2 Fourniture I V 2 Basson 16 Ilombarde 16 Hautbois 8 Trompcue 8 Voix humainc 8 Challlmcnu 4 Clairon 4 Trcmblant 10 I." THE DIAPASON Michigall, and their largest for lhe Fine Congregational Church in Akron. Ohiu. representatives for performing musician~ Mr. Lc\\'i!'l was also responsible for the installation of tIIany Skinner organs. NUNC DlMITTIS among them the organs of the \\'ash· iustoll Cathcdral. Mr. Hitchcock died in 1967. Mr. Lewis rct ircd '1hortly Ihereafler and was Stlc· u:cdctl b) MI'. GeoTl~e Payne ilS prcsi. dell1 311t1 101131 tl irectnr o f the finn . ~~ Arts"U;Pima'g~ ~Ir. Lewis had ht,'C1l active in tllc :'\lasuns fur mall)' l(.":&r~ and was gr.md mastcr of Ihc (,ralld Council of RO}ilt Suite 515, Gateway I, Newark, N. J. 07102 and Select Milstcrs (If the District in HI;;!!. He ",:IS also :1 past master of SI. (201) 624·3300 Jol1ll's Lodgl: ~o. II alld was a Knight Tcmpla .. :lIId a Sluillcr. Ht! was a past AUGUST HUMER gnllul patrnn (If the GI':Ind Chilpter of the Eastern SI:lr and helonged 10 Areme An Austrian native who teaches Chaplcr 1'\1). JO aher il mer~crl willi the at the Bruckner Conservatory Grand ChapIcr. in Linz, he will next be available :'\11'. l.cwi!i h:ul lK.'en a member of in North America in March of Hamline :,\fcthudisl Church. Washing· 1975. Inn. II.C. fur morc than 55 lears. He is SlIn'in'ti hy a !itep·daughter. Virginia "Masnificent .•. Sensational. , . .'ranl.)in uf \\'cslInimtcr, Md.. four Without doubt one of the best gralltkhihh clI, and nllc gtcat grandchild. organ recitals heard here in THEODORE C. LEWIS many years ..." (La Voz de Espana. '71) Theodore C. lewis. 82. c(}·folll1der of HEATHCOTE STATHAM Lewis and Hilchcock, Inc., died Dec. "Humer made a positive impres 14, 19;3 31 his home in Sih'cr Spring. ..Icalhcole Stalli'III1 , fonncr organi!il sion •. . Brilliant playing . .." Maryland. I-Ie h:ul surreTed from 3. heart ,11111 masici of thc chorislers at Nun\'ich (Pittsburgh Post Gazette. '72) ailment (or SOIllC litUc. Dllu,:dr.al. England, di(.'tI in :'IJorwidt :\ nath'c of Xcw York. :\Ir. lewis Oil Oct. 29, 19;:1. Hc W:lS M3 . ;l111H"cnticcd ",illt E. M. Skinner in 8m Mr. S1athilln was ctiuC:l1cd at Caim " ... handled the gleaming tracker Inn. ' rhere he mel William I. Hitch Colkogc, C:llnhriclgc Unhcrsi1),. and re, instrument like an old friend. , ." end:, and together lhe)' 010\'1.'£1 to \\'ash ccin.. ' his doctorate frum Cambridge. (WashinR\on Evening Star. '73) iultton. D.C. 10 form their firm . Their He was nrg;mi$l ill Calcutta Cathedral £irst organ W:L'i huilt in 1917 for St. rrom 1913·19~O, and :It ~t. Michael's ;\far)"s Episcopal Church in Washing- Collcgc. Tcnhuq'. England hefore being 1011. The firm huill mall)' oq,r:ms. among :It>pninll'd :II ~ ()rwich Cathl'dral in 19:J8 , Ihem clewll for Ol)crlin COnSCTl'31ory He rl'tired in J9fHi :uul was made or· of ~llI5ic. (OIiT for the Unin..'nity of ganist cmeritlls ill 1007. N ASS 1\ U PRESBYTERIAN CIIURCII. FOLK ~I.\SS AND MOm:R!'o" I.ITURGY Princeton, New jeney, held ... 5uies of Ad\'eot ~IAG"ZISE i~ lilt: naJllt of a ncw jouulal ,.000 rctitals 00 the four Wc-doesd:lY5 of ,\d· II lJblh hrd eight timu a ,'nr in s.." j m(', Can· SAMUEL JOHN SWARTZ 'I ~ nt , Thomas Melleth, nrgllnist of the church , fornia. The pMmary !alit of the ml.g:tzi.e h Illayed organ works a nd aCtnmlmnic-d soprano 10 help thnse prlll.lc ... 110 ;are o lrrcntly lll' A recent addition to the outstanding jun Thomas, contrah .. june Smith. trumpeter "nh'cd wilh " fnl" It)'le" lihlrM iU, Publidu:d I..,. list of Arts Image American concert Midlael Ai)rn. a nd SOllr;:InO E,'dyn Bloom a. Ih:'III1TCC I'uhlb timn . tr244 R"j,.l>t1\., Urin~ . organists. 'ealllrrd solnh ts on each progl"3l1l. Lunch was SoUl jM(" Califnrnia. 3 Ulhsr.riplioo is eurrcnt· iW!J"\.'C'd (for $1.25) h' Illemben of the audience Iy $8 l)C'r )'car. WilliOiln Uurn, " IIII ItUs h~ r. withinJli II) 'tay altcr the IlmJrams, rrlitllr. "Rich colors, elan and virtuosity were the key words . , ." (Kainer Stadt·Anzeiger, Germany. 71) "Quality of performance and excellence of programming ... complete command over the work, . . incredibly from Arts Image ... lucid playing •.• graphically displayed the vast color possibi lities , . ," DDILE (Palo Alto Times. Calif.• '72) PIERRE JOZEF SERAFIN The lirst Polish concert organist to perform in North America will TITULAR ORGANIST make his debut tour in the spring of 1975 under Arts Image CHURCH OF THE representation, He is the 1972 first prize winner in the MADELEINE Nuremberg International Organ Competition, a commercial PARIS recording artist in his native land, an associate of the composer Debut North American Penderezki and a frequent recitalist in both eastern and recital tour western Europe. September-October 1974 ". , , magnificently dominated by its organist Odile Pierre , , . a very brilliant virtuoso •.• faultless technique • . • noble style of interpretation." -La Figaro, Paris DAVID BRUCE-PAYNE ", • , fully balanced union of virtuosity and musicianship of high intelli· gence, a profound and warm sensitivity, a personal creative style." Westminster Abbey assistant to rrl~ke - Bremer Nachrichten, Germany his third North American tour I ", , • the critic has only to use superlatives without any hesitation. An April·May 1975. outstandin~ technique, unrivaled mastery of the pedals, outstanding musicianship," "Bruce--Payne is the compleat -Stuttgarter Zeitung, Germany organist, with both the dazzling facility and musical good judgement to "A supteme technical virtuosity, , . The most beautiful concert given by enable him to range widely through a foreign organist in our country since the war." a program of composers as different as -Vecemi Pracha, Prague, Czechoslovakia Bach and Guilmant, and do all convincingly," !lOdile Pierre is an organist one will not forget. With her super technique, her sense of balance, she has made her program shine by her passionate' (St. Louis Post·Dispatch. '73) gifts, leaving a halo of penetrating poetry in the audience after each piece." "., , a romantic player of consitlerable -L'Avvenire d'italia, Presaro distinction," (The Musical Times, London, '72) "A great technical master, luminous phrasinlt an amazing virtuosity, a penetrating and profound musical sense!" -Paris-Normandie, Oieppe FEBRUARY 197" 11 The Harpsichord World Reviewed by Larry Palmer RECORDINGS Arcangrlo Corelli: Twelve Sonatas, Schcurich, harpsichord; Lottc Schadle, Cal"! I\ugll!il Grabner or Dresden. Thi ~ opus 5, for Violin and Continuo. Sonya u.prano; Raimund Gih·a", tenor; Diett'r is indeed a welcome feast, lIIusically, ~ronosorr, ,·joHn; Jamn We.n·cr, organ Urachmann, cello; Stuttgart Boys Chotr. alld another of those welcome oppor and hOlrfHichord; Judith DavidorrJ cello ;l(wical Heritage Society MHS 1003/64. tuuith..'s for comp in its slightly updateu guise. Since pub. 1-'01' thosc who may not be (amiliar tolori, Francis Hopkinson, and Shudi to !itation of the original edition in 1959, wilh .. Russell," here is a brief 0\ erview jm-cnlorit."S or IIIstrtlmenl..5 belonsing to Russell's book has hl.'en the stanuard or thc material 10 be found therein_ The King Henry VIII. J. S. Dadl, Queen BOOK REVIEW introductory stUdy on early stringcd ninc chaplers arc: The Instrument; Italy; )fana Uarbarn of Spain, alld a list o( keyboard instruments; Howard Schott's Thc Low Countries; France; The Brit Instrulllenu confiscated from thc no 1'C"isions arc doubtless the sort of ish Isles to 1730; The British Isles (rom bjfjt} during the French rC"olution_ things thc author would ha\·e done I i30 - Ireland - America; Gennall)'; The pl ~ t (."S provide an extensivc visual Raymond Russell, F.S.A.: The Harp himself, had he lived; the list or coJlcc· S(3ndanavin - Central amI Eastern Eu· doclllllcm... tioll of thc national styles :md sichord Dnd Clavichord. 2nd reviscd edi lions of early keyboard instruments and ropc - The Spanish Peninsula; The pcculiarities discussed in the tcxt. tion by Howard ScllOtt, W_ W. Norton, thc list of books o( reference ha\·e been :-:inetecnth Century. This bnuk is one of tl,e basic refer· New York,208 pp., 103 platC$, $18.75. brought up to datc; dearer photographs The Appendices prcsent a wealth or cllce tools (or any pcrson intercsted in ha'·c [)Cell provided for (our plates; MJllfCC material Oil harpsichord history: tllC harpsichord. It is even more use(ul many plates have been rccaptioned. 59 pages of tromslaLions from a varietl now that Its bibliography and listings It is a happy occasion to grttt the showing the- present ownership or 10Cl o[ original languages. Topia included havc b('f!1l m3de morc current. reappe3raDce of tJlis important volume tioll of the depicted irutruments. hcrc r:lngc ftolll inventors sudt as Cd.- - Larry Palmer 12 THE DIAPASON HARPSICHORD NEWS JOSEPH FA "NE, Doston University. LARRY PALMER played this con· played this recital on November 28 at cert on January 1st for invited guests (he Sanders Theatre, Cambridge, spon at lhe hOllle of Mr. and Mrs. Raymond HARALD GENZMER trued by the Peabody-Mason Music Enlenm::mll of Dallas: "Chromatic" Fan (h. 9 February 1909) foundation: Tombeau de M . tie Cllam InlJ anti Fugue, S. 903, J. S. Bach; Th~ barmieres, D'Anglebert; Les lJagntdles Follies oj tile Frencll, or Ti,e Masks, (Or-dre X). L'Ar-lisle (XIX). Les and T/u~ Soul i,. Poin (Ordr~ 13), Organ Works Ff3l1cois Coupcrin; Concerlo in tlie Amu.u~men.s (VII). Fr:mcois Couperin: --_._- l.a 1'lIcc. Ln Flagoruewe, Boismortier; Halian Sly Ie, S. 971, Dach. The instru 59!i8 Advent Concerto. Organ Solo $ ' .00 l.a Dau/J"i"e. R:uncau; Par-lita in C mi ment. Mr. Palmer's 1968 WilIi .. m Dowd RI3R -Concerto for Organ and Orchestra. Pocket Score 7.50 lIur, J. S. Bach; SOllatas K. 151,213.401, " Blanchet" harpsichord. !l72. 2-17. 113. Domenico Scarlatti; "ltal I ec McRae of Berkcley. CalHomia, BOB3 Introduzione, Aria e Finale. Violin and Organ 4.50 inl" COFlcerto, J. S. 8 ... ch. The harpsi. has announccd two touring groups for SOiO Sonata. Trumpet (in C) and Organ 5.00 I hord was Mr. Paync's 1969 Eric Hen. 19i5 which will be of interest (0 those MARY PENDLETON played a harp· who "'dlg" naroquc music. During the 5856 Sonata No.2. Organ Solo 3.00 ~jc hord recilal in partial (ul(i1hnclll of lauer part of February A CONCERT Ihe requiremellts ror Ihe master of mu OT llAROQUE STRINGS rea,uring 5970 Sonata No.3. Organ Solo ._.,_.. _ .. _____ 3.00 sic dcgn.-c at Texas Tech University. SlgiS\\'3kl KUfkcn, \·jolin and gamba; Die Tageszeitcn (F.,·ening. Night, Morning). Organ Solo Lubbock, on November 28. Her pro Wicland Ku)~cn. bass gamba; and Rob 8O~2 '.00 gram: Toccata .3 in G, Froberger: Tom ert Kohnen, harpsichord will be avail· bcau de /II. lJIanCToclter~ L. Couperin; aide. Thcse artists are familiar through Sonata ;n D minor, S. 1014. for violin their appearances in Bruges and else· Choral Work. anLi harpsichord, J. S. Dach; DaPlme~ n'here in Belgium as well :as for inter· Ciles Famaby: $D1latns ;11 G and F· nalional :appearances with the Alariu5 RI89 Gennan Mass for Mixed Voice~ and Organ. Vocal Score 5.00 Solcr; S. slwr/J, Fre"cI, Suite ;u E-/lat, Em-emilIe. In March and April (19i5) 5909A Irish Harp (5 Songs) (Gennan). 4 10 7 Voices a cappclla. Vol. I 1.25 815, J. S. nacho !'JOUR CREAM, the DulCh recorder en ~ KARYL LOUWENAAR. Florida State scmble. will be a,'ailablc in ule United 59091\ Vol. II 1.$ Unh·ersity. Tallahassee. was harpsichord· Stales. The artists of Sour Cream are ist for thc recilal of Sheryl Cohen, flut rr:al1s Brueggcn, Kccs Rocke. and Wal· 5951 -Jiminez Canlata. (Germ .. n) Sopr Solo, SATS, Orch. ist. on No\,cmber 30th. The program: Icr \ all Hamre. Vocal Score 10.00 Two Gennan arias. Meine Secle hiirt, WILSO?,\ BARRY &:: COMPANY ha"e 8071 -tllinstral Cantata. (Gennan) Sopr Solo and Orchestra. FItJlnmcllde Rose, G. F. Handel: Icll written from Ando\'er, M::wachusctts, Vural Senre 10.00 folge dir gleich/ails (St. John Passion), thal thcy are now agcnts for Zucker· Bach; Trio in E for two flutes and • ~rJr. rm{Jnce material availa"'~ on renlnl harpsichord, C.P.E. Bach; Suite in C mann harpsichords, both as kits and minor for flute and harpsichord, J. S. as custom assemblies. llach; Ei! wie Je/wlechl {Ier Coffee Jiinc ISOLDE AHLGRIMM will give daily ,\ complete listing of Instrumental and Orchestr:J.l works will be found in lIIaslcrcla~\Cs on Dach's lI'ell - T~,"pered (Tlu Callee Cantata). Dach. the new 1974 EULENBURG CATALOGUE to be released in late Spring ARTHUR LAWRENCE, 51. Mary's CIOIJ;U during SoUlhcrn Methodist Uni· College, Notre Dame, ImJiana, was harp \ crsit) 's second intcrnational organ am) . . . honoring u,e lOOlh anniversary of the founding, in Leipzig, o( the sichonlist for a performance of J. S, harpSichord seminar. The dates are estecmed House of Eulenburg, and the 95th anni\'crsary of the di51inguished nach's IJmudenbllrg Concerto Five on June 2·1 through July 5, 19i4. For fur pUblisher, Kurt Eulenburg (b. 22 February 1879). December 9th at the College. The harp· thcr infomlation write the Division of sichord was a new instrument built for Music, SMU. Dallas. TexilS 752i5. St. Mary's music department by Mar· Co Fo PETERS CORPORATION JC~ rct Hood of Platteville, Wisconsin. Of Featufes and news jtcnU (Of these classic design, based on the French Ba· pages are always welcome. Address them 373 Park Avenue South New York, New York 10016 roquc tradition, it has three choirs of 10 Dr. Larry Palmer, Division o( Music, strings (2x8, 1x4) . S:\(U. Dallas, Texas 75275. (212) 686-4147 (Continued from p. 6) foutcq, "p. cit., p. 31; Charlo E. Vogan, U. Claude llaIbutre, Lim. d. Nftls, ed. b, flPn!nch Orpn School of the 17th and 18th NORTHWESTERN Caston Litaize and lean Bonr... (Paria: Edt· Cenlurio" (Ph.D. disaertation. Univenity of tioDl musicales de 1a Schola Cantorum d de la Michipn, 1948). Procure GenERIc! de b mwique, 1955). (L'O,. 1111 Vapn, liP. cit., p. 13. ,4"U,. U,,,,,iq... #48, 55. 56. ) .. Norbert: DuIoun:q, La Mwiqu J"O"u UNIVERSITY UI Norbert Durourc:q, u UJJ'rI de L'O,,.. P,.nttUu. p. 102. P,nt.iJ (J589.I789), Vol. Iv: La MauilJVl -Ibid. (Paris: Editions A. I: 1. Pieard. 1972) , p. 151. ur Pirro. 11/1 . cit. m Pierre Hardouin. "Notes et Documents," &II Fllis, ./1. dl. SCHOOL OF MUSIC R"vtle d. Airuitoro,ie XUI (Dee., 1958), 217. -Ibid. 1&1 Marcelle Benoit et ai, g., "Documenu UIO Michel Bn!net, us Con ~.rtl •• F,.nt. du Minulier Central." "R.th.,d.s" tur 14 'ow ,'a"nen Rlrim•• p. 262. Afusiq". f,. ft.( .is. e1tJUiq"., VII (1967), 230. ut The complete title it: Jo"rwlli d'Or,,,. 1 WI Ceorse:s Serviera, Dotu",.,,'s i,,/dit, sur "USII'. de$ ParOUlei tI Celmm,,"""'" Reli,il!!. Baroque: Sights and Sound. AI'I'i117 and 18, 1974 I., Or,."ist., /,ucau d., XVII' ., XVIII' Ulel par Monsieur Charpentier, Orpniste de nJtl., (Paris, Buruu d'fdition de la Schula (,Erlise de Paris, de Ie ParoiMe Royale de Cantorum. 1922 ), 3(-32. St. Paul et de I'abt.~ Royale de St. Vw:tor UI On the fint Sund.f in IBM the council .. . A Ilaris Chez Le Due•. •. T be }"",.IIi, raid his salary to S40 fiYftl per rear, and pubJishHi in 12 !)arb, contoti ns fuJUcs. Mal.ifi. in Apn1. 1807, he wall aw.rded 150 IiYftl ". ~.', masses, and hym n" titre d' indemnit! et de tEmoinase de uti.rac lD Ceorses Favre, in "Les Orpnistel Pari· lion." However. in 1809 his ...lary was ~ .iens i la fin du XVIII, .iede: J. J. Beauvar_ duced to 396 livra, and althoush he UNUC Jet.Charpentier. La Pe';'. MailriJ. (December, cessruUy n!quesled a raise in 1812, he was GUSTAV 193') 61-64, mentions a .«ond collection of given lin additional 100 livre:s a year in July, noel \';\rialions: Rec"eU tonte"""' Do"". No£b 1813. This information is supplied by Georges .n po",a"rri, 6 FUii It ~i,.q FEBRUARY 1974 13 1974 CHARTRES COMPETITION ~'·CII thcme; "'in:lls - a fugue on a of Juilliard. and fonner \'nice imtruc· letters SLATED FOR SEPTEMBER I!n'en theme. and a sylUphonic allegro tor' at Hampton Institute: Edgar Baule, mo,'elUent 011 a gh'en theme. l"t.'cordil1g artist and cOlllllOscr of jazz, The jury will hc composed of crni. "'ho wa5 co.composer with Nobel Sissie to the The annual International Oq,ran COlli' ncnt Ofb'OlIIists, generally six fureigners of " Red nail Expres,'i," named a£ter the petition of Chartres, France, wilt take alld four French. There is 110 appeal famcd supply train of Patlon's Ann)' in pl:lce from September 9 through Scp· against thc judges' decision, and thc World War II; Edna Ricks, who ap· Editor tember 22, 19i,1. The "Grand I'rix de hll'} is lIot obliged to award thc prizes. peared "as much as anybody alive ill Chartn."S" will COllsist of two separate J\n)' candidate having obtained the productions of ' l'urb"Y aud Uess.... ac· priles: olle prize for interpretation of Grand Ilrix de Chartres pn.-viollsl), is cording to Dr. jessye; and Herman I(}.(HHI French francs. and one prize for ineligible to compete. All atndidatt!s HCliuniu. operatic baritone from Chiat· irnpnnisation of the ~lIIe :lmount. The should tt'gister before .Iu\)' I, 197-1. Reg· go, who played the role of the crah salUe candidate among the finalists may istration requests should he scm to the man in "llorg), and ness." win the two pllzes and thus accumulate 'iccrelariat till Cuncuurs International The prcscntation of the jessyc Col· the sum of 20,OO() "'rench £roll1C.'!. A d'Orguc, 7ii. ruc tic Grellelle, i5OOi , lection was presidcd ()\'er by Allen 1'. candidatc 111:1)' enter for the interpreta· II;Jris. Fram·c. nriunn, dean of the Ullh'ersity of Mich· To the Editor: liem Sl"t:tion only, or for improvisation ig-oln School of Music. "'or the last several years I ha\"c hcell onl)" bllt to competc for the improvisa. Mn;. Ual'lletl and Mr. ~oland rc£lec((-cI tion prize. a candidate tullSt t,lke p .. rL ,'ngagcd in historical research Ult m-golll ' BLACK MUSIC COLLECTION hricfly on the life and times of Dr. building rinu!i in this amntll', ill the interprelatinn section. To he Jes,'i}'e and her man)' colleagues ami I am now trying to h,{"ale photo. eligihle for the final round in impm"i GIVEN TO U. OF MICHIGAN their contrihutinns to ;\mcric:m musical graphic material. and I am wriling in sation. a Cl.lIIdidate mllst aiso he selected theatre. hUPL'S that you would be able to gh'c for the final round of interpretation. Eubie Rlake, k.llem'n as the grand old Thc music:11 program of the presenta· me sollie advice as lu how olle mighl Each prize consists of an eliminating mall o£ ragtime, and many other well· tion cCl'emony included a jazz medley go about obtainillg such material. rutlnd and a final ronnd. k.nown hlack stage artists gathen.'tl fur h)' William Holeom of thc U·l\[ music I am particularly interested in photo The competition is open to mganists Ihe formal presentation of the Eva jt."5' WlIIlK)sition facult)·; Howard Swanson's glOlphs or builticn' workshops. organs of all nations not yct having rcadled s)'e Afro,Amcrican Music Collection at "I'lc Known Rh'ers" sung by doctoral under construction. and completed the agc of 3ft at the tillle of the COlli' The Unh'ersit)' of Michigan jan. 19. student Z. Ec.itlluud Tolh'er; a short talk work!i prior In 191:" "ctitiun. 1-1uwe"CI· thc directiun commit· Dr. E'a jess)'e. the first black woman aud a tcnditioll of "Crazy "'iugers" by Any help you can gh'c IIlC will he tl"C will gram a dispcnsation o( age to earn International distinction ~ a Euhie nl:lke; and a choral work by Dr. rloatly apllI"cciatcd. which will not excl"Cd nile ycar for the chural conductor. has gh'en her exICn · Jess}'e entitled "MOl'el Let Me Shine'" RClOPt>(t[ull y ~- our$, candidall"S h,ning hecn rinalists in 19i3. sh'e personal collection of black music !iUlig by members of the U·M Chamber J. Sian Ion Pcle!"s The eliminations will take place prh·· melllCmlhilia to the · M. Man)" of the Choir under the diTt.-ction of Thomas HHO North Prospect Ihe. atel), in l'ari5 from Sept. 9·19 tinder the honorl"li gucstS at the prescntatioll cere Hilbish. Milwaukee, Wis. 5321't'1 SllOlISorship of thc ORTF at the 1115titut ilion)" werc fricnds of Dr. jl·s.'~)"e and Dr. jcssye donated hcr collcction of Sational de5 jennes ,\\'engles. The ha\·e donated hems to the collection. mementos. scorcs, manuscripts. photos, rinals will take placc nn Sunday. Sept. Among the guests were: Etta Moten and letters to the University of Michi. 22 at thc Cathedml of Chartres. Darncll. concert singer and influential gan School of Music and others have The I'l'(luired pieces for the intcrpre friend of African statesmen; Robert L. added suhstantially to the collection. Columbia. SC Dec. li, 1973 t,llion scction. to hc played from melli :\olan, head o£ his own school of IIlllsic ·· Her rich experiences in the theatre ! 0 the Editor: ory, include the following; EliminatiollS in Detroit and music editor of the \\orld o( the Twenties. when she worked In nt. Guenther's CXCCllC!1I1 anidc - Prelude (111(1 Fugue ill F·slwrp minor. :\lichigan Chronicle; Ethel Ramos Har· OIS choral din.-ctor with George Gersh· Com/'oset.f 0/ French Nod Variations Buxtehudc; Chorale l' I' e I II d e on !"is, pianist and composer now Jiving in win and Virgil Thompson and tra\'cled that appeared in the December issue, Sc/",,,1cke die". 0 licl,e Seele. BWV 654 , l'iusbllrgh; Eva Taylor Williams, one through j'\mcrica and Europe willi her "he states that "it has been impossible Uach; and Filltll from Sym/JllorlY If' h~ or tJle pioneers of radio perfomlance F.'·a jess)'e Choir, brought her many to loetIC" the 9 Uvres dt! Pieus d'Orgut! "icl11c; Finals - D;(llogllt! i" C major, known as the "Dixie Nightingale;" Elma friends among the great performers and of Uenant. A copy of all nine books, in· Marchand: Herr jeslI CIlri,d. (lieil :'11 Lewis. diTCctor of the National CenICr composers of that era of musical theatre cluding the nocls is in the collection of urIS wcrul, nw v 655. )lach; and 1-occa' of Afro-American Artists, Dorchester, known as the 'Goldcn Era:" Dr. Standi. the Newberry Library in Chicago. The In IJ)' Dum/lr!. Candid::Ht!S for the hn· Ma~'iachusclts; Harriet Easton, editor of fer noted. music is extremely pianistic. in the st}'lc pl'O\"is.'ltion scction al'c required. in ad· :I scnior citizcn newspaper and widow A reccnt donation by Mr. and Mrs. of Haydn. and liberally sprinkled with dition to the ohme piecl'S. 10 imprOl'isc of Sidney Easton of stage fame as com· F.ubic Blake to the collection is a video· haHan tempo markings. the fullowing: Eliminations - a hal" Iloscr and comedian: Marian Nettles. taped intcn'iew conducted by Dr. Stand Edmund Shay lIIonized chorale and 3 variations 011 .. music teacher in New York, graduate ifer with Ulake. At Reisner, progress never stops. Photographs at left point up recent and very important improvements to the Model R-R Capture Type Combination Action. Bearings at the ends of movable bars are now made of Celcon-a tough, durable plastic used by industry for self lubricating gears and bearings. This eliminates corrosion at the hinge points, an important feature in humid or salt-air environments. Also. heavy-duty relays are now used for stop-action "on-off" operation. eliminating the need for peri· odic adjusting. These refinements are simply part of our policy of continuous product improvement. Contact your organ serviceman for fur ther information. THE d~~ OZIJ. ~.I~,~bi MFG. CO. VVl/VWV INC. New toggle-hinges and bearings (left) are made of Celcon, a space-age plastic with very special proper ties. Heavy-duty relays (right) mean long, trouble-free operation without periodic adjustment. 14 THE DIAPASON BAYLOR U. TO SPONSOR SPOKANE CATHEDRAL OFFERS COMPOSITION CONTEST FOR PRIZES FOR NEW COMPOSITIONS HIGH SCHOOL STUDENTS The Calhcth'al Chun:h of 51. John Baylor l ll1hCt'\it) Schonl of Music has Ihe Evangelist, Spokane, Washington, is :lIInullnced it!> 19i·1 Cmnposilion Schol· offering thrcc S31KI prilcs for original arship Cunlest , open to all} student who musical works 10 he premiercd at the is IIOW a scnior ill all aCCI"ediled high Calhetlr.tl during Expo '74. The World's schIH)1. The winner of the cmnpetiliul1 Fair, Expo ';.t, will hc hcld in ~pokane will recci\'c a 5.}00 scholarship tn Ihe frunt 1\Ia\' ·1 10 No\"ember 3, 19i4. Dr. Ua}lnr Uni\"ersity of Music, cnl1tillgelH C. Hamid Eiuecke. organist :tnd choir un admissiun In the l'nin..' nily as a maslL'r or Ihe Catlu:dral. said the church ("f)ml)OSilion majuro There arc 110 restric is looking fm· Olle work in each of three linn." 011 perfnnllancc mL'1limll or length C;lIc..-gori('S: rnrillon. organ. ami choral. IIf the snhmillcd wurlr.!Ii. ,\11 enlries The deadline for r('{"cipl of work.'i i!l Alabama Junior College shuuld he Hf recent dale aud sholiid ~farch I. 1974, alltl a panel of Ihrce reneel sc.' riousllcss uf musical pllrpnsc 011 jUdj.,'C5 ntll yet sclc..'C1cd will judge Ihe Gets Wicks Tracker Ihe pari nf the comlKlSCr. works. There arc 110 thcmatic rc5lric· F.a ch cOllle'iI;1I11 mar suhmit as man)' liom, although the choral wotk, at lC35t, A 2(J'SInP, 2·mauual mcchanical ac as tlm.'C compositions, which should he "should he religious ill nature." Thc tion organ huill hy thc Wicks Organ accnml)3nit:d hr a letter containing composcr!'i of hath thc selected orgall Company 01 Highland, Illinois has been name'i III the suhmilled work.s , 'he com and carillon wOI"ks will he in\'ited to illslallct.l ,Il Alexander City Slate Junior poscr's namc :lIul alllln.. 'Ss, the name of premiere Iheil' work!! at thc Cathedral. Collcge, Alexander. I\lahama. Pipes of hili high sehoul, ami a hrief snmlllary of the Pedal dh isiull arc encased to lhe his lUusic:.1 h:lckground and actil'ities. Idt o( the atl;tchc..'Ct consolc, lhe pipes DAVE BRUlJECK'S :SEW CANTATA, Jeremy Cooper Builds All l'nuies must he rc..>cei\cd hy ~Iarch "TRUTU", was (lerlflm!ed on Jan. 17 in Hill o( Manual I arc cllt:3scd to the right of t. 197·1. and the winller will he nOlified the console, :lIId the Manual II division for Irvine Foundation AUtliloriulII, Uoi\·er'5it,· of ~richigan, Ann Ar· h, M3rch I:;. 19H, bor. as part of the 29th allnual Midw~lern is abO' e thc cunsolc. 'fhe tonal design ' The cunlc.\t \\ ill he judged by a pallel CIlII(eteIlC~ 011 SdwClI Vrx:al and Jnstmmcnlal W:IS drawn tip by Harald Rohlig, who Jeremy Cooper. organ builder of COil' of Ua)lor School nf Music faculty memo ~Iusic . The "'mlt fe:uurecl cflmposcr-(lianil t also supen:isl..'Il (he micing. Sarah E. curd. New Hampshire, has recently hers chain.'I1 by 11r. Richard Willis. com· Brubeck. IIi. 1011 Chris (a U. or Michip n Scott is head 01 Ihe music dcpartment poscr ill residencc. Entrics should he lllment), the New Hea~' enly Dluc rock !roup, al the college. COlUplCh ..d a posith'c organ for the Ir. the U . of Michipn Choral Union, Dnd the \illc Foundation of New York City. ~nt to 1>1'. Richard Willis, naylor Uni· Octroit 5)'mphony IInder the dirttlion 01 "Home base" fot the scmi-portable in \'crsity School or ;\Iusic, Waco. Tcxas ( nnlluetors Erid! Kunrel and Don Th. J llqer. ~IANUAL smUllent is the Central Presbyterian 7670~. I'rincipal 8' 61 pipet Church in Manhallan. The case is £rom QuinLltle 8' 61 pipes THE MUSIC OF GARREll LIST was le:l Ditta\"\: -4 ' 61 pipes ribbon.grain Taiwan and solid Hon TilE FIR S T U~ITED METHODIST tured in an alternoon protJram on Jan. 6 at Spit.z.flote -4 ' 61 pipes dllras mahog;mics. The l;c)'ooard h:!, CHURCH of Salem. Ohio, M' jUlt compktnl tn" Catl.wr.al of 51. Jolm Ihe Di,inc, New HlndUot" :!' 61 pipe! GalJoon ebony lIalllmls and Brazilian a rctliliidill! pt~ralll or it, orsan. The on· \'01"k City. Hi, " Wind MUlie lor Trombones ~li'(llIr III 181 pipa 1I(i lllli inltnUII"ut ""-01.1 Luilt and installed in loscwood sharps, The entire organ, in and Flul~ " (1 973 ) and "Two Songs" were M,\NUAL II cluding the hlO\\'cr and diagonal hel 1910·11 hy rhilip Winching or Salem, and (lerlonned alon! wllh the ..... orld premi"rc or Gt'msllorn 8' 61 pipe. it was rehuilt in 1!H8 hy Hill!n"n·Lane and lows, is enclosed by the case which hu " Music for 51. Jnhm: ,\n Antiphonal Mu. G"deckt 8' 61 (lipes QUIllian),. The 1973 nllllihlin! wa, dof\C by KohrflOle -I' 61 pillCS _~tallds under S' high. All ranks except sic for january 6, 197+ (Epiphany) (With IImce Suyder. nr!aniu o( the Fint Unitm Pros". Poetr), and Son!s)". Satard :!W 61 pipes Ihe I'racslant may he played with the JlIt"SiI}"terian Church of Salem, and a former Schwt"itu rplcire 2' 61 pipe1 shutters closed, The kc)hoard compass "1II1,III)'rl: o( lIil1s«en.Laue. Homer S. Taylor I'rincipal 1 ~' 61 "ipc, is Cd" I, 51 note'!. iJ IIrJiiallitt n( Ihe chuTCh , ,\DAM HAMME, lor ~ yean organist and T"rz I~ ' 61 pi,les chnirmastcr of Zillll LUlherOln Church. York, Krummhflrll 8' 61 pipn MANUAL TilE COLUMBIA, S,C. CHAPTER AGO I'c-nnsyh-ania, wn. honored by Ihe church for I'ED.\L Groadu 8' (wood) held it, 27th annual junior choir festi"'al at his long allil Inlitlul tenul" at the York 5uhbass 16' 3:! (lipes ')r::ltJtant .. . Trinity Elliscltp,,1 Church on Dec. 2, 1973. Church 011 Dec. 9, 1973. Jlis SOth anniversary Princ;I):!1 8' 32 pipQ Gedackl .. . Ahuut 350 dlildren (rolll 13 local church~ wns obsern'd with a lIIu.ical program includ I'nllllllet 8' 32 pipes Quint Tnble 2~' (Iartieipatcd in the event. Dr. Edmund Shay illg works b)' Marcello, t\tlludorff, Arne. Bach. Chflr.c.llrau .. ' 3:! pipes Dclan: 2' fI( Culunlbia CoUr!e played a short r"cital Franck, DiekilulIll, Beelhu\'cu, Langlais, Far Kallscbp(t"ife II rl"l (lilll'S TUb; Tnblc I~' hdore the (utin!1 JH"Dt!I ram. Ilam, Rrger and Dupre (or Ilrgan and choir. )'osaune Hi' 32 l)ipl'S TRINITY CHRISTIAN CHORAL OCTAVOS REFORMED CHURCK FOR LENT & EASTER Mixed Voices-Lent o Lord, Attend Unto My Cry-Sweelinck 98-2202 $ .35 Hope of the World-Genevan Psalter/Wolff 98-2163 .40 o Lord, the World's Savlor- Wm. Mundy 98-2167 .40 Relalee, Ve Shining Worlds on High - Billings 98-2192 .30 (for Palm Sunday) ARTESIA, ReflecUons on Death - Billings 98·2197 .35 1. Here Is a Song. 2. Great God. How Frail a Thing is Man. CALIFORNIA 3. What If the Faint Must Die (for general use) Mlled Volcel-Easter Awake, My Heart, wllh Gladness-Cruger/Lovelace 98-2173 .35 with organ and two treble instruments Good Chrl.tlan Men, Refole. and Sing - Vulplus 98·2203 .30 18 Stops with opt. brass quartet The Day 0' Resurrection - Willa" 98·2206 .35 Arise and Han the Sacred Day-Billings 98·2191 .25 Slider Chests The Lord My Pasture Shall Prepare-Billings 98-2193 .25 Electric Action (for Good Shepherd Sunday) SAB Voices o Sing Unto the Lord- Handel 98·2200 .35 Our 42nd Vear of Fine Organ Building. JesuI, lead Thou On - Brandon 98·2169 .40 Come, Praise the Lord- Couperin 98·2164 .50 Glad Tidings' Glad TJdlngs! - Brandon 98-2168 .40 Allelulal Christ Our Passover (SSAB) - Bender 98-2207 .30 Tracker Organs - Slider Chests; Mechanical or Vacuum Operated Stop Treble Voices Action; Slider Chests with Electric Action Available Where Necessary. On My Heart Imprint Thine Image- Melvin Rotermund 98-2180 .25 for unison voices. flute, string bass or cello. and opt. oboe He Who Is Not with Me Is Against Me (SA) - Bender 98·2058 .30 Hosanna, Loud Hosanna (SA)-Wolff 98-2204 .35 Schlicker Organ Co., Inc. When the CounseJor Comes {SAl - Bender 98-2055 .30 Buffalo, New York 14217 Male VoJcel Hide Not Thou Thy Face from Us, 0 Lord - Farrant 98·22Ot .30 o Inquiries Invited - Member APOBtf. r11\~ ~ ---- ..... FEBRUARV 197" 15 li~ arc a fairly recent phenomenon in the overexposu1'C: of two recitalists lack· • ,\ustralia_ A modest festival in Sydney ing great audience appeal, the impend. Australia, 1973 in 1970 wall followed by more ambitious ing opening of the Opcra House and The Organ In fntivals in Sydney and elsewhere. The an unusually small number of inler 1972 Sydney Organ Festh-al presented state ,-jsitors, There were some superh the "complete" organ works o[ Bach perfonnances: a concen for chamber in ten recitals by cight organisLs on orchestra, oThran and trumpet was one three modem mechanical action instru of Splney's [inest concer15 of the year, by Michael Edgeloe TIIcnt!, and a fascinating expericuce it and John O'Donnell showed that hc tnmed out to be. has fcw peers in this country whell play The Third Melbotlnlc Autumn Fes ing works by Alain, de Grigny. HeiJIer, tival of Organ and Harpstchord, in Reger and Messiaen. Too many of the May, o£lercd the most ambitious and other "-ent,, left something to he dc 1973 ",'as a year (or the performer 'ICC tra,'cI arrangement!; were hafTa5.\Cd '-arict.1 program yet of recitals, milSlcr sirt.'d. In attempting to satisfy all of rather than the instrument, with the by all airport strike; heavy rain fell on classes and social e\-cUt5 - and was all the people some of the timc rather than two most significant (C'3tures being the thc da)'s of both her evening recitals in enormous success. l\I(,.'lbourne audiences some of the people all o[ the time, the influx o[ overseas organists and the rise Sydney and there was a 24·hour train turned up as nc\'er bcfore, and heard a Festh-al ended up satis[ying only SOllie and fall of the organ Cesdnl. No fewer strike on one of them; a power dispute panorama of music ranging frolll the of Ihe people SOUle of the time, lhan six. internationally known otWlni5ls caused frequent blackout", ulmughoUl rcnaissance to today, including $C'-er-oII So milch for perfonnances. 1973 saw (Barrie Cabcna. Pelet Hurford, Amo her week in Sydney and forced the can· prcmicrc.'S of works by /\ustralian com· the public scmtillY of two mechanical Schonstcdt, Graham Steed, Gillian Weir cellation o[ a tWilight cOllcert in which posers_ Judged by press reports, thc pcr. action organs, olle at the Unh'ersity of and Malcolm Williamson) - a number she was scheduled to perfoml; and fi· ronnanccs ranged rrom ralr to olluland S)dne)' with three manuals by Deckerath morC' usually associated wilh viSiting nally the IIcwly opened Opera House ing_ The fUlIIre of the Melbourne festl · (the £lr5t by this builder in Australia) pianists - gave recitals. Festivals lasting dominated thc cultural me o[ Sydney, to ,'al is ob\ iously bright. The city'S main and OIlC in SI. Francis' Church, Mel· eight to tcn days were held in Adcl3ide. the dctriment of all other conccru. Tllus need is a first·dass mooem mech.:mical houme with two manua's by Fincham_ Melbourne, Perth and Sydney. only a smaU hm enthusiastic audience action instrument in a medium-sized The neckerath organ, inaugurated laiC attended the ,\ustrialian premiere of The ouulanding success among the 110111, No such instrument is in sight. in 1972 by Lionel Rogg, has turned Ollt ,'isitors was Graham Sleed. His chann Messiaen's Mblitatioru Sllr Ie M)'5t ~ re de At the momcnt, the only really success to he something of an enigma, It is ton· ing personillity and Ii\'cly pcrform;mces In Snirlte-Triuit~ . ful organ of this kinel is Roger Pogsoll's ally superb [or romantic and con tern· won friends c\·C'rpvhcrc. His visit w:u In August Australi:m-born romposcr [\\0 manual instrulllent in Christ 1>01"'3r), IIlllsic, hut not entirely com'inc· part of a world tour that began in To Malcolm WiIIi:ltusoll took up a Crcati\'c Cllllrch, lIrunswidi., wllidl a((Oll1mO iug in baroque_ It docs not projc.'Ct well ronto, continued in Victoria (British Ar~ Fellowship at tlle Austrilliau Na datc.'S about 150 people. to the opposite cnd of thc hall. and it Columbia). Honolulu and New Zealand tional Unhersity in Canhcrra, The gen In the afterglow of Melbounlc's suc· tcnds to run out nf wind in Widor.t)'pc and concluded with ten Australian en crotlS terms of his fellowshill enabled cess and probably with the feeling that rull organ pa1Sages. E\en so, it is gen. gagements and one in Bombay, His S)'d. him to participate in se\'cra cities ill "anything Melbourne can do, we can emily acknowlcdged to be the fine!\t ney performance of \Vidor's Fill" Sy",- perlonnances of his chamber and or· at 'east equal," expandell and varietJ fes 21hh ccntury organ in Australia. 1",ollY (complete) showed how superb chestral works, mini.operas and other ti\'als wcrc held in August and Septem I:rcnch romantic lIlusic can sound on compositions. He gave recitals in S}t.I· ber in J\dclaide, Sydney and Perth - The [uture for the organ building in· suitable modern mechanical action in ncy and Adelaide of his own orgall and all were financial disasters. In Ule dustry looks ros)". A three-manual in· struments, It also revealed Widor as an works; his Man 01 a Medkval Sai,.t and light or past successes, Sydney's poor strument by rogson for the Conserva torimn of Music in Sydney is expected undeservedly nrglectcd composer, Sleed some of the PelJc~ Piu~s were wcll re OIttendanu'S were both unexpccted and was also 3n eloquent and enthusiil!tic ceived in SpJney. discouraging. The potential for success 10 he compJelc.'tl coul)' in '974. Some advocate for the works of the late MOlI' Overall the German org:mist Arno was there: recitals and Ulastercla.s.scs by recitals on the incomplete instrulllcnt cel Dupre, and by a lecture-rccital on Schonstedt was a disappoiuUUent. He Williamson, Schonstcdt and leading sounded most promising, Ron Sharp i" t'"pccled to complete a two· manual in· them he did lUudl to increase Sydney's honoured Reger with fine performances l\uslraliat1 artists, the finest mechanical appreciation of the composer and his of scveral major works, but his quiet action organs in the country, a concert strumcnt in Onnond College In Mel lIIusic. and unsmiling personality amI accurate or renaissance instrumental and \'ocal hournc and a three-manual instrument in the I'erth Conccn Hall. Pogson hal; Steed and his wife so enjoyed their but unexciting playing b~neratcd lillie music by a well-known and popular ell. lime "down Ululer" that he resigned in rapport with his audiellCl.'S. semble, a jau concert which included 5t:\-eral contrac~ for small instrument in Adelaide, Sydncy and COlilltry towns, December from his appoinunent as di }Jeter Hurford had no such audience improvisations on Dadl's Ptusacaglin rcclor of music 411 the Immanuel Con and Sei gegriiSid, etc. The Festival celc· plus a three-manual for Brisbane in prOblems at tlle two S)-dney recitals (it· 1975 _ All these new org:lIIS have me. gTL"gational Church in Harlrord. Con ted in during O)'ing \'isits (partly to brated the centenary of Rc.'ger's birth m_"etieut, in order 10 emigrate to Auck· chanical action. And we C'3n look ror consult on the Opera House organ, and and the 50th birthdar of HeHler (under ward to LIte completion (announced for land, New 7.ealand, where he plans to whom scveral Austra ians ha,'e stUdied) partly to record the Orgdbi;clllein for 19i6) of Sharp's fh-c-manual organ in teach and gh-e recitals. Argo records). His entertaining verbal by the inclusion o[ a number of their I he Opera House. Gillian Weir's brief visit (after a introductions and lively playing had the organ works. In retrospect, a number of 10llr of New Zealand) was jinxed by audiences immrdiale1y "with him:' Bar factors (some predictable, some not) industrial disputes. Her tour hcgan well rie Cahena's visit to his hOllle lown of colluibuted to tlle failure: 100 many Micllnd Edgdo~, a mathematician by with a concert in Brisbanc - Australian Melhoume was mainly vacational, ai e'-cnlS, some rather dull music (includ· prolelS;on, ;s active in arga" circles in composer William Lovelock's Sinlo"ia Ihough he ga'-c one public recital there, ing two especially banal pieces of nOll · Sydney_ He is concert tlltH/nger lor tilt! C:olJrerttmte lor Orgall and Orcl,eslra Organ Festivals offering a concen music by Melbourne composers) . the Organ Society 01 Sydney anti editor 01 and a "ach harpsichord concerto. But trated diet of day and e\'ening activi· total absence of French romalltic music. The Sydney Organ Journal. ilS own; which hit-' its own repertory. or voice and choral conducting at Occi expanding at an almon overwhelming dental Collcge (los Angeles) and now rate into the present, past, and future. visiting proressor at CaJi£omia State Choral Conducting: A Symposium or an exreJJence at least equilliing tl13t Uni\'eBity at Fullerton, writes on the o( instrumental music, and perhaps sur· development of choral lone and diction. passing it in historical quantity; and Llo)d pfautsch, director of choral activi which. with the ample evidence oUered tiC$ at Southern Methodist University Book Review by Vidor Weber in these few pages, has engaged the im- and an active composer of choral music, 3ginations o[ a generation of mU5idans lilah'S a series of observations on reo of gigantic energies and productiveness_ hearsal technique. Walter S. Collins, Hedord's and Decker's Symposium will professor of music at the University of act as a connant prod to the intellects Colorado in Boulder, presents his Ideas Harold A. Deckcr and Julius Herford, The evidence is legion. There is the and consciences of all musicians who on the rele\'ance of historictl (musico cd5. C/Joro\ Conducting: A Sympotlwn. distasteful fact known to every choral have not already inextricably rallen into logical) research, emphasizing editorial New York. ApplelOn-Century·CroftJ. conductor chat, as singen progros in the frustrated satisfaction of meeting practices. Daniel Moe. professor of ehoT· 1975. their development of soloistic abilities, categorically imposed obligations with 411 ronducting at Oberlin College they begin to look [orward (with their the well.worn conviction that "no-one (Ohio) and also a composer, analyscs The choice of choral conducting or of teachers' cncouragcment) to the day will know the di££erencc." the choral repenory of the twentieth choral singing as one', major vocation when they "graduate" from tJleir mem Indeed, one emerges from a first read century and sollle of its tecllllical prob· in this country conLlins within it an bership in soprano, alto, tenor, and baM ing (alltl thal is not nearly enough) of lems. Editor Julius Herford, professor element of damnation. While the insti sections. Among our student population thls SymposiuJn with the buoyantly re emeritus of music and director of grad tutiom which have tCllditionally nur the needs of our )'Otlng people for some newed bc1ier lhat excellently conceived nate studic.os in choral mwic al Indiana tured and supported choral music ron· kind of "indh'idualized" form of personal and executed choral performances are University, outlines the use of musico tinue to do 50 at least nominally, the exprc.'SSion are apparently quite seldom not onl)' an obligation. but are also logical tools (both historical and analy choral conductor and hi!; singen are satisfied by participation in large group possible, The only cdv~at, which runs tical) in the preparation of scores. And viewed with II measure of distrust, In activities, such as choruses or athletic hy implication through e"ery oomribu· editor Harold Decker, professor of mu academia the choral conductor is likely teams. The decline in prospective audi tion to this book, is that first·rate choral sic and director of choral activities at to be secn 3S little more than a "cheer lioners for chor:lI organizations is a singing is. by virtue of the enormity of the Unh-ersity of JIlinois at Champaign leader," dealing with 3 repertory which noteworthy fact in contemporary school tlle choral repertory, the increasing sub Urhana, prefaces the volume with a faib dramatically to meet the high me, even in those centers of the coun· tlety of its lechniques, and the complex short history of choral music in the standarlb of musical quaJity established try where choral singing has reached a it)' of its psychology, extremely difficult Unitl"t.l States. £adl contributor gives by irutrumental repertorie!l. Academic high degree of excellence. Further, to achiCl'e: perhaps moce so than good \"aluable insighLS into ule qualities oC choral concerts are frequently attended tllcre is the well·known and documentro instrumental ensemble. The choices analytical musicianship which have led by "obligated" family, friends. and col· historical desire, now finally fulfilled, which the contributors present in re· cach o[ them to uniquely distinguished leagues, o[ participant! audiences of the nation's most charismatic choral gard to selection of rcpenory, method careers in the field of dlOl"3.1 music. whose probable preferences would lead conductor. Robert Shaw, to achieve the ology of preparation for rehearsal and If the spirit of Oliver Strunk should them to be at home with a good book cxclusil'e status of orchestral director. performance, and style of voca' ap hve in a music historian of the twent)" or fine rccoroing. Church choirs arc too Within the narrower confines of Chica proach, allow no easy answers; but they second century, it will be magnetically often heard as secondary adjuncts to go. there are persistent rumors that the ha,-e increascd at least this choral mu drawn to Howard Swan's article, "The increasingly ill·attended serviccs, or doyen of the Second City'S choral musi· sician's sense of the potential inherent Dc'-clopment of a Choral Instrument." even worse, merely ;d collectiom o[ peo. cialu would prefer to pass aJong to a in his art, It will serve as an invaluable guide to pie with undistinguished musical abili purely instrumental ronducting Clreer, The list of rontributors which Deckcr the performance practices of tlle twen ties whose personal needs lead tbem The present volume should dispel all and Herford have assemblctl for their tietll century. Swan not only demon· away from other responsibilities onte a doubts that cJlOral singing and conduct little book will be familiar to anyone strates his awareness of tlle historictl week for "a night out" at what might ing are an an form which has developed who is involved in tllC American choral uniqueness of the development of loosely be called a rebe.nal. a .pedal and very complex integrity of scene. Howard Swan, emeritus pro[essor (Continued next page) 16 THE DIAPASON Americ.:w choral music (one wishes that hearsals. and Ihe usc of humor in re he now would devote his thorough an· hears.,b, lcad:\ 10 the inevitable wish to alysis to the Genllan and English obscn'e him in action. His sensitivity schools). but gil'CS the reader an inti· to the p~)cholog}' of conductor and mate knowledge of the great divergences chonl5, with ilS col1slalll refrain "Be of J.;oab and techniques which have led )'ouncW", is evidence that SMU is 10 wh.lt Swan catcgoril~ as the six rna · hles.~ed with good music and a situation jor sdlools DC American choral style. in which (hat intangible qualit)' of hon Each school is inevitably associated with elIt, producti\'c relationship between Ihe man, or group DC men, who created singer aud conductor is exploited in its the fr.lmework in which speci£ic ideas mmt posith'e a~pcct!. were realized about the application of ,'oeal teChnique! toward the attainment naniel ~fOC'5 "The Choral Conductor of dramaliC:llly di((crent stylistic goab - whose only real common denominator Otnd TwclHiech.Ccntury Choral Music" was c)(ccllcntt of choral sound. For pmvid~ a di5Ctiminating ililrodllction many of us, for whom dirrd. experience to an arca which is neglected, or 3\·oid. of the pcrfonnallCCll of John Finley cd, by man)' conduclon;. Althongh much Williamson, Father William J. Finn, F. of his introductory section describing Melius Christiansen. Fred Waring. Jo the \'arious st)'le~ of the 20th CCl1lut)' i~ seph Klein. Douglas Stanley and John unneccssarily repetith'e of materials Wilco", and Robert Shaw are a geo· which arc of easy acccu in such books grnphical, if not historical, impossibility, aJli Austin's and Salzman's slIneys Swan's article wilt serve ror years as an (which Moe citcs) . his listing of "Rep· encyclopedia of the sound pOlential rescnUlth'e Twcntith.Ccntury Choral which each of these leaden sought and Works" will send many of us to the nearest music store for sample copies. lIIain~ined in their performances and will be a su~sth'e indicator to the The personal commitment which is e\'i· repertoric!i which these varying choral denced In all of the contributiolls to this Symposium is espccially clear a!l ~l)'JCS can display to special advantage, Swan not only orren d~riptions of the ~roe makCll his case for 20th century im plicit and explicit goals of these mcn, choral mmit ( 'If YOII can't find any hut also details minutely the speciric literature from this ccntury that really tcchniqucs which they implemcncd to excite~ you. seriously comider changing achic\'e Ihcir desired ends. His work h profC3!ions:,) . His ohser\'ations regard. done with such verhal clarity and wilh in~ the special prohlem!> of inton:ttion lillch ollvious intimacy of experience of and choral bal3nce which confront the th~ six sdlool!t that the reoader can performer of this re~rtory :Ire useful. conjure ur \'h'id musical images which ,\nd hi!! special concern thai the ron· ,,'i11 he 0 great sen'icc to the building IInclor exert iutish'e control of the or dfective and communicative perform· rhythmic demands of his SCfJI'C5 is dcm· allCC!i in the ruture. One lea\' ~ his onstratcd in hi! pre!IClltation of a con· arlic1c wilh a sensc of awe at the ducting exercise (a "Mini.Gloria') hreadth and depth of Swan's experience, which condenses in an intriguing Wily and a fccling of resentment that he is the difficulties of irregular metrical and dcscribcd by the cditon as emeritrlS. proportional relationships found in lIlanv contempor:ary \\'orl:s. Moe confi· dently pl:. ccs within the reOtch of every .Julius HerfonJ's artic1e, "The Choral chorus the works of the 20th century Conductor's Preparation of the Musical choral repertory. Hopefully his case will Score." is presented with the tcchnical he heard and heeded hv conductoT'!'l, precision which many performers have JHE REUJER ORGAN COMPANY· BOX 486 AB !lingers, and audienccs: "This music, to LAWRENCE, KANSAS 66044 • PHONE (9Il) 1143·2622 comC to resent in the musicologists of he sure, 'sings differently, it rears itself thc world. His in·depth analyses of the more suddenly and phtnJ!cs more pre. £ir~t mO\'ements of tile Requiems of cipitously. It C\'cn stops differently. Rut ~fOlart . Rer1ioz, Brahms, and Faur~. de· it sharcs with older music the expression TIIOlnd an intellectu:lIl acutenes.."! which of hallic human emotion . .. whate\'cr lIomc would claim to be the destroyer ebe it m:w he. it is the \'oice of ollr own of tho~ qlla1iue1 of "inspiration" and age and' in that sense it needs no "lIllOnt:tneity" which are supposed to be apology,' It the sine que non of good music. nut Hcrcrord'~ 51alement impreues and ron vincc.'I: a thorough group of stylistic itnd Herford's and Decker'!! !'ymfffiJ;r"" rormal t1etOlil is nece5.5ary to JlOnnt per ~cncrales a good de:.1 of nostalgia. The (onnance. And to prove his position he contributors arc, for the most part. men orren concrete su~estions for the prac. who ha\'c reached the apcx of disting. tical appliCilion of such detail to the uished areeTS in mudc. Their respec dc\'elopmcnt of a ronductor's control th'e dilltillatlons of the wisdom of their of the score which mmt now through \'ears of e"perience must now .serve him . Hi5 article pre5ents a model which those of liS whose la~k it will be 10 em he Ilsed in the preparation of any carry the art of choral ~inJ!'ing fnrther ~corc: mu:\icology is vindicated! into the future. Their achie\,ement is Immhling; and the ~trength of their "'31tcr Collins' contribl!tion. "The commitment inspiring, It ill pcrhaps no C,hornl Conductor and the Musicolo. coincidcnce that sc\'eral of the5e collab. ~ht," offers a different view of the con· ora ton ha\'e been touched deeply by trlbution of musicology to the develop· and ha\'c in tum influenced "the crca mcnt of choral art. His fascinating ac· tive ~nim of a single choral conduc. WICKS ORGAN COMPANY count of his own experience with the tor" ('!wan's words) - Robert Shaw. detcction of false attribution (Let Thy ~wan ' !I continuincr relationship and Highland, Illinois 62249 Merciful Ears, 0 Lord is not by 'VeeU.;~, friernhhip with Shaw has been most but hy Mudd) :tnd misleading edi. recently c\'Idcnced by their worL: to. St. Paul's Ev. Lutheran Church Pipe Organ Craftsmen torial prnctices is absorbing reading, ~lher at the MeOldow Rrook and mos· Wisconsin Rapids, Wisconsin Since 1906 Further. thi, groundwork lends strength rom !iChools, Yet e\'co he loses !.Orne of tn his demand that a thorough lmowl· hi!! cmlomaT\' ohjccth'ity in his e\'allla. edge of prrformance praclice til a pre· tion o( Sh3w's career: "Thi~ man is a requisite not only for the pre~tatjon ~reat te:.cher when one thinks or his of early music, hut abo for the prelim· stud\', his knowledge. and the ahility 10 inar}, work of choosing a workable edi fme the element!> of mu~ic into com. tion. His disC1lssion of the metrical ac· munic:nh'e reitlit\'. Yet the paradox cClltuation of Victoria's 0 ma/{",,,n m)'s· continues. for thme who ~tlldy with him ,,.ri,,,,, is particularly cogent in dispell nnh' parti31ly understand his rc:uling ing :my douhts that rcnai~s.'nce music of:1 score. They arc una hie 10 reproduce lIltould he performed from editions hi~ unique rcsnlto;," Julius HerfOl,t! wa.o; which are in some way frced from the olle of the {'arly rccogni1ers of Shaw's "tvranny or the bar·line." And he offcn ahilit\· and became nne of hi~ mentors ('vidence which no conductor shoulcl in anal},lIi"! :111(1 perfonnance practice in ignore about tJ,e true meaning anel no. hill young carecr: one ~uspects Ihat their turc of a cn/JIJella singing. IIllltU ::. J re~ct continues. " 'alter Col. lins was nne of the prime 0tWInizen of the Mcadow Arook Schoo1. where Shaw'~ I.loyd Pfautsch's articlc, "The Choral special brand of leachinJ!'. as it iJ so Conductor and the Rehear53I," is tanta· aptly d~ibccl hy Swan'~ article. wa, lizing in its rather formal dC!iCTiptions experienced by hundreds of choral mu. of proces.ses which are, ~r Sl:. dynamic sicians £rorn all over the world. And and incapable of adequate description Lloyd Pfantsch's music is puhlished by on the static page. His presentation, the Lawson·Could Comp:.ny (Shaw's whld. coven such matters as the con· {;&, middle name is Lawson). duclor's preparation (which, nota (11:nl:l In a word, this fine book is a must requires a "few moments by himselr), for tile library of anyone whose life has £9.2 INCORPORATED scheduling of rehe:tnals, rehearsal en heen touched by tile di,tIncth'e power vironment, choral seating. pacing of re- of ArnericlO choral music. Hager,' own, \I A Review by Michael Sieinberg (Reprinted 1"i,II ~ntl;JSion from tlu~ Deet:m lu:r 10, 1973 edition of THE ROSTON GLORE. Roston, ManncluHetU.) The most Uns.1,'ory sh ow ~ in townl lessl,. hU'elllh'c when it come!! to his. Virgil Fox's Hca\' ~' Organ at the Or torical details, names. and foreign pheum (in Boston). Friday night (Dec. words. "'hen he comes to the purists. 17. 1973) . "those creeps who call themselves purisls In the 50s, when Fox g:l\'C occasional . .. the unhealthy pt'ople in the hOIl M! recitals in Symphony Hall. he was or of IIll15ic," he doesn't exactl), stop smil· J.,r.mi,t at Rh'cl'!iidc Church, New York, in g, hut the sub ject ;Ilf-lin and ag;lin had quit ~ :t. w putation a~ a ,'Irtnosa, rou!iCd him to palpable rage, which i.s and because of the flamboyance of hb Uke the rage of President Nixon's re· style. wa~ considered iust 3. tilth: disrep. .~ponsc to journalists. utable hv hi~ more scholarly colleagues. He performed l\:Ich'll " WedJ.;c" Prel· Some appc:tmnce~ at Fillmore EaSl in ude and Fugue, the short G minor, the "Slokowski" D minor, Tocr:ua (ili'i. firsl the late fMls hrought him 3. new audio ence for whom he de\'iscd a new' con· three noles, he quoted 3 friend ai'i. So1> . cert fonnal. Heax)' Orga.n , In which ing, tell lIS ",h3t M3r), must h3\'c rcll showmanship. Hach. lights. slightly 1011 - at the Annuno3tion). the Pa... ucaglia . cered ,·irluosily. Ilomocrot1c b,ot;asies. some ChoraJc . PrcJudc~ . and the final ;anima(h'cnion on religion (pro) ;aud chorus of Ihe St. ~l3lthew PaS!lion dnlgll (conlra). ;and \'engeancc 00 mu (played as thollJ.;h for roller skating) . Once, "ia a !iCrles of PUlIlIo or free a!! sical purists. arc mi~t-d together, 'iociations, he stra)'"d (rom nacho mak On the RCA record of a 1972 Heav}' ing h is way from Chorale·Prelud(.~ illen Organ coneen in Carnegie Hall, )'011 "A"e ;\faria," ,IUd then into Schubcrt ' ~ , hear him sny: "The word toccala mc;a115 Playing. he lurn~ his head toward lhc to touch" (which it docsn't. ;and how audience to smack his lips ()\'er a iuiC)' does he gel the cro~"\'ord punic done. chord. He played the final chord of the mixing lip parts of speech like that?) "" 'edge" standing, and afler the ",\,'c "the word toccat3 means to louch. sa if. ~Iarias" he was too I1Im'ed to stand at while this piecc is going on. )'011 wish all. Like Clenn Could, he cnnducL'I to touch the man next to you, t sec no when he has a frce hand. His perform· hann." That il1\'itation W3S not pro ances are unpredictable alternations of Stortlng our 100 century ferred Frida}'. hut Fox mi~scd nOI one sheer twisted nonsense and thc nlOmd· cue for sexual innuendo - 30tl think straight (in the latter passages, Hone of the oppormnitici'i. a man has when eliminated thc talk and the lights, and he is talking ahout orgoUli'i.. organ music, if the inslrUJIIl'nl wcre Ie\s hlowsy or- :md ecstasy - ninging it ahout with the 1l'5.'1 crudely :unplHil'fl , onc might mis· ~dJ~~ pnxliJr.llit)' of a 12,),ear.old hut wHh take him for sUllie (Iuite ordinary or· Ihe full)' tJe,·elopc.'t1 leer- of his 61 )'ean, ganist) . The smfacc Fox prescnls ill of a Thc amJieltce. lIut (crob'r largc, in· ~1ightly pudgy m311 with, curling gray c1ined to snicker hilt rcsponsh'c 10 loud hair, dressed for the first half in light endings, had it slllall gay compouent. a gr.a.y trotl!oCrs, rurned shirt, and mega few I\meric:m Guild or Otg3uisiS I),JlC!Ii p3.i~lcy jaCket. changing at intennis.''iion Ull a 'know lour enemy" miuion, and to tuxedo panu. shimmering maroon lots of colkogc·agc M·F couples. fox , 5:CHIANITZ ORGAN COMPANY · ORRVILLE, OHIO 44667 • 216/682·6065 Member A.P a .B.A. jacket and pumps with rhin~toncs. Hb expects deliver)' January 1st of a new face was green. purple, pink, or blue, at £h c manual organ, and he prumi5<."S the pleasure of Da"ld Snyder , who enRi· then to gh'e the first expressh'e per· m.'CI'l.'d tllc primitive hut prctty light formances of Bach's Arl.of·f u g II e and wTUewhat spermy light show. ("which the purists .'Ill)' can't he done'). With much prancing, stalking, 5;aw I think I lIIight skip it: Friday, though ing the air and smiling, Fox lells storie~ I wouldn't have mi'lscd it for all)'thing, and gh'es tin~' lICtmons, f3lling occasion· was gruhh)' ellough In l3n one fol' a ally into incoherence, and being reck- liretime. ARTHUR HOWES TO rtlclosc recilal programs with their ap· LEAD 20th TOUR PROGRAM plications. The renowned Schnil~er- or- gan (restored by Ftemrop) in 7. wolle will be uscd (or this progrnrn. The summer of H174 wtll mark the FurtJler in(onnalion 1113Y be oblained 20th )'ear in which Arthur Howes has about both the lours and the study SIMPLICITY led organ stu(h' tOlln to Europe. In program by writing: Organ T our, 1\0,," RELIABILITY addition to tile two tours scheduled for ·12:., North Ando,'cr. MA OUI·Hi . ACCESSIBILITY thill summer, an intensive orJr-In study LEATHERLESS ACTIONS progmm witl be added to the program. MERRILL N. DAVIS" III. RONALD E. The Northern Europe Tour (of Hoi· OSTLUND, and RODERT E. SCOGCIN, all HAnFORD, CONNECTICUT 06101 land, "rest Cenn3nv and East Ger organisls of dlllrches in Rocheslcr, Minnc,nla. SINCE 1193 MEMBER. A'OIA man y) will be held from .lune !lO played tl u~ " Clavierfillllllll', Part III" Ly Bach through Tuh' 17: the Southern Europe in a memorial colt('crl honorin!f Ihe memory of Stella a nd O\~ eb Jack" lII a t the Firs t Cfln Tour (of 1t31v. Austria and Silain) will ~rega tiona l C hurch, La Crosse, \Viscolltin on start on Auf;tust 7 and end August 2·1. N,)\'. II, 1973. ,\ chamber en ll~ mb l e and Chain The inlensh'e study pro~m will be her choir (rom Zumbro Luthrrnn Church in A. David Moore & Co. held in Zwolle, tlle Nctherl:mds from Rocheslror also 5allg seuings of the chor.tlles July 21 throuJ!h August 4, To a"oid con prrceding roach organ ,'enion. The rn$e mble was IIlIdrr IIle directi"n Grrnld Near, or. gestion and d(13),s ~ frequently en· of TRACKER ORGAN DESIGNERS & BUILDERS ganist-clloiml:utrr of Zumbro Cllllrch, Rocll countered at Kennedy Airport in New cster. North Pomfret Vermont 05053 York, thi!!; year's loun will lcave from :md return to Logan Airport In Boston. In addition to incitJenbl sightseeing, THE DIVERTIMENTO CONCERT SER· "isil' to points o( 11nusII:d hisloric or IES of Fint Unitarian Church, .'IKlbnd, Ore !Ion , lias jusl compleled its fifth scalOll. uoder scenic intcre~( , such 3~ the "'artburg lhe: .lircction of Ooug1a1 L. BUller. On Oct. Castle and Hach', hirthplace on the 6, 1973 Gr'flClle Kent and [(h,'a rd T a rr ,,'ere Northenl Tour, and Emperor Maximil 11~seoled wilh a br.tu ensemhle; lin Nov. II poa:ll2O BDq SlooeRS ian', Palace and the Tyrolean Alps on Dr. Butler "laYl'd an urgan recital or hUe baroque music; and on Dec. 9 soluists llroo liTATE COI.LIGE, £AST STROUDSIURG. P&lNSY~VANIA 11301 the Southern Tour, each itinerary will include "isil'l to about 35 organs. Among etta Mauolini, soprano, Fred Saulter, Inlm them will be "cry old organs as well as "I'ter, and Dr. Uutlrr, Or!anill and conthlc K. BERNARD SCHADE. FOUNDER AND MUSICAL DUIECTOR organs hv the leading contemporary lor of tlte chamber orchestra, Ilrcllliered 8rill:i', "OtKan Conccrto in F" and Hllydn's " Trum huilders. Tour memhers who wish to pet Cnncerto in C" lor I'orlland audiences. do ID may play these imtruments. There will he masterclasses, recitali'i., and ,'isil~ 10 art galleries and UlUSCUlUS, and op TilE 75th ANNIVERSARY OF FRANCIS GEORGE portunities to mcct well known Euro· POULENC'S BIRTH {jan. 7. 197-1) iJ being MARKEY nbserved b)' a commemornth'e brochure pro· pean organists and orb",n builders. Records .Iuced Ity Editioll5 Salabc:rt. In addition hI Markey Enterprises 201·762·7674 The intensive i'i.llldy program will he hiogra)lhie:r.1 and erilleal informa tion, the bm· Recitals 42 Maplewood Avenue limited 10 tcn or tweh'C persons, and chure will ioclutle S... labcrl's exteruive cata applicants will be asked 10 submit a logue of the Poulrnc works alld a cumnt dis Instruction Maplewood, N.J. 07040 summary of thcir previous slUdies and tosrapilr. 18 THE DIAPASON Ah rcmJ o( OSl(rieslalld , \\'l.'St Ccnnany, I ~ shown off on this reamlillg by the NEW RECORDINGS lJ ni,'enity Organist . Johll liamilton. Admittcdly. the mg"olll works best in the ARTIST literature o( the "Grand sieele." It is csscntially early DUlch in style, tUlU,-d l':lUI Hindcmhh: Sonatas I, II and UI. Ollte again, Da, id Criesinger's engi ill Werckmcistcr 11 (here callt.'tI "a RECITALS Anion Hcillc=r playing thc= C. U. Fisk lteering (with the help of Stcphen fas transition temperament of the Romantic organ at Memorial Chapel, Han'ard sett) has (l lUdllced excellenl recording Era" U)' Mr. Hamilton) , windcd with a Unhcrsit)" Cambridge. MOlSS. Han'aTd Wilh rillc presctlcc. displa}ing the Ul"'br.ln sillgle wl'tlge bellows. and with a "sus· SitUaTe RL'Cords (Rox -In, Wt."S( Sunll'r· al its recorded 1x.'S1. It is a finc record· pcndL-d" actiol1. 1£ the rL>(ord.ing is in "ilh.', 1\1.\ (12144), DGR·73.3. ing ill all respects, And lest e\"cryone deed accurate, this organ must ha\e 'l'llc cxttilonlinaf)' relationship be will think that Frank T aylor is lIIerel)" SOiIlC o( the 1II0st cxciting n ....'tIs o( any (\\'(.'cn Antull Hdllcr and the late I'aul a carbun copy of Meh ilIe Smith, wc to be heard in modcm orS''''ns. Nol lack Hiudcmith males this recording a par hastcn to add that he has brought to ing iu fire, the), arc much morc robust t icularly riue OI dditioll to thc catalog. these pieces his own indh"iduality and and (ull than one hean in COI1lL'1uporary Heitler knew Hillllcmith from 1950 Uti · stamp. III sollie wa),s. lhe illlerpretatiulls organs. Iii H inut"lnith's Ika th in 1963; he h.ul arc morc humorful. if less stl"Oug. than rhc playing is ex(:cllellt. It is full of "Ja,-cd often tlntler Ihe composer's di (re(lllelllly allowed IhclII , and tempos arc hfe and cnerb,)'. it i5 articulalc and rection. 311d hc had pla}cd thc fi rst frl'lJucnLl y dHferclIl as a fl.'5ull o( the stylisticall)' accurate playing, aud it is pcr£on nallcc (If the CUllccrlo for Org",. slight d ifferencc tJlat Taylor has in playing whkh is a result o( long years fw d Orcl/cl/m. T hey were \'cr)' close 'Ipproachillg the a(fcct of a ghcn piece. of stUd) anti dcliberation in uu: per friends. It is a good way to sec ho\\', witJlin the (onllant:e practices of the period from For this rca!l(m , thcI'c is un beUer stated com'cntions of the period. tli((er which this music comt'S. Whal's more, dloice lhan Hcillcr to iUlt'rpn:l these jng illlelv rclCrs a Ut function l.-quaU) it is \ery m usical playi ng. T he organ Ihn:c works, 110\\' d assic..-s in thc organ well - e\'CIl whcn the)' al"C teacher and is exciting as well, and is rL'gisterc:d b)' repertory. Hcillcr's brrasp of Hilldcmit h's student. The recording IS a fine one Mr. Hamilton to good. affect in aU the lIeo classical style, his fceling for Hill and h ighly recolllmended. pieccs. E,"cl)'thing aoout the organ tlelllilh's harmonic world, and his lo\'c scncs this music outstandingll. for the lIlusic j(S(:H is capttll"cd in tlu:sc The Charles Fisk Org;tJIS at Hanard, The recording is less 5UCo..·iS ul. What ROBERTA l)Crformam:es in a 1II00l \'iiOi I way. Dd',auw and West alUrdt, Pla)'ed, by w Ullds likc infcrior rt.'CUrtiing equip. While the Stlllalas dn nut L1t ll for Arthur Cark~k. A\·aH .. ble prh'akly mellt was uSL"t1 in LI,e taping (there arc FOXGROVER GARY great techll i t~1 display b) the l)Crfonner, from DcI)auw Uni\"Crsity School 01 wa\"crs in the toIlL'S) , and the acoustic thc)' demand a great dl'OII of lUusiClI Musk, Greencastle, Ind. 46135, I'rogr... m: ally clear but "dead" room provid~ CIrt! frolll the l)Crfonner in delineating .5 PiCCf!l Jrom "Mass Ju r lite Parishes," the recording with no prescncc at all. Ihe tightl), knit furlllal structurt.'S, and COll(lcrin; Prelude IItItI Fugue ;,. A., Oh thal tlus urgan were allowed to Ihc)' demand an o rgan o( greal daril)'. /.;ebJlcr j e~uJ 11 '1:' rlllr Iku liebell Gatt, sing in a Ih"c awustical atlllospherel It T hey are find)' t: ra ftL't1 chamber piet:es /lerr j esu Cllrilt d ich ;:u lUll weml, would be (al" lx:Ucr, The surratt of our which require the utmost lUusical COIl EnllJtlllcn ist der lu:il'ge Cllfill, DII 1"C\'icw cop)' \\as al50 nO(. of the finest tenll':1 tion :ulIl suhtlest expres,sion for J c:~"s em rlem A re'l::t: sllm tl, Lub' GOll llualit)'. It cxhibited some bubbling and successful performaltcc. Heiller ullder· illr Chrillt!tl. nacho Es iSI rltlS He;l, nux une gn>o\"e which we found impossible stmtds this pcrfecll)" haudling the large tellluJc; Hcr:.lich lut micll vcrlallgen. 10 U'ack at allY ann weight•• • he \'01 .. CLARENCE llet"zlicil lilt "'iell erfreltl: II. nrahms; umc Ic\'cls o[ the ,'arious pieces also ROBERT and lIIan'c1ously d cal' l:isk organ with LEDBETTER utmoSl restraint. 'Faccata it, D m;lIor. opus 59/5, Reger, ,"ary to a great dl-grce. PRICHARD The o'lPu . the pe l fonner, alld thc This recording is cS5Clltially a dem Alulough the somcwhat pretentious music arc hL're malched perfectly. To ullslr... tiol1 dist of the \"arious worLs by nOles include sufficient information that is added excellent rL"CUrding and Charles ll.• ' isk: . the orgallbuilder_ It about the cum posers anc.1 their works, engineering by Da.\ id Grit.-singcr o( displa)s the largc 4-manual organ at the notes about the organ and Ihc new C:llnbt'idgc, M:ISS., and a reasonahly fine Harvard Un,,"crsit)', LlIC mediullI sizctJ hall acoustics at the Unh'crsity of Ore pn.. "Ssing for l'IOIn ard S(lliare Rccords. instrumcnt at Old Wcst Church, Bos gon are 10adL'tl witJl jargon and somc The liller notcs include brier hut cogeut lOn , and the small studio org'o1l1 of 2 limcs ,"cry opinionated \ alue judl,'Illel1u. IJal'agral)hs aoom the composer (by the manuals and 8 stops at DePauw Unh"cr Nc\"erthek'SS. the pla)'ing and Ule perfonncr. Antun Heiller) , about thc sit )" WhL'rc Arthur Carh'\:t is pro(l.'Ssor music on this organ arc worth ha\'ing m-gan (by ils builder. Charlt.'S fist..) , o( organ and thl'Ol) . The Coupcrin ami in olle's library, Reger PICCL'S arc playcd. at Han'ard; lIIC CHARLES and ahout the mllsic (by Max Miller), - Robert SchullelUan SHAFFER SMITH as wcll as thc slnplist of the organ. Uach dlo ...... le preludes and the works by Uuxtehude !lud Urahn ~ arc played This lI1ust be at least OIlC GlIldidate OIt Old West Church. a ud the Bat:h fo r the "record uf the year" aW:lI"d, :lnd Greenwood Builds for Prduclc ami Fugue is pla)"ed at Dc· i:t I'ccolUlllel1t1ed fur e\'eryonc who has Germany P;tU\\" Ullh'crsit)·. Roanoke, Ala. Church an)' intcl"t,"S1 al all ill the organ litera· Mr. Carh'Ct is well tuO\m fur Ius lure o( the ~lJth ceUlur),. It cenainly h;ls our highest praise. simplicity o( style and his appwach 10 The Greenwod Organ Company is keyboan.l techniquc in 'he lJUlCtL'St pos· building a 2·manual organ for the Fint Organ Works by dn Mage &: Dan.. sible manlier. All of LlIC pl:lying here United Methodist Church of Roanoke, drieu. 1'laYl.-d by Fronk Taylor on the shows o{f these approat:hes excellently Alabama. The new instrument replaces c.. U. Fisk organ at Old Wl.ost Church. with \'arying musical results, '1 he honL'St a fornler 1907 Pilcher organ, and sev ftuston. Ely5Cc Editiolls (88 Lowcll Rd., simpliciLy o( thc Bach chorale prcimles, cral ranks of the fomler Pilcher are Wellah1-' Hills, Mass. 02181). l'mgram: for instancc. plact.'S tJlem illlo pcT5peC being retained in the new instrumenl UTJrt: d'Urt::"e hy I'ierre till Mage; SII;It! thc fo r what the)' arc; unpretentious after re\'Oicing :md rescaling. The s~ Irom l)relll;,'r L;un: ric P I ~ceS d'Orgllt! church piecl..'S. The same is true of UIC cification was prepared by Charles B. ARNO by J. 1:. DOIutil'iell (1J;lI/l1gllt!, }Jnsse de nuxtehlldc. Simple sincerity and han Carter. vice president of lhe Green.. SCHOENSTEDT trolll/Jette, 'riercc c:u Illille, Cnnurl de dling o( the notes i5 it.'SS succcssful, how wod Organ Company, and Mn, .James Iidtes, 1Juo, ,\lu:d l(.', Duo e" cors tie e\er, in thc Coupcriu. here registcn.'tI Lane, the church s organist. Installation C/uusc sur 'I' IrulII/u:He, 0ferlnire·"l11r · excellcutl)', but lacking a t:ertaill amouut is planed for ea rly SUl1lcr of 1974. que, alld Suile tic ,'Olerloire) . uf gra(:e and dlanu rhythmically. And. GREAT An)'olle whu is familiar with the wherc-... s the Brahms chorale preludes Princip~1 I' 61 pipes pl:1 )'illl{ st)le of the laiC Meh"iIlc Smilll lack cxpn.'SSi,'cuess as Romantic char.!c Hohtnute 8' 61 pipet will waut to uwn this finc reconling br ter pieces. the RI..'gcr 1'occalll is matched Dulci~na 8' 61 pipes (mc uf his (illcst and lItost faithful stu by llle performer and Llle organ in Pretlant 4' 61 pipes dents. Fr-... uk Ta),lor. Mr. Taylor. pres· shecr \"irttlosity and impetuousness o£ Koppelflute 4' (prepared) Doubletle 2' 61 pipet ently 011 the fatuity (If Welleslcy College exprl's,.''iioll . All of thc piecl.'S arc played Mizture 111 (19--22-26) (prepared) music departlllcnt. has chosen wisely to with can:, and show ort the orbrans wcll. Chima PrL-scut thL'SC wnr),;s 011 the "'isk organ The 1"L"(ording (which was nol done at Old West Church, anti hc has suc pro(cssioll:11l)'} is frolU fair to good. and cecded in bringing the Ii\'eliest and most It!llch or thc prescnce u( the original SWELL Gedeckt 8' 61 pipet musical recording of this org FEBRUARY 1974 19 16 "ebruary Gerre Hancock. AGO masterdass, St lauls, Wilma Jensen and K Dean Walker, organ MO CALENDAR and percussion, Towson State College, Tow George Ritc' ie, U of Nebraska, Uncoln son, MD 8 pm John Rose, first Baptist, Charleston, SC FEBRUARY Anton Godding, workshop, Lutheran 20 February Church. Ponca City, OK 2 pm Choral works by American composers, St 1 2 Marie-louise Jaquet, First Methodist, fort Thomas Church, New York City 12:10 pm Worth, TX J Reilly Lewis, St John's Episcopal, Wash 3 4 5 6 7 8 9 Rene Soorgin, masterc1ass, Southern ington. DC 12:10 pm Methodist U, Dallas, TX 9 am ~ 10 11 12 13 14 15 16 Arlyn Fuerst, Duane Caddock, "Use of 21 February Instruments with Children's Choirs" for AGO. Mary Fenwick, SI Paul's Chapel, Colum 17 18 19 20 21 22 23 Trinity Lutheran, Madison, WI 10 am bia U, New York City 12:05 pm 17 February James Leaffe, St Thomas Church, New 26 27 28 Max Miller, first Unitarian, Providence, York City 12:10 pm 24 25 RI .. pm Fronk C Smith. Grace Church, New York Barbara Harbach-George. Yale U, New City 12:30 pm Haven. CT George Wilson, Trinity Church, New York MARCH Benjamin Van Wye, Cathedral of All City 12:45 pm Saints, Albany, NY 4:30 pm Marilyn Mason, Church St United Method 1 2 Robert Noehren, organ workshop; Thomas ist, Knoxville, TN 8:15 pm Dunn, choral workshop; for New York City 4 5 6 7 8 9 AGO, Riverside Church. New York City 22 February 3 (thru feb 18) Leonora McCroskey 5 t e i n, Memorial 12 13 14 15 Manhattan School of Music Orchestra, Church, Harvard U, Cambridge, MA 8:30 pm 10 11 Frederick Swann, Riverside Church, New Virgil fox, Manatee Jr College, Braden York City 2:30 pm ton, fl DEADLINE FOR THIS CALENDAR WAS JANUARY 10 James Leoffe, Cultural Center, New York Rene Saorgin, fairmount Presbyterian. City 3 pm Cleveland Heights. OH 8:30 pm Robert Baker. Temple Emanu-EI, New York Marilyn Mason, AGO workshops, Knox Jane uamble. l..a:hedral at St John the ~ February City 3:30 pm ville. TN (also Feb 23) John Young, plano. Trinity Church, New Divine, New York City 3:30 pm; followed Alec Wyton, Calhedrol of St John the Claire Coci, first Congregational, Los An ork City 12:45 pm by Chapel Choir of Capital U. 4:30 pm Divine, New York City 3:30 pm geles, CA Barbara Harbach-George. Cathedral of Cantata 106 by Bach. Holy Trinity Luth Calvin Hampton, Calvary Episcopal, New Thomas Harman, Royce Hall, UCLA, los he Sacred Hearl, Newark, NJ 8:30 pm eran. New York City 5 pm York City 4 pm Angeles, CA Ren' SaorUin, Elon College, NC 8 pm Walden Trio, Munn Ave Church, East Requiem by Durufle, Madison Ave Pres Robert 5 Lord, Heinz Chapel, Pittsburgh, Orange, NJ 4:30 pm byterian, New York City 4 pm 23 February Epstein Duo, Cathedral of Mary Our PA 12 noon Mass In G by Schubert, St Bartholomew's AGO Youth Choir Festival. Alec Wy!on, Marianne Webb. Southern illinois U, Car Queen, Baltimore, MD 5:30 pm Church, New York City .. pm Court St United Methodist, Rockford, Il bondale. Il 8 pm Haig Mardlroslon, Lutheran Church of the Cantata 18 by Bach, Holy Trinity Lutheran {also Feb 24) Morle.loulse Jaqual, for Son Joaquin Val· Reformation, Washington, DC 3 pm Church, New York City 5 pm Carol Klein, trumpe.) Samuel J Swartz, ley AGO. Fresno, CA Rene Saorgln, Covenant Presbyterian, John Obetz, 51 Thomas Church, New York organ: All Saints Episcopal, Palo Alto. CA Charlolle, NC 4 pm City 5:15 pm 8 pm 6 rebruary Choral EVensong, Bethesda by the Sea Choirs of Bernards H 5, Robert T Vol Choral works by Bach. 51 Thomas Church. Episcopal, Palm Beach. Fl 4 pm brecht, dlr; at St Mary's Abbey, Morris U February New York City 12110 pm Wayne Nagy, All Saints Episcopal, ft town, NJ 4:30 pm Brian Jones, Que~n's College. U cford, Patricia Boos, SI John's Episcopal, Wash Lauderdale, Fl 4 pm John A Davis, Old North Reformed England G Dene Barnard, first Congregational. ington, DC 12110 pm Church, Du mo nt, NJ 4 pm Rene Soorgin. Yale U. New hOlen, CT Virgil Fox, Tech H 5, Des Moines, IA Columbus. OH 8 pm Collegium Musicum of Princeton, Trinity 8;15 pm Paul Humiston, Cathedral of Christ the Church. Princeton, NJ Kenneth Kroth, Calhedral of All Saints, 7 February King, Kalamazoo, MI ":30 pm Haig Mardirosian. St John's Lutheran, Al ."'-Ibonv. NY 4130 pm Donald Joyce, SI Thomas Church. New David Craighead, Concordia Senior Col lentown, PA 8 pm ~hoirs of the Church Schaal, Riverside York City 12110 pm lege, fort Wayne, IN 8 pm Donald S Sutherland, organ; Phyllis Bryr Church, New York City 2:30 pm Randy Waller, Groce Church, New York Stephen McKersie. Valparaiso U, IN .. pm Julson, soprano; Bradley Hills Presbyterion, James Leaffe, Cultural Center, New York CUy 12130 pm Les Corps Glorieux by Messiaen, James Bethesda. MD .. pm City 3 pm Robert S MacDonald. Tflnlly Church. New Strand, Oklahoma City U. OK 3 pm Choral Festival, Cathedral of Mary Our John Huston, Temple Emanu-EI, New York York City 12145 pm Marilou Kratzenstein, Rice U, Houston, TX Queen, Baltimore. MD 5:30 pm City 3;30 pm Collegium Musicum, Newman Powell, dir; 3:30 pm Rene Saorgin, Eckerd College. St Peters Mary Murrell faulkner, Cathedral of St Valparaiso U, IN 8:15 pm Marie-Louise Jaquet, Grace Cathedral, burg, FL 8 pm John the Divine, New York City 3:30 pm Ross Wood, harpsichard, Southern Meth San Frandsco, CA 5 pm Gene Hancock, Third Presbyterian, Pitts Calvin liampton. Calvary Episcopal, New odist U, Dallas, TX 3:30 pm burgh, PA York City 4 pm Worth.crow Duo, Brazoport Sr H S, Free 11 February Kent State U Choir, Robert H foulkes, dir: ",'ax Yount, St Michael's Church, New port, TX Wilma Jensen and K Dean Walk~r. organ at first Congregational. Columbus, OH 8 Yo,k City 4 pm and percussion; South Congregational, New pm Requiem by 8e ~ lioz. St Bartholomew'S 8 February Britain, CT 8 pm Elijah by Mendelssohn, Christ Church. Cin Church, New Yorl< City 4 pm Rene Saorgin, Salem College, Winston David H Binkley, Lebanon Valley College. dnnati, OH 5 pm Psalms of David by Hollander, Grace ~alem, NC BI15 pm Annville, PA 8 pm Julie Vanden Wyngoard, pianist; Joseph Cb.M h. New York City 4:30 pm Marilyn Mason, First Presbyterian, Tulsa, Rene Saor9in, Mars Hill College, Mars Sullivan, narrator; Park Congregational. Cantata 127 by Bach, Holy Trinity Luth OK Hill, NC 8 pm Grand Rapids, MI 4:30 pm eran, New York C ty 5 pm Virgil fox, First Presbyterian, Naples, fL Dexter Bailey, Trinity Church, Hightop-1 James Cc nely, St Thomas Church, New 9 February William Bates, first Baptist, West Palm Robert E Woodworth Jr, Ebenezer Lt.' 'York City 5:15 pm • Williamstown Baroque Consort, Vidor Beach, FL eron Church, Chicago. ILL 4:30 pm The Baltimore :"amerata, Cathedral of Hill, dir; Williams College, Williamstown, David Britton, first Methodist, Lubbock, Park, It 4 pm , ory Our Queen, Baltimore, MD 5:30 pm MA 8:30 pm (01$0 Feb 10, 8130 pm) TX 8 pm Cantata 169 by Bach, Grace lutheran. ':"'oir cf Cathedral of Mary Our Queen Rene Saorgln, masterdass, Salem College, R:ver forest, IL 4 pm ,ealtimore); at Lutheran Church of the Re Winston-Salem, NC 9130 am 12 february Worth Crow Duo. Centralia H 5 Centra formation. Washington, DC 5 pm John Obetz, Gerald Kemner and Moog Martha Lattimore, soprano, Trinity Church, lio, Il John Pidgeon, Cathedral of St Philip, At Synth8Jlzer, RLDS Aud, Independence, MO New York City 12:45 pm Klaus Kratzensteln, Rice U, Houston, TX la nta, GA 5 pm 8 pm Walter Hilse, Cathedral of the Sacred Marie-Lowlse Jaquet, First United Method Virgil Fox, Revelation lights. U of florida, Marilyn Mason, AGO masterdass, Tulsa, Heart, Newark. NJ 8;30 pm ist, Santa Monica, CA Goinesville, fL OK DaVid Craighead, North Shore Congrega Thomas foster, Bethesda by the Sea Epis Marie-louise Jaquet, Stanford U, Palo tional Israel, Glencoe, IL 18 february copal. Palm Beach, FL 4 pm Alto, CA Michael COI.!ine, Florida State U, Tall ahas Lilanei KV 125 by Mozart, Stabat Mater 13 February see, Fl 8:15 pm by Schubert, Motet V by Bach, Es sungen 10 February Richard McPherson, St John's Episcopal, Stimmung by Stockhausen, Collegium Vo drei Engel by Mlcheelsen; Phyllis Bryn-Jul Marlon Andersan~ St Luke'S Cathedral, Washington, DC 12;10 pm cale Cologne, Museum of Contemporary Art, son. William McDonald, soloists; Louisville Portland, ME 4 pm Rene Saorgin, Sweet Briar College. VA Chicogo, IL 8:15 pm Bach Society, Melvin Dickinson, dirl St Helen R Henshaw, Cathedral of All Saints, 8 pm Gerre Hancock. Grace Church, SI Louis Agnes Church, louisville, KY 3:30 pm Albany, NY "130 pm William Bates, Riverside Presbyterian, MO Andreo Toth, Mennonite Seminary, Elk Jacksonville, fl Milia Brevis In 0 by Brillen, St Stephen's David Britton, Cathedral of St John. Al hart, IN 4 pm Michael Corzine, U of Evansville. IN 8:15 Church, New York City 10;45 am buquerque, NM 8115 pm Cosmopolitan Brass Ensemble, Riverside 1'4 February pm John Schuder, St Thomas Church, New Church, New York City 2:30 pm 19 February Apollo Musical Club, St Peter's Church. James Leaffe, Cultural Center. New York York City 12:10 pm Chicago. Il 3:30 pm Herald Brcw Quintet, TrI nity Church, New City 3 pm Vincent Stadlin, Grace Church, New York Marianne Webb, St Paul's Lutheran, Chi Hunter Tilman, Temple Emanu-EI, New City 12;30 pm York City 12145 pm cago, IL 4 pm York City 3130 pm Larry King, Trinity Church. New York City Hoig Mardiroslan, Church of St Paul the Gerre Hancock, Fourth Presbyterian, Chi Motets III and IV by Bach, SI Thomas 12:45 pm Apostle. New York City 8 pm c090, IL 6:30 pm Church. New York City 4 pm Worth-Crow Duo. Jr H 5, EI Dorado, KS William 5 Wrenn, Ca thedral of th(t Sac~ Rosamond Hearn, organ. Ann Porayko. Mass (excerpts) and Chichester Psalms by frederick Geoghegan, Roxy Grove Hall. red Heart, Newark, NJ 8:30 pm ~ oprano: 51 Procopius Abbey, lisle. Il 3 pm Bernstein, St Bartholomew's Church, New Waco, TX John Obelz, St John's Episcopal, Washing John Obetz, first Presbyterian, Oklahoma David Britton, First Presbyterian, Tyler, TX York City 4 pm ton, DC 8 pm Cily, OK 8 pm George Ritchie, Dundee Presbyterian, Calvin Hampton, Calvary Episcopal, New Rene Soorgin, Stetson U, Deland, FL 8 pm Omaha, NE York City .. pm 15 February Virgil fox, Community Theatre, Vero Jester Hairston. progra M of hi. spl, ltw l" Paul Bempechat Trio, Madison Ave Pre,. John Rose, The Citadel, Charleston, SC B~ach , Fl La Jolla Presbyterian, La Jolla, CA 4 pm byterlan. New York City 4 pm Rane Saorgin, Southern Methodist U, Dal William Bates, first Baptist, Huntsville, Al "How the Instruments Talk." children's las, TX 8: 15 pm AGO ledure recital, Robert Lynn, harpsi 25 february program, St Stephen's Church, New York Marie-louise Jaquat, UCLA, Los Angeles, chord; Tal lowood Baptist Church, Houston, Rene SaorgFn, masteldoss, Michigan Stale City ~ pm CA 12 noon TX 8:15 pM U, East Lansing. MI 20 THE DIAPASON David Cra ighead, St James Church, To The Penitent David by Mozart. SI Barthol 6 March Roger Davis, Cathedral of Chrl.t the ronto, Ont omew's Church, New Yor\t City 4 pm Works by S S Wesley, SI Thomas Church, king, Kalamazoo, MI 4130 pm Music for flute, bouoon and keyboard, William Teague. SI Thomas Church, New New York City 12:10 pm Sehola Contorum, Frederick Telschow, dir; 51 James Church, Dundee, Ont 8:15 pm York City 5: 15 pm EKU Singers and Concert Choir, Eastern Valparaiso U, Valparaiso, IN 4 pm Siabat Mater and Motets for a Time of Kentuc\ty U, Richmond, KY 8 pm Cantata 21' by Bach, Groce lutheran, 26 February Penitenre by Poulenc, Church of Ihe Ascen River Forest, Il 4 pm Donald Isler, piano, Trinity Church, New sion, New York City 8 pm 7 March E Powe, Biggs, first Unlled Methodist, York City 12:45 pm Chomber chorol WOfks, All Soints Church, Ellen Nord, St Thomas Church, New York Albuquerque, NM William BUrns, Cathedral of Ihe Sacred Princeton, NJ City 12:10 pm Heart, Newark, NJ 8:30 pm Vocal chamber music, Emmanuel Episco David Higgs, Groce Church, New York 11 March Wayne Nagy,S, John's Episcopal, Wash· pal, Ballimore, MD 4:30 pm City 12:30 pm Morle·louise Jaquet. Milton Academy, Mil. Ingtan, DC 8:30 pm Lloyd Bowers. horpsichord, Cathedral of larry King. Trinity Church, New York ton. MA 7:30 pm Virgil Fox, Revelation lights, Sraward Mary Our Queen, Baltimof'e, MO 5:30 pm Cily 12;45 pm Mou by Glocomo Antonia Perth Bethesda Hall, Ft lauderdale, Fl Soloists of 51 Philip, Cathedral of St lodd Thomas, Brood moor Boplist, Jackson, by the Sea Episcopal, Palm Beach, f lB pm Rene Saorgin, Michigan State U, East Philip, Atlanta, GA 8 pm MS Gerre Hancock, AGO workshop. Dayton, lansing, MI 8 pm Members of Trinity Youlh Orche5tra, Holy OH DePaul U Chorus, Cathedral of St James, Trinlly lutheran, Buffalo. NY 5 pm 8 March Ted Alan Worth, Jackson H S, Jackson, MI Chicago, Il B pm Frederick Swann and John Stuart Ander St Paul's Says Choir. United Congrega Xavier Dara$34l, Rice U. Houston, TX 8 pm Gene Hancock, linooln Symphony Orches- $On, organ and octor, SI Paul's lutheran, lional Church, Norwich. CT Ira. Lincoln, NE Allenlown, PA 9 March 12 Marth Marianne Webb, St John's Protestant Pingry School Chorus and Brass Choir, Mode-louise Jaquet, workshop, American 27 February TrinUy Church, New York City 12145 pm Church. Columbus. OH 4 pm Academy of Music, Tenafly, NJ 2:30 pm kh Wednesday Music. St Thomas Church. Claire Cocl, Tabernacle Presbyterian, In· Joseph Wozniak, Cathedral of the Saaed New York City 12:10 pm dianapolls, IN 8 pm Virgil Fo);, Reve!ation Ughts. Civic Center Heart. Newark, NJ 8:30 pm AlI..Monleverdi program, ChiCOgo Cham Aud, Atlanta. GA 28 February ber Choir, Church of Our Saviour, Chicago, Notional Organ Playing Competition, First 13 March Maryann Hamilton, St Thomas Church, Il 4 pm Presbyterian, Fort Wayne. IN 1-5:30 pm 3rd Organ Symposium - "Max Rege" New York City 12:10 pm De);ter Bailey, Our lady of Bethlehem Ted Alan Worth. Ottawa H S, Ottowa. Il Exploring the Differing Interpretations of the ladd Thomas. Trinity Church, New York Convent, La Grange Pork, Il 4 pm Mas'er's Work;" Micheel Schnekfer. Robert City 12:45 pm Mario-louise Joque', Trinity Episcopal, 10 Marm Bailey, Philip Prince. Benn Gibson, Robert Marie-louise Jaquet, Church of 'he Im New Orleans. LA 4 pm A Time of Fire by Francis Jacksonl John Schuneman. Jock Hennigan, James Wyly, ' maculate Conception, Maplewood, NJ 8 pm Saint Joan by G B Show, First Presbyler· Stuart Anderson, odor; The Riverside Choir; Charles Krigbaum; Yale U, New Haven. CT ian. Oceanside, CA Riverside Church, New York City 2:30 pm (thru March 15) Music of Balrstaw. St Thomas Church, New 1 March James Bassert, First Congregational. long Calvin Hampton. Calvary Episcopal. New York Cily 12:10 P'" Roy FergulOn, Houghlon College, Hough Beach. CA 4 pm York City 4 pm John W Helzer, University Baptist, Balti ton, NY Catharine Crozier, Pomona College, Clare Manzani Requiem by Verdi, St Barthol- more. MD 12 noon David Mulbury, Church of St Vincent de mont, CA gmew's Church, New York City 4 pm Paul, Houston, TX 8:15 pm Anthony Newman, Cathedral of SI John Mori.louise Jaquet, CSevelond Museum 4 March the Divine, New York City, recital 4:30 pm, of Art, Cleveland, OH 8:30 pm Heinz Arnold, Independence Blvd Chris- 2 March mas'erclas.5eS at 2 pm and 7130 pm David Muftuuy, AGO maslercloss. Church tian Church. Kansas City, IN:) Canlala 106 by Bach. Holy Trinity Luth Brion Jones, Old West Church. Boston, of 51 Vincen' de Paul, Houston, TX 9:30 am Organ Concerto by Samuel Adler, Dallas eran, New York City 5 pm MA 3130 pm Richard Morris and Mortln Berlnboum, Civic Symphony, Robert Anderson. Southern Eileen M Guenther, St Thomas Church. Show Festival Theatre, Nlagara-on-the-loke, Methodls, U, Dallas, TX 8:15 pm 14 March New York City 5:15 pm On. Charles 0 Frost, St Thomas ChUfch, New 5 March Jephthe by Carlssiml. Ave Marjo by Danl York City 12:10 pm 3 March Choral concert, Trinity Church. New York zelli, Misso Brevil by Bellini, Church of Our Selty Milham, Grace Churth, New York Richard Morris and Martin Berinbaum, City 12:45 pm Saviour, New York City 7130 pm City 12:30 pm Copilal Theatre, Concord, NH Frederick Swann, AGO workshop, First Music of ,he French Cathedrals, First Pres- Timothy E Albrecht, Trinity Church, New Eugene Hancock. Riverside Church, New Presbyterian. Ridgewood. NJ 8:30 pm byterian, Orange. NJ 5 pm York City 12:45 pm York Cily 2130 pm Marie·Louise Joquel, Cathedral of the Marie-louise Jaquet, S, Timothy lutheran, David lowry, Lorry Smith, Winthrop Col Sleven Franck, Cultural Center, New York Sacred Heart, Newark, NJ 8:30 pm Wayne. NJ 8 pm lege, Rockhill, SC 8 pm City 3 pm David Craighead, Messiah College, Gran Randall 5 Mullin, Calhedral of Mary Our Judilh Ann Brown, Cathedral of St John 1.5 March tham, PA Queen, Baltimore, MO 5:30 pm the Divine. New York Clly 3:30 pm, followed Virgil Fox, Chrysler Hall, Scope Plaza, by lenten Procession of lessons and Corals. William Goff. Heinz Chapel. Piltsburgh. Allen G Brown, First Congregational. Co Norfolk, VA 4 pm PA 12 noon lumbus, OH 8 pm CD",.rtDI for Organ and Otch ••tra by Colvin Hampton, Calvary Episcopol, New Virgil Fo);, Revelation lights, Baylront Gerre Hancock, Sevenlh-Day Adventlsl Rheinberger. E Power Biggsl First Congre York City 4 pm Arena, St Petersburg, FL Church, Kellering, OH galional. los Angoles, CA (also Mar 17) Summer 1974 Washington University ARTHUR HOWES presents offers ORGAN STUDY TOURS and an INTENSIVE ORGAN STUDY PROGRAM ANTON at three world-famous THE HA TlONAL CONVENTION JUNE 17·21, 1974 organs HEILLER o Samuel Adler o Billy Nalle Northern Europa: o William Albright o Robert Noehren June 30-July 17 o Malthias Bamert • Karel Paukert in his o The Cleveland Orchestra Southern Europe: o The Philharmonia Chorale o Oonald Erb of Cleveland August 7·24 Fifth Tri·ennial Master Class o Burton Garlinghouse o Arthur Poister Study Program: o Robert Glasgow o Cherry Rhodes Jean Guillou July 21-August 4 o • Ned Rorem August 5 to 3D. 1974 • Gerre Hancock o Jeffery Rowthorn Two w ••ks of ma.t.'ela.... , privote o Helen Kemp o Joseph Siltier I... anl, and practicing at Zwoll., and o Louis Lane o Gregg Smith Singers one day ....ion. at Allu"oar and o Gustav Leonhardt Haa,lem: July 21-AuIU.t 4 o Gerd Zacher o Marilyn Mason ..• and others! 1be ro.t of IHKh of the.. programl will b. approximat.ly $1,400 for the taun, For information address: and $1,200 for the .tudy program; d .. WRITE: 2757 FAIRMOUNT BOULEVARD, CLEVELAND, OHIO 44118 pending upon International Exchanll. Department of Music rate. and possibl. increCI'.' In air for •• Washington University and oth.r rhars... Thue approxno'. 8th Annual GRAND MUSIC TOUR OF EUROPE figu,el includ. a .mall allowanr. for probable increa.e•• st. Louis, Mo. 63130 July 17·August 29, 1974 The tours will b. limited to twenty p.t.. Visit Berlin, Wittenberg, Halle, Leipzig, Wartburg Castle, Erfurt, Weimar, • anl. Freiberg. Dresden, Prague, Salzburg, Munich, Vienna, Budapes~ Zag • The study program wi. be limited te reb, Dubrovnik, Split, San Marino, Florence. Venice, Verona, Inler.. laken and the Junglraujoch, Lucerne. Bregenz, Bayreuth. Rothenburg. 'w.lve. See and hear great organs in Berlin. the Thomaskirche, Weimar, Dres No regilbolion. can b. arc.pl.d for den. Salzburg. Munich, Vienna, Zagreb, and Oltobeuren. any of the program. after May 1. Ea,ly A 2nd annual Grand Opera Tour 01 Europe is also scheduled - May application I. advi•• d. 12·June 2, 1974. Write or phone for information. fer additlollal infarmotion, w,it.: PELCA RECORDS The fine,t In Europeall organ rKGrdl.. BOX 425 Conducted by HALSTEAD McCORMAC Many it.ms In &facie.. Write for new cat. North Andover, Massa.hu•• Hs Past Dean, AGO-Los Angeles Chapter logue. S. H. Demblnsky, 1035 Iroquois Send for brochure: 790 Granada Ave., San Marino, Cal. 91108 01845 Dr. S.E., Grand Rapid" Michigan 49506. Phone, 213/282·6795 FEBRUARY 1974 21 JACK ABRAHAMSE robert anderson Georg. 5tr... United SMD 'AGO Organ Recitals Peterborough, all'. Canada Southom Methodist Unlvenity Recital. (Oreon/Plano) Dallal, Tu•• 75275 Timothy E Albrec ht - Christ Church, Mon'· Frederick Burgoft1aster - St Paul', Cath· pelier, VT Dec 2: The Advent and Chrl stmas edral. Buffalo, NY Dec 21 : Swiss Noel, portions of the OrgelbUchlein, Bloch. d' Aquin; Sleepers wake, Bach: Praise be to HEINZ ARNOLD John Barry Thee lard Jesus Christ, Wolcho; Carillon, Ludwig Altman - Temple Emonu.EI , San Sowerby; The Shepherds INativity), Meio FAG.O. D.Mo~ ST. LUKE'S CHURCH Francisco, CA Dec 30, Ricorcare a Ire voci, s:aen; Toecolo (Symphony V), Wider. STEPHENS COLlEGE Ricercare a 6 yaei (Musical Offering). Thy LONG BEACH, CALIFORNIA throne I now approach BWV 66B, Bach; JQhn Burkett - East Texas Siole U, Cam· COLUMBIA, MO. Andanle In F KV 616, Fugue In G minor merce Dec 3: Nun komm der Heiden Heiland ICV 401, Mozart; Introilus, Aria ed Alleluia, BWV 599, Herr Christ der elnig Galles Sohn Klebe; Poslo,ole, Milhoud; Hegaic Sonorities 8WV 601 , Der Tag der ist so Freudenrelch (premiere) David Sheinfeld. BWV 605, In dukl jubilo BWV 729, 8ac.h; Nool in G, d'Aquinl Vom Himmel hach, Peter J. Basch ROBERTA BITGOOD Fred Backhaus - student of Miriam Clapp Pachelbel; Concertina Sacra on Good Chris- Duncan, Lawrence U, Appleton, WI Nov 26: fan Men Rejoice for bross, flute and argon, Fir.1 CongregalionaI Church Preludo a nd Fugue in E minor, Bruhns; Prel· Rohligl Weinochlsbaum Vol I, L1sd. Rhap. Wildwood Road ude and Fugue in B minor, Bach; LA venl !OdIe sur les Noels, Gigoul. BATILE CREEK, MICHIGAN de l'Esprit (Penlecosl Mau), Messiaen) Prel Califon, New Jersey 07830 ude and Fugue an ALAIN, Durufle. J.rome J Butera - SI Vincent de Poul Church, Chicago, IL Dec 2: Praise to the Robert F Bate. - sludent of Ray Ferguson, lord, Ah God from heaven look anew. R. Wm.G. BLANCHARD Wayne State U, Detroit, MI Dec 10. Prelude iotte beloved Chrisfions, Mkheel$On; How CHARLES BOEHM and Fugue In 0 minor, Buxtehude; Trio brightly shines the Morning Sior. Buxte ORGANIST TRINITY LUTHERAN CHURCH Sonata IV BWV 528, Bach; Trois Mouve· hudel Fantasia and Fugue In G minor BWV raMONA COU£GE Hlcbvill., N.Y. ments for flute and organ, Alain; Etudes II 542, Bach; Improvisation an In duld jubllo. CLAREMONT GRADUATE SCHOOL and VI opus 5, Demeuieux; Introduction. Kor9·Elert; Fontaisle in A. Franck. Te Oeum, THE ClAREMONT CHUltCH NASSAU COMMUNITY COLLEGE Langlais. Gard'A ctty, N.Y. Variations and Fugue on on Original Theme Cianmont CoUfomla opus 73, Reger. Assisted by Marilyn Jones, fl ute. Coral Clever - 51 Paul's Cathedral, Los Angeles, CA Dec 28: Noel grand jeu el DAVID BOWMAN ETHEL SLEEPER BRETT George Black U of Western Onlorio, duo, d'Aquin; A rose is blooming, Brahms; London, Ontario Dec 7: .xmi.icko dich, Boeh; In Thee is glOOne5.5, Boch; In Bethlehem Is D.M.A. OUertolre pour Ie jour de Paques, Oondrelu. bOf'n, Walche; Covenlry COlol, arr Gale; 2: Organist and Recitalist Nail sur Ie, flutes, d'Aquln; For Evening settings In duld iublJo, Bach and langlois; Alabama State University Toccala (Symphony V), Widor. Draws On for English horn, argon and Flnt Metlaodiat an.tda, SaCnID.IDto, OIl. lope, Pinkham; Collaborations for organ Monts/amery, Alabama Lloyd Davis - Bryn Mawr Community and lope, Uilon.Dawson; Fontasie in drei Church, Chicogo, IL Doc 2: Sleepers woke, Rhythmen, Kluge; God Ploys Hide and Seek Come now $a'llior of the heathen, Bach; for organ and tope, Hompton·lColehoff. Partito on Nun komm der Heiden Helland, JOHN BULLoUGH Oistlerl The world awailing the Savior (Pas' WILFRED BRIGGS James 1 BOKhker - groduale recital, U sian Symphony), Dupre; 3 seltlngs In dulc1 A.B. M.5.M. ChoM. of South Dakota Dec 7, Concerto II in A M.S,# (HoM. FDfle5gh Dkkin.on U.I ••rtity iubllo, 8ach, 20chou and Sthroeder; The minor B'WV 593, Cononk Variations on Vom Nallvily, Langlais; G,eensleevos, Wright; St. John's in the Village Teaneck, "'W JHM)' Himmel hoch BWV 569, Trio Sonolo III Memorial M.... odlst Church The Shepherds, Eternal Designs, God Among 8WV 527. Passacaglia and Fugue in C Us (Nativity), Messiaen. New York 14, N.Y. White Plain., New York minor BWV 582, Bach. Merrill N Davi. III, Rach ••t.r. MN - Jamal R Srown. Ob.rlin, OH - Queen Southern lIIiNlis U, Carbondale, IL Dec 2: ARTHUR CARKEEK EARL CHAMBERLAIN St Uniled Methodist. Kinston, He Dec 301 Sinfonio from Canloto 29, Trto Sonata VI M.5.M. A.A.G.O. Toccata In F BWV 540, Trio Sonata IV BWV in G, Toccata and Fugue in 0 minor, Bochl f.T.C.L 528, Fugue in F BWV 540, Bach; Choconne Magniflcal on the Ninth Tone, Scheidt; DePauw University Organist In F minor. Pachelbel; Poslorole in G. Pas· Choral in B minor, Fronek; Prelude in C, Gobin Memorial Church ST. STEPHEN'S CHURCH qulnl; Commu nion, Sortie (Pentecost Mass), Bruckner; Postluda ISlovonic Folk Moss). Meuioen. Janecek. Gf'Calcudc, IDdiaDa CohcnMt MG.ilGChu ..Ha Gruaulein Awud sponsor Robert Clark Charle. H. Ph. D" FAO.O. CHlCAOO Robert Finster CLUB OP School of Music FINNEY DMA WOMEN University of Michigan Chairman, Division ., Music & Art St. John'. Cath.dttlll OROANISTS Haulh'an CoIleg., Haughton, N.Y. Ann Arbor EDen Lolberw. Praid",,' HoughtOlil W.... y.. Methodist Church D... ver Harry E. Cooper WALLACE M. COURSEN, JR. FAG.O. HENRY FUSNER Antone Godding S.M.D.. A.A.D.O. Mm. D., F.A.G.O. CHRIST CHURCH School of Muaic BLOOMFIELD AND GLEN RIDGE, NJ. First Pr ••byt.rian Church BI.hop W. Angl. Smith Chapel RAIJaGH,N.CAROLlNA The Kimberly School, Montclair, N. J. Nashvill •• T.nne .... 37220 Olelahoma City Univanlty I DELBERT D1SSELHoRST KATHRYN ESKEY LESTER GROOM E. LYLE HAGERT DMA The University 01 Seattle G.du...... Eplsoopal Church Ualvflslty .f 'owa North Corollna Seattle Pacific Church or the CoII.co AscensIon at Gr ••nsboro Minacapolu, MinnClOta 65.f04 low.Oty Iowa 98119 98199 I GEORGE ESTEVEZ EARL EYRICH DAVID S. HARRIS Yuko Hayashi ch.m. Church of Our Saviour First Unitarian Church boston Director Rhode Island College Akron, Ohio new england conservatory CHICAGO CHAMBER CHOIR Providence Organ GEORGE FAXON SUSAN INGRID FERRE WILL O. HEADLEE WILBUR HELD SCHOOL OF MUSIC Teaching Fellow SM.D ... FAO.O. TRINITY CHURCH Ohio State Unive"lty North Texci State University SYRACUSE UNIVERSITY BOSTON Trinity Church Denton SYRACUSE, NEW YORK 13210 COLUMBUS, OHIO 22 THE DIAPASON , George Decker - St Paul's Cathedral, Jerry Guzaski - student of Theodore Rip. Syracuse, NY Dec 4: PUer nohis noscitur, Or per, Millikin U. Decatur, IL Dec 4, Noel dltes-nou Marie, P Dandrleu; Chanton de grand jeu et duo, d'Aquln; Concerto In A THE DIAPASON A MUST FOR EVERY ORGANIST 1 Voix Hautalne, J-F Dandrieu; Joseph est minor BWV 592, Vivaldi·Bach; Sonata I. C$7.5Q a year-s13.oo for two yean) hien marie, Balhastre; Toccata on a Noel, Mendelssohn; Sonata I, Hlndemilh; litanies. Dupre. Alain. 0", not send cash Send THE DIAPASON for ______yeor(s) 10 Bonnie Beth Derby - St Paul's Cathedral, Elizabeth Hamp - First Presbyterian, Dan Syracuse, NY Dec 12: Canzano, A Gabrieli; ville. Il Oec 2: 2 settings Nun komm der Name Enclosed is $ ____ Allein zu dir, Erich; Prelude, Cromhorne en Heiden Heiland, Bach and Pachelbel; Anti faille, Guilain: Partita on Werde munter phons on the Magnificat. Dupre: Prelude on meln GemOte, Pachelbel. Picardy for flutes and organ, Hamp; Gloria. Street THE DIAPASON Dupre. David Difiore - student of Walter A Eich inger, University Methodist Temple, Seattle, City 434 Soulh Wabash Ave. WA Dec 7: Fantasy and Fugue in G minor, David Hewle" - St James' Church, Green Bach; Choral In B minor, Franck; 2 Organ field, MA Dec 2: Chaconne, L Couperin; Psalms, Zimmermann; Prelude and Trumpet liebster Jesu, Wachet auf, Nun kamm der Siale ___ . ______Zip ---____ ._ __ Chicago, III. 60605 ings, Roberts. Heiden Helland, Prelude and Fugue in C minor, Bach; Fugue and Choral, Honegger; Suite Breve, Langlais; La Nalivite, Langbis: W Kirby Eber - Vermont Sf United Choral in A minor, Franck. Methodist, QUincy, IL Dec 161 Fantasy in MARRIOTT C. In dulci juhilo, Boch; Que Ii darem a William MacGowan Margaret Irwin·Brandon St Mark') The Detroit Institute n'el Noi de 10 Mare?, Guinaldo; Adagio for Bethesda-by-the-Sea Strings, Barher.Strlckland; Trumpet Tune in Cathedral, Seattle, WA Dec 7: la Na tivite of Musical Art, Detroit. C. Johnson; Entrata Festiva, Peeters. du Seigneur (complete). Messiaen. Organist, The Detroit Symphony Palm Beach, Florida Gerald 0 fronk, Stillwater. OK - Okla Darlene Kaysen - St Paul's Cathedral. homa City U Dec 2: Prelude and Fugue in Los Angeles, CA Dec 21: la Nativite, lang. C BWV 547. Bach, Prelude for organ and lois; Concerto 1n 0 minor. Vivaldi.Bach; tape. Stewart; Fantasia In F minor KV 608. VenUe adoromus. Gehrenbeck. Noel, Coril Hinson Mikell RDSILAND MDHNSEN Ion-Sortie, Mulet. Mozart: Prelude and Fugue In F-sharp Recitals Westmar College minor. Buxtehude; Five Minalures for organ and tape. Palombo; Prelude and Fugue an Kirby Koriath - Ball State U, Muncie, IN St. Mark's Church, Frankford Calvary Methodist Church BACH, liszt. Nov 30~ Marche Trlomphale opus 46. Vierne; LeMars, Iowa Concerto for organ and bross, Monniken. Philadelphia, Pennsylvania 19124 Antone Godding, Oklahoma City, OK - dam; Concertante for organ. brass and per First United Methodist, EI Dorado. KS Nov cussion. Pinkham; Cortege for organ and 25: Voluntary In 0 minor opus 5·8 Stanley; brass. litaize; Intermezzo for tromhone and organ. Schiffmann; PMme Heroique for or· HAROLD MUELLER WILLIAM H. MURRAY Prelude, fugue and Voriation, Franck; Toe· F.A.G.O. cola, Villancico y Fuga, Ginastera; Varia gan, brass and drum. Dupre. Assisted by in Mus. M F.A.G.O. tions on Jesu meine Freude, Walther; A strumental ensemble conduded by Bennett Trinity Episcopal Church Lesson for the Organ, Selby; Adeste fide lis, lentezner. Temple Sherith Israel Church of the Mediator Ives; See that ye love one another, Pinkham: Chicago, III. Toccata and Fugue In 0 minor BWV 565, Charles Krigboum, New Haven, CT _ San Francisco Bach. Bradley Hills Presbyterian. Bethe!da, MD Jon 15~ Prelude and Fugue In E mi nor, Bux· Ed ythe Rachel Grady - Johnson C Smith tehude: Ricerear Arioso. Gabrleli; Capriccio CARLENE U. Charlotte, NC Dec 16: A child il born sopra iI Cucho, Frescobaldl; Sonata IV, NORLING in Bethlehem, The only Son from heaven, Mendelssohn; Communion, Sortie (Pentecost Beside Thy cradle, The star proclaims the Moss>. Messiaen; 5 Musleal Clock Pieces, NEIHART St. John's Episcopal Church King is here, Bach; What Child is This, Pur Haydn; In dir ist Freude. Herr Jesu Christ St. Andrew'. Episcopal Church vis; Rise lip shepherd, Deft; Stille Nacht, La dlch zu uns wend, lch ruf zu dir, Prelude M.yer and Wornall Jersey City Hcighl.l N .... Jersey Nativlte. Fanfare an Adeste fidelis, Young; and Fugue in A minor. Bach. kanlas Cily, Missouri 64113 Behold a rose is blooming, Brahms; Patapan, Pasquer. Arthur lawrence - St Mary's College, Notre Dome. IN Dec 3: Prelude a nd Fugue JOHN KEN OGASAPIAN Karin J GustaflOn, Glens Falls, NY - in E minor, Bruhns; Canonic Variations on frank a. novak Cathedral of All Saints, Albany, NY Jan 20: Vem Himmel hach BWV 769A, Prelude and HOLY TRINITY LUTHERAN Saint Anne'l Church Concerto V in F, Handel; Passacaglia and Fugue In C BWV 547, Bach; Noel sur les CHURCH Fug ue in C minor BWV 5B2, Bach; Postlude flutes, Noel grand jeu et duo. d'Aquln; La Massachulet. Slate College for Comp line, Alain; Fir.al (Symphony I), lOBO Main Nativite. langlois; Prelude and Fugue In G Bu(falo, N.Y. 1<4.209 Vierne. minor, Dupre. lowell SAMUEL HILL Harry H. Huber Jack Ossewaarde FRANK. K. OWEN Lessons - Recitals St. Paul'. Church M. Mus. St. Bartholomew's Church Chicago, Illinois Kansas Wesleyan University St. Paul's Cathedral Carthage College University Methodisl Church New York Kenosha, Wiscomin SALINA, KANSAS Los Angeles 17, California JOHN HUSTON d. deane RICHARD M. PEEK Sac. Mus. Doc. Franklin E. Perkins FIRST PRESBYTERIAN CHURCH A.A.G.O. - Ph. D. TEMPLE EMANU-EL hutchison Covenant Presbylerion Church The ladue Chapel portland, oregon St. Loui •• Missouri New York City 1000 E. Morehead Charlott., N. C. Univ.rsity of Missouri, St. Louis ElLEN KURTZ KIM R. KASLING ARTHUR A. PHILLIPS D.M.A. AAGO Ch.M. F.T.C.L MYRTLE REGIER JACOBSON Organist and Chairman. K.yboard Div. Mount Holyoke College M.Mus. A.A.G.O. Mankato Stat. CaU.g. St. Alban. Congregational Church Mankato, Minn. Concord, Callfarnia South Hadley, Massochu.etts Recital. - ClalH. - Can.ultatian. 172-17 St. Albans, N.Y. 11434 GEORGE E. KLUMP K. BERNARD SCHADE DIVISION OF THE ARTS Arthur laMirande RUSSELL SAUNDERS S.M.M. RECITALS STATE COLLEGE DALLAS BAPTIST CoLLEGE Specialty: German Romantic Eastman School of Music EAST STROUDSBURG, PA. Repertory Wark.hop. and Ledure. DALLAS, TEXAS 75211 522 West End Avenu., Ne" York, N.Y. 10024 University of Rochester The Kadaly Choral M.thod ARTHUR LAWRENCE RICHARD W. LlTTERST john h. schneider EDMUND SHAY DMA Doc, MUI. Art., A.A.G.O., Ch.M. M. S. M: Calvary Presbyterian Church SECOND CONGREGA nONAl CHURCH Columbia College Saint Mary'l CalJ.g. Riverside, California Columbia,S. C. Natr. Dam., Indiana 46556 ROCKFORD, IWNOIS Recitall Ma.ter Classes FEBRUARY 1974 23 - Myron Leet, Wilkes-Barre, ~A - Sf luke's G Leland Ralpb - Carmlcbael Seventh· Robert Shepfer Episcopal. Scranton, PA Jan 61 Nun komm day Adventist, Sacramento, CA Dec 81 Now L. ROBERT SLUSSER def Heiden Heiland, Walcho; The Holly and thank we 011 our God. Karg-Elert; Sleepers Milford; Noel. Held; Orgoni.t - Choirmaster MUS. M., A.A.G.O. Ihe I",!. The First wake, Came Savior of the heathen, Bach; SECOND PRESBYTERIAN CHURCH Greensleeves, Wright; 3 settings In duld Noel grand jeu et duo, d'Aquln; A lovely LA JOLLA PRESBYTERIAN CHURCH jubilo. langlois, Manz and Schroeder; The rose Is blooming, Brahms; Sonata In C minar, Indianapolis, Indiana 46260 Virgin and Child, Messiaen; God Rest you Mendelssohn; Improvisation on Greensleeves, Recital. LA JOLLA, CALIFORNIA merl"'{. Gentlemen, Elmore; Variations on a Rolph: Sacred Harp Suite, Powell; Bring a Noel, Du pre. torch, Ellsasser: In dulci jublla, Dupre; Pray er of Christ Ascending, Messiaen. Judith Lobe - student of Walter A Eich- ROBERT SMART inger. University Methodist Temp'e, Seattle, Ruth Reynold" Oakland, CA - Seventh Swanlunore. Pennsyh'anm. WA Dec 7: Trumpet Voluntary. Stanley; day Adventist, St Helena, CA Nov 17: Can Suile on the Second Tone, Guiloin; Varia- Trinity Episcopal Church ROLLIN SMITH onic Variations on Vom Himmel h:xh, Bach; tions on a Shope Note Tune, Barber; Prel- Swarthmore Collrge Wer nur den lieben Galt, Mein schanste ude on l and of Rest, Proulx; Poem of Hop- Congngatloo Rod.ph Shalom Zier, Walcha; First Biblical Sonata, Kuhnau; RECITALS pinen, langlois. Philadelphia 1150 Forty.lint Street, Brooklyn, NY 11218 Allegro (Symphony VI), Wldor. Allen R Mills - Cathedral of All Saints, Albany, NY Jan 27: Sinfanla to Cantata 24, Philip Riddick - St Paul's Cathedral, Las Mus. Doc •• F.A.O.O. Bach: Sonata I in E-llat (Epistle Sonatas), Angeles, CA Dec 14: Good news from Carl Staplin ADOLPH STEUTERMAN Mazart; Divertissement, Vierne: Te Deum, heaven the angels bring, Pachelbel; A Babe Mills (anisted by Glee Club of Albany is barn in Bethlehem, 0 hail this brightest Ph.D •• A.A.G.O. day of days, Bach; Weihnachten, Reger; Di Drake University Southwestern at Memphis Academy for Girls); Prelude and Fugue on ALAIN, Durufle_ vinum mysterlum, Purvis; To shepherds as University Christian Church Calvary Episcopal Church they watched, Manz; Gad rest you merry DES MOINES, IOWA Memphis, Tennes.. e Kathryn Ulvilden Moen, SI Paul, MN - gentlemen, Held. First lutheran, Decorah, IA Dec 9: Prelude and Fugue in E minor (Wedge), Magnificat, lee Ridgway - Essex Institute, Salem, MA George Norman Tucker '¥Vachet a uf, Partito on Sei gegrunet, Bach: Nov 11: Voluntary VII, Boyce; Balla del gronduca, Pavana Loch rimae, Sweelinck; l\(us. Bach. Variations an Freu dich sehr, Pachelbel: la FREDERICK SWANN Nalivite, langlois; Deueins elernels, Mes- Lachrymae Pavon, Pavon and Galliards-The ST. LUKE'S CHORISTERS Earl of Salisbury, Byrd; Five Voluntaries for The Riverside Church sioen; Reflection, Watson: Tierce en tallie, Kalamazoo Couperin; Dialogue sur les grands jeux, de Manuals, Pinkham; Capriccio cromalica, In Grigny; Fantasia, Kabeloc. tonozione cromotico del quarto lana, Merula; New York City BOY CHOIRS 7 Welhnachtsfughetten, Bach; 3 Meditations, Frank K Owen - St Paul's Cathedral. Los Koelsler, Sonatina (opus 18/1), Distler; Cap Angeles, CA Dec 7: Grand Chorus an a riccio in 0, Bohm. Pedal Point, de Grigny; 2 seUings Wachet W. WILLIAM WAGNER a uf, Bach and Peeters; Cantabile opus 37, Sara Hammerschmidt Ritter - First United WA-Ll-RO Jongen; Karoal, Trio, Introduction and Fugue Methodist, Conneaut, OH Dec 2: Magnificat BOY CHOIR an Lord we are seeking you, Bljster. VI, Gloria, Dupre: Allegro (Symph:lny VI), AlT. LEBANON METHODIST CHURCH Adagio and Toccata (Symphony V). Widar: WARREN C. MILLER - DIRECTOR David L Petrash - doctoral recital, North Prelude in E.fla!, Bach: 3 French Noels, Pittsburgh, Pennsyh'ania Christ Church. Shake Heights 22, Ohia Texas State U, Denton Nov 26: Toccata in Dondrieu, Bouvard and Doyen; Castilla on A minor, Froberger; Kyrie Gatt heiliger Come dear children, Guinalda; Fantasy an Geist BWV 671. Allein Gatt BWV 675, Dies 2 Christmas Carols, West; la Nativlte, Lang sind die heil'gen zehn Geb:lt BWV 678, lais; A Chinese Christmas Carol, Noble; La sally slade warner Prelude and Fugue in D BWV 532, Bach; how a rose, Pasquet; Divinum mysterium, CLARENCE WATTERS Fantasy on Ein fesle 8urg opus 27, Reger; What child is this, Purvis; Now thank we aa.g.o. dLm. Fantasle in drei Rhythmen, Kluge. all our Gcd, Whitford. CHURCH OF RECITALS ST. JOHN THE EVANGEUST St. John's Church Robert Prichard - United Meth::ldist McNeil Robinson - St Paul's by·the·Seo Church of West Covina, CA Dec 9: Fantasia, Episcopal, Jacksonville Beach, FL Dec 7: Beacon Hill W. Hartford, Connecticut Dooston Byrd; Toccata per l'Elevazione, Frescabaldi; Prelude and Fugue in C, Prelude and Fugue Variations on Psalm 140, Sweelinck; Noel in D minor, Prelude and Fugue in E minar, I., flutes, Neel grond jeu el duo, Prelude and Fugue in G, Bach; Choral in C. GORDON DAVID A. '"'d'Aquin; Pastorale in F BWV 590, Prelude B minor, Choral in A minar, Final, Franck; a.d Fugue ;. G BWV 541 , Christmas Variations on a Noel. Dupre; Improvisation WEDERTZ WEHR chorales from the Orgelbuchlein, Bach. an submitted the me. 2534 'Vest H8th SL Eastt:rn Kentucky Uninrsit)· CHICAGO 60655 Richmond, Kentucky Vernon tie Tar F.A.G.O •• Mus. Doc., S.M.D. Dwight Oarr HARRY ARTHUR WELLS Church of the Ascension Recitals Fifth Avenu. at Tenth Streel 80.6 fJJJt.iHft'l N.w York, N.Y. 10011 Washington stal. University Wells College FOX CHAPEL EPISCOPAL CHURCH The Juilliard School Pullman 99163 Fax Chapel, PiHsburgh. Pa. 15231 Recitals Aurora, New York 13026 Organ and Choral Workshops RUSSELL G. WICHMANN HARRY WILKINSON THI TEMPLE Chatham College Ph.D" F.A.G.O. Cln.lanel, Ohio ..... 0' Shadyside Presbyterian ST. MARTlN·IN·THE-FIELDS MARTHA FOLTS Chestnut Hill. Philad.lphia Pittsburgh, Pa. 15232 WEST CHESTER STATE COLLEGE. PA. DAVID Traditional r-- GOODING Recitals. JOHN E. WILLIAMS DONALD WILLING Avant-garde St. Andrews ' ....by •• rian Colleg. faculty THE CLEVELAND ORCHESTRA Laurinburg Pre.byt.rian Church North Texas Slat. University MUSICAL HERITAGE 50Clm Mu.ic Dept., Iowa State Unlvenity laurinburg. North Caralina Denton RECORDINGS Arne.. Iowa 50010 Faculty. University of Miami, Musical Arts barclay wood Diane BISH - recitals Organist: Caral Ridge Presbyterian FIRST BAPTIST CHURCH Ft. Lauderdale "The organist that has it all together" Worcester Maaacbaseu. ALEXANDER BOGGS Recitals and Master Classes Gary Zwicky Organ Consultation DMA FAGO RYAN Cathedral Church of Christ the King Eadem IlIInol. Unlvenlty CONCERT ARTIST Western Michigan University at Kalamazoo Chara-don 24 THE DIAPASON John ROHl - Cathedral of 5t Matthew the ICV 608, Mozart; The World Awaiting the Aposlle. Washington. DC Dec 16: Sonata II. SoY/or (Symphonle Passion). Dupre; Andante Mendel»ohn; Cantabile. Franck; Toccata sostenuto ISymphonie Golhique), Widor; CHARLOTTE and WILUAM First Pr.sbyt.rlan Church and Fugue In 0 minor BWV 555. Bach; little Arabesque (Suite Francoise), Langlais; Vori· Oceansld., California Corals of tho Sainls, Williamson. Adagio for afons on Praise to the Lord. Ahrens. Sirings. Barber·Strickiand; Final (Symph:my Army and Navy Academy III), Vlerne. Fr.d Tulan, Stockton, CA - St Pal rick's ATKINSON Carlsbod, California Cathedral, New York, NY Nov II: Toccata Gordon S Rowley - St John the Divine for the Pedals Alone, Corler; Praeludium, Church. Vidorla, BC Dec 5: Pas:.acaglia and Dllss; Prelude on the Name of frederick Fugue in C minor. Bach; Partita on Wie Tulon (1.26 )Cole), Caslelnuovo Tedesco; schOn leuchtet. Pepping; Fantasy and Fugue Plymouth Rock (Spirits and Places). Bocon; ARTHUR C. BECKER, Mus D., A.A.G.O. on Ad nos, Lint. Ricercar (premiere), Bodings; Lament on the Assauinotion of President Kennedy, Statham; DE PAUL UNIVERSITY Keyin SlJdowlki, Erie, PA - St Paul's Organologia opus 180, Krenek; Improvisa COlhedral, Buffalo. NY Dec 14: Cooral in tion 01'1 themes from Berlioz' Romeo and ST. VINCENTS CHURCH, CHICAGO B minor. Froock; Prelude and Fugue in C Juliet, Meuiaen; Final (Son f,oncisco 1m· minor. Both. provisationl, Dupre. Michael W Secour - All Saints Church, John Upham - 51 Paul's Chapel, Trinity fcfword D "'ryman, SMD WOfren L "rryaMIn, SMD Beverly Hills, CA Dec 2: Batalla Imperial, Parish, New York, NY Jan 23; Fugue in C Cobanilles; Trio, Valderravano; Tienla de minor on a Theme of Legrenz;, Pastorale stlllllO tono, de SolO; Voluntary I in D, B:lyce; in f, Fugue in G minor, Canonic Variations BERRYMAN Toccata and Fugue in 0 minor, Wachet auf. on Vom Himmel hoch. Bach. Orvanlst-ChalrmGl,.r Head, Organ.Church MusIc D.pt. Bach; Paean, Howells; Adagio in E. Bridgel litanies, Alain; Le Banquel Celeste, Mes WESTMINSTER PRESBYTERIAN CHURCH BALDWIN.WALLACE COLLEGE Vlnc.nt Verga - All Souls' Episcopal. Ok· Minn.apoll, Ber.a, OhIo siaen; Paean. Leighton. lahoma Cily, OK Dec 9: Prelude and fugue in G minor. BUKtehude; 0 come 0 come Edmund Shay - SI Martin's In the Fields, Emmanuel, In dulci jubilo, Wake awoke, Marga.. t Columbia, SC Oec 10; Toccata and Fugue How lovely shines the morning slar, Savior Melvin h, 0 minor B'NV 565, Trio Sonata V in C cf the nations come. Manz; Benedictu5, Toc BWV 529. Toccata and Fugue in the Dorion colo and fugue in A minor, Reger. Mode B'NV 538, Six Schuhler Chorales, Toc· DICKINSON colo and Fugue in F B'NV 540, Bach. Unlv.rsity .f lour..... Hugh Allen Willon - Ca:hedral of All n. louisville SocIety Saints, Albany, NY Jon 13: Tocca:a and Ia'" David Lennox Smith - First United Meth c.... 'Y EpIscopal St. Frctndtainofhe..fieW. Epilcopal edist. Santa Barbaro, CA Dec 9: Prelude Fugue in F BWV 540, Ceck thyse'f my sou l. and fugue in G B'NV 541, Cononlc Varia Lord Jesus Christ turn th:lu to us, Bach; Varia:ions on My young life hath on end, tions on Vom Himmel hoc.h B'NV 769, Boeh; four Noel,. Candrteu; The World Awaiting Sweellnck; Tierce en laille, Mu zelle, Offer· the Savior, Nativity ISymphonie Pauion), leire, Oandrieu. WAYNE FISHER Dupre; fantasy on Hallelluah Gott zu Ia ben, Reger. Ca,al, Murphy Wunde,le - Ch,ist United Presbyterian, Conlon, OH Jan 18: Concerto College.c:on.ervatory of Music VI in s..flal, Handel; Le jardin suspendu, Donald Spies. Ripon, WI - doctoral reo Unive~ity of Cincinnati dial, Northwestern U. Evanston. lL Nov 26: Aloin: Passacaglia and fugue in C minor, 3 fugues from opus 60, Schumann; Prii!'(e Bach; VorjQllons an Veni Creator, Durufle; opus 20, franck; Six Trios opus 47. Reger; Sonatina for Pedals Alone. Persichelti; Prel· Variations on Weinen Klagen Sorgen Zogen, ude and F\'gue on BACH. Liszt. Lint. DAVID HEWLETT J Richard Szeremony - Munn Ave Church, itH i.ol proll,om. for Inclu.ian in MARSHALL BUSH Ea~t Orange, NJ Dec 2: Toccata and fugue th ... pOI.' mu.t r.och THE DIAPASON "Christopberson Place" In 0 minor, Boch; Schena (Sympoony II), within thrM w ••1et of performance dot •. Richmood, R.F.D. 3. N.H. 03470 __~ Clair de lune, Vierne; Toccata, Jongen: R.dlol. .nla,in, mor. thon thr.. or 0______Greensleeves, TOttata on In Dabilane, Pur vis; PastOfale, Roger·Ducasse; Epilogue. Long· lont,.. win not be IncJucled. Th. pro lois; Variations on a Noel, Dupre. .,am must ItDl. tfte date ond place of the pttformenc. 0' w.1I ., the nom. ~ ~OHN HOLTZ i Rob.rt F Triplett - first Congregational, of the ,.rfonur. ~ I Mason Cily. IA Dec 9; Fantasy in F minor ... Faculty: HARTT COLLEGE, University of Hartford ! L:'" ", .~:,~~~~~NGREGATIONAL CHURCH, Hartford I George Wm. Volkel ' LAWRENCE SAC. MUS. DOC., f.A.O.O. ROBINSON YIlUilNIA COMMONWEALTH UNIVERSITY 'OM'ANO lEACH ROllDA RICHMOND. VIRGINIA Fir .. Pre.bylerion Church MARILYN MASON CHAIRMAN, DEPARTMENT OF ORGAN UNIVERSITY OF MICHIGAN STEINER ANN ARBOR "Mi.. MalOtI "..,.d wil. • .....,ily and reMl'Y., d.mond,.,i. IIHW O RGANS It., .. ,roorrIlttary 'adlity • • ," D.t Mo..... Registe" Octob... 5, ,964 Incorporated LARRY PALMER "38 GJ.rvin PIKe Organ - Horp.ichord Southern Methodist University Dallas, Texas 75275 Otwold G. D. M. A. RAGATZ P,.f•• sor of Orl"" Rodt8I. INDIANA UNIVERSITY lectures Organ Builden and Inc. • Rebuilding * FRANK J. SAUTER SONS • Repalrlng Phones: 388-3355 * • Controdual Servicing 4232 West 124th Place PO 7·1203 Alsip, IlHnois 60658 For Unettelled Service FEBRUARY 1974 25 CIa.sifi.d advertising rat•• : per word, $.20; mlnlfllum charge, $2.50; box number, additional $1.00. CLASSIFIED ADVERTISEMENTS RepU .. to box numbe,. should b ...n. cl o Th. Dia,.son. 434 S. Wabash Avenue, Chkolo, III. 60605. K)SITIONS WANTED WANTED - MISCELLANEOUS MISCELLANEOUS HARPSICHORDS SINGLE MALE, 29, D.M.A.. ORGANIST. MUSIC ROLLS FOR AUSTIN, WELTE, SKIN· 500 USED ORGANS - 200 GRANO PIANOS HARPSICHORDS, CLAVICHORDS, SPINETS h.lrpskhordi$t, conductor church musician. de' aOr. Aeollon, Ouo·Art and Eiley pipe organ and player gronds - oM makes. Piano GAd or· and MOlart Pianofortes by Neupert And sobo' sires to re ·locale in soph"liuled porisil mu,.c players. J . V. Macartney, «16 Havarlord Ave ., gan leci\ nic;illnl wllnted. V.P.O. franchises IIvail. Ihil, Accurate copi.s of historical HarpsichOfds pro;ram or ocademic en vi ronment (keyboard Norbet lh, Pa. 19072. able in Stwlh Florido. For prospectus .... rite: by Bill Dowling. In IIddilion, .... e now offer performllnce. music h story) ; established con· Victor Pio nos and O rgans 300 N.W. 5<4 SI •• harpsichord ktls. Finllncing ovoilable. sho .... • cert organist, five yeors coll ege teoching. III' Miami, Fla. 33127. (305) 751 ·7502 •• room open onytime by oppointmenl. Free cell ent re{e",,,ces, solo and ensemble tapes MISCELLANEOUS Cotoloq. J ohn W. Allen, 500 GlenW'ay Av enue. oVo!lII lt!1ble . Can re locllie anywhere in U,S.A. Bristol, Virginia 24201. (703) 669·8396 . or Canada . Addre n M·l , THE DIAPASON. PUIUCAJlONS COLLECTORS' ITEMI lIhtlTED EDITION : SAIATHll HARPSICHORDS, PEDAL HARP· Stereo recording of the fa '1ied Old Boston Mu· " THREE CENTURIES OF HARPSICHORD sichords and Clavithords: most reliable and sic Holl Orgon, America's firsl concert organ. ).4a1:i r g," by Frank Hubbard, Hatvord Univer· belllothfully sounding from $895. 8rochure 251:, POSITIONS AVAILAB,. " J ohn Rose ot the Great Organ of the Meth. sity Pr. n , 1970, 373 pllges plus 79 plates, $IS. Stereo LP $5 from Dept. 0, 108<4 Homer, Von· uen Memoriol Music Ha W' available from Key. The ilecfit lCMI s 01 harpsichord making in Italy, couver, B.C., ConodA PARISH ORGANIST AND CHOll DIRECTOR boud Arts, Inc.. Bar 213. u. .... re~e , Mus. 010.t2, SS,% peatpoid. FlII~ders, France, Germa"y a~ England from position available in lafge Catholic parhh. Ap 1500 to IBOO. Fronk Hubbord, IB5J Lymlln ANTIQUE HARPSICHORD REPRODUCTIONS. plicant must have experience w th youth and NOTE CARDS. OR IGINAL htUSIC MANU· Street, Waltham. Mossochuseth 0215<1, Pleaso wri te for our brochure describing 17th adult choirs. Applicotions occepted el St. script facsimiles of Motart, Bllch and Beethoven. century Flemish ond 18th century French slyle Peter's Church, 5<1 S. Mulberry St., Mondield, obtained from European museums. 12 assorted JUST PUBLISHED - " THE AMERICAN REED inslr",ments. Mork Kramer Horpsichord Maker, Chio, +1902. cords end envelopes. $3,00. Orqan Arl, Box 309, Orqon" - canto ins history, music, redorotion, 219A Rye Colony, Rye, NeW' York 10580. Burlingollme. CA 94010. tuninq, hunderds 01 jI'usireticni. $9.95 pcl1tpoid. METAt ORGAN .IPEMAKER NEEOED. ONL.Y Rebert Gellerman, 9007 Birnam Wood, McLun, HARPSICHORDS, BEAUTIFULLY MADE AND conscienliou, need apply, wilh willingness to PIPE ORGAN NOTE CARDS, NEW SERIES. Virqinia 22101. relocate. Immediate need. Firm est"blished in eloborotely decorllted in the Flemish and 6 different in full color. $3.00 dOlen. Otgan French 'rodilions. Kniqht Vernon, Harpsichord 1906. Coni act directly: Jerome B. Meyer and " 22 FAVORITE HYhtNS IN MODERN HAR· Art. Bor 309, Burlinljlollme, CA 9<4010. Moker, 525 White Pigeon Street, ConstAntine, Sons, Inc., 2339 So. Austin Street, Milwaukea, many:' Pionists, otgonish. E..ciling chords set Michi~an <49042. Wisconsin 53207. EXPERT RECOVERING OF ANY MAkE PNEU. h familiar hvmns. $2.00. Immediate service I malics, pouchboards and primariu, with Poly. Davo: Dyserl StudIOS, Dept. 0, 128 Seminole st" ORGAN TECHNICIANS NEEDED IN SEVERAL Johnstown, Penna. 15904. SPERRHAKE HARPSICHORDS AND CLAVI. .... edern territo ries to operate own pipe organ urethane, Plastic nuh used on primory valve chords, Excellent, de pend able, beautiful. Robert servic:: e business in ossociation with major organ wires. Melvin Robinson, II Pork Ave., Mount S. Toylor, 8710 Garfield St., Belhelda, Mary. firm. Excellent opportumty for man and .... ife Vernon, N.Y. lasso. " QUICKIE KEYBOARD HARhtONY LES· IlInd 20334. leat \5. Wrile Eugene E. Poole, 165 lakewood scns." All major, minor, seventh, minor sevenlh R.dd, Walnut Creek, CA 'i.tS'iB. ORGAN SERVICEMEN : WE WILL RECOVER chords. Fo r betler harmony instruction. $2.00. CaJllvanl and Skinnor pcuchboardl, primary Immediate satvice! Dove Dysert Studios, Dept. HARPSICHORDS, CLAVICHORDS: MAGNI· ficent lone ond hanchome appeo!l tance at rea· and ollsel actions. Write Burness Associates, 0, 128 Seminole St., J ohnsto .... n. Penno . 15m. 1907 Susquehonnll Rd" Abinglon, Pa. 19001. sonable cost . Mourice de Angeli, BOll 190, R.D. WANTED - MISCELLANEOUS # 1, Pennsburg, Po. 18073. PNEUMATICS AND POUCH BOARDS OF ANY PIANOS make recovered .... ith Polyura thene Pladie. Write HARPSICHORDS, PEDAL HARPSICHORDS, RESIDENCE, MORTUARY, OR CHURCH OR· Clavichords, Custom made. Jan H. Albarda, gan smol! Kale, low preuure, minimum 2/; for quotation. Ch. rc;. Or~an Co., 18 Walton SI" Edison, N.J, 08817. STEIN FORTEPIANO REPLICAS, CUSTOM 14 Rlverdole Dr., Th lslleto .... n (Rexd ale), O nl. " ntl tX 2/6 trader, one 16' pedal stop, Iremu inslrumenh. Philip Belt, Fottepiano Maker. Box Cllnoda M9V· 2Tl. lanl, expression. Vernon Brown, Minami Aoyama 9UALITY A LL ELECTRIC CHESTS MADE TO 96, Bll ttle Ground. I"diu a <47920. <4· 0.2.t, Minato· ku, Tokyo 101, Jopan. order, ljIood delivery, Aikin Associates, Box 1<43. HARPSICHORDS, SINGLE AND DOUBLE Brooklyn, PA 18813 . 3·MANUAl WURLITZER THEATER ORGAN HARPSICHORDS man",ol in clanic French style; also unall harp· complete. Mlot sl ba all Wurlltler. Gordon l. sichords from $1M5'oo. John Bright, 7<41 Algome. Wright, 3636 l emmon, Dallal, Texos 75219. TUNERS THROW AWAY MESSY COnONI Ave.. London, Ontario, Canada NSX· IW<4 . Mirhue tuning is usier and la" frust ratin ljl fLEMISH HARPSICHORD, NEW, FOR SALE. USED SPOTTED METAL AND OLD SPOrrED with all felt. K. D. Kaps, Starter set (tunes up T.... o registen: S· ond 4' Box IDS, Columbio. metal pipes. Contact, Trivo Company Incor· In <4 ron ks) $3.50, Deluxe sel (5 ronh &. more) ville, N,Y. 12050. HARPSICHORDS. CLAVICHORDS: CLASSIC pot nted, Monufoctlotretl of Quolity Reed Pipes, $0.00. K. D. Kaps. 214 Ookland St., Man· deligns; reo!lsonably priced. Thomas E. Mercer, Box 101, Hageulown, Marylud 217.tO. chester, Conn. 06040. HARPSICHORDS. CLAVICHORDS, MOZART 215 Ho!I (1ison Avenu. Christiana, Pa. 175O'J . Planea. by Neupert, now anti u~ed la le-tnodel AUXILIARY CHIME KEYBOARD, MINIMUM REED ORGAN TUNING AND REPAIRING. inslrumenh, sa le or renlal. Finoncing IIvoilable. HARPSICHORDS. CLAVICHORDS IY NEU. 21 notes. 51. Mork's lutheran Church, 114 21st Edg ar A. Rod eou, .tOI Al bany Ave ., Westmont, Wrile or call Wally Polle.. 1955 Wesl John pert, ..... orld's finest. oldest maker. Catalogs on Streel N.E.. Cedar Rapids, Iowa 52<402. NJ 08 108. Seers Road. Stevensville. MichiQlln 49127. request. Magnllmusic, shoron, Conn. 06069. REPRESENTING QUALITY and COMPLETENESS Osauanr frtres Your "one.. stop" supplier for all ST, HYACIHntf, aU{lIc. CANAOA Lumtc Pip. Organ Builders pipe organ .upplles and componenls. Sales & Service Chicago Area, Northern Indiana, Michigan Paul S. Hi"." Wesl.rn Michigan Alsociate: DURST ORGAN SUPPLY CO., INC. J. A. HaBERT & SON, INC. Louis Van Vels P. O. Box 1165 Erie, Pennsylvania 21230 LOl Palmal Drive 4722 36lh Str ••t, S.W. Southfield, Michigan 48076 Grandville, Michigan 49418 16512 r.l.phone (313) 353~2524 relephone (616) 534-3296 LOUIS F. MOHR & COMPANY E. H. HOLLOWAY o G. F. ADAMS ORGAN R S;nc~ 1906 CORPORATION MAINTENANCE G 2899 Valenlin. Avo. A Organ Builders, Inc. Builciers 0/ New York 58, N. Y. N 51.. S,mtot 0/ Qua!;', Traclcer und Eledro~pneumalic TeJcphone: SEdgwick 3-5628 204 West Haustan Street P slider chest organs Emersenc:y Service Yearly Contracts New York, New Yark 10014 Harps - Chimes - Blowers I JEROME B. MEYER &SONS upert OverhauUDI P 2339 SO. AumN ST. INDIANAPOLIS, INDIANA "All O r,1I.1I Prop.rl7 E relephone ORegon 5.6160 ~(d;n'4i.~rI M~II.IU MlLWAUKU, WIS, 53207 r.l: 637~2029 p, O. lox 20254 B'''.r Mwit " 5 Your p.rtona' wish•• JULIAN E. BULLEY DO IT YOURSElf PIPE ORGAN KITS New Organs - Rebuilding Cuttom spldne.atlon, fOf' dKlrc.h 0, JeddeftCe, complet. or PlrfS. fvll In. a,. in good banG. Service dructlons by ariabllsh.d OJ9'. build an. SINCE 1906 Fa. Joe... Stink.n. DIST COI.KIT MFG. CO. P.O. BOX 112 1376 Harvard Blvd.-Doyton, Ohio "~06 Holl4lnd Hiler Staflco, luffalo. N.Y. 14223 Organ pipe mak.,. sa wt.StW3lOH STRUT LCM/(LL, MAS$ACM.IS(TTS 01B51 513.276-2481 PIANO TUNING ORGAN SERVICE-J. E. Lee. Jr. Learn Plano tuning and repair with easy ANDOVER ORGAN COMPANY, INC. Felix Schoenstein to follow home study covne, Wid. open KNOXVIllE, TENNESSEE 37901 ... 36 field witb good earning.. Make. • ..J lox 2061 Pipe Organ Builders lent "extro" lob, Wrile M.thuen, Ma ..athu~1ts 01844 &Sons American School of Plano Tuning Tuning .. Maint.nanc..... bulldlng 17tH TlIf., Dr. D.. L D ...,. ... Hilt, CA.SIIl C.nwhants mod.rn mechanical odl~n SAN FRANCISCO, CALIF. 26 THE DIAPASON CIa,slfied advertlsln, 'at.,: p.r word, $.20; minimum c..... , $2.50; box number, additional $1.00. CLASSIFIED ADVERTISEMENTS Repll •• to box numbers .hould b •••nt cl o Th. DI.,ason, 434 S. Waba,h Avenue, Chka••• III. 60605. HARPSICHORDS FOR SAlE - PIPE ORGANS FOI SAlE - PIPE ORGANS FOR SAlE - EIECTIONIC OIGANS MAAS:ROWE viiKACHOib, 44-NOTE XY. HARPSICHORDS, CLAVICHORDS, KITS AND RESTORED •• RANK TRACKER ORGAN. 2 WURlITZER THEATRE PIPE ORGAN. J.l-tAN· lophone.Vibrllphone·Herp Orchestra Bells un it custom assemblies by New England croflsmen. manuo" , AGO pedal. Pi pework a nd chests in ulIl 22 renh. beautIfully ca ...... ed gold conlole .... ith under!:ey (;onlacll hyboord. cebles. am· Showroam in Bodon area. Agent fo r Zucker luperb cond ition. Movinq . Mud lell. (6021 886· g rand pieno, 4·foot chiAe,e gono, and mllny plifier and speaker. An $1 ,800 velue, $550. mann Harplichords. Wilson Barry and Co., Inc .• 03en or {l021 265·0791. exira large scalo pefC lluion1i. Presently in per· Robert Boker, 1252 Memory lue. Wed Chesler. Dept. 0, P.O. Box 152, SoU Drdvale Station, fect playing condition. Gold bench and How. Penna. 19380 . Andover, Mall, 01810. .... MANUAl CASAVANT ORGAN. OPUS 1641 , IIrd seal to metch. Console lift available. Ellsy 1940. 66 stops, 73 renks. oood condition. Can removal. Send $1.00 for 'pecs and photo. Ad· HAMMOND MODel H.lll AND MODEL ,Ith CENTURY fRENCH HARPSICHORD be played by a ppointment. Purcheser to re dren B·2, THE DIAPASON. 222 Leslie spellter. E.cell~ nt condition. S25OO. in .it form. We offer on authentic reproduc. move at own ex~ense. Mote offer. W ri te Dr. ~. Dennil, 80l{ 24 ~B. Ne"'IIf!:. New Yo rt 14511. tion of an antique frenc.h d ou b le manual harp Ri chllrd Enrto 'tt, School of Music, Norlhweslern KARN PIPE ORGAN, 2.MANUAl, , RANKS, (lt5) 331 · ~1Il . sichord fat amateur construction. The ind,u· Univenily. Evanston, HI. 60201 or phone 13121 completely rebuilt w" h new conlo1e, chest ac· ment hilS lour regi1.1en and buff slop with 4VZ·72S6 lor ""ther information. tion, blower end bellows. Playable by oppoint. 101 SAlE - MISC. " ranqe of FF·O'·', A/I JUarts tiN:; accuralely ment. ~ .5DO. 5j)eciel discounl for Ih lpping lind p",·cul and ready for auembly. The kit in SKINNER OIGAN. 2.Iro4AN UAL. 7 IANKS insl"II"lion to do·it·yourself church group. John cludes detailed drawings and instructions and unified and duplexe:f, complelely relealhered Brighl, , . , AI90mo Avenue, london. Onterio, E. M. SKINNER l-MANUAL 2S RANKS $7,000. all necesury materials, For brochure write and ne ... m09ne~l. (an be seen lind plllyed unti l Conoda. (519) 4]4·~1S8, MOiler 3·mllnuol 2D ranh n,soo. Hool: and Fran!: Hubbard, 18SJ Lyman Slreel, Waltham, removol Much I. 1914. Addren inquiries 10 Hllstings eleclro.pneumotic; 3·manuol 18 ranh Manochuletts 02t54. Burneu A~Iociates. 1907 Susquehanna Rd., $3,500. New Klenn ]·monuel Kenlington 01 . Abin(;llon, Penna. 19001. (215) 887·n'7. 101 SAlE - ElECTRONIC OIGANS electric console wilh remole key ection reloys S2.SOO. Spencer blo.... e": 3 HP 5" $150.00; 711l HARPSICHORDS, CLAVICHORDS AND VIR· SKINNER SELF PLAYING PIPE ORGAN AND HP , " ·8" $15.00. W. J. Froehlich. 446 Grove oinals. Aulhentic cllmical designs, for home roili. In d olled in lo le 20's. 2Mf1R with harp. RODGERS 32·1 OR6AN, AN EXCELLENT OR· 51., Westfield. N.J. 07090. Evanings (201) 232· conllruction by the amateur buil:fer. Write for Magnificent inltrument. Brady. 4609 Crllnbroo~, gan for YOllr studio or church. Rich will nut 1861. hee brochure. Zudermann Horpsichords Inc., Indianept)lis. Ind. 46250. finish, it is at leelt al 900d es new. Used it 12 Grand Street, P.O. Box 121. Stoninglon, only for praclice in my studio. Three.manual, SKINNER CONSOLE FOUR·MANUAL. Conn. 06378. J..MANUAL 17· RAHK MOLLER COMPLETE: full pedalboard , tw o leperete finished speaker AVllilllble Feb. 1914. Write Scottish Rite, 825 ir.c1udes draw!:nob consote. blower, generator. cllbinets. tol.lling " speekers. Re luctantly of Union Ave., Memphis. TN 38103 for specificll' HARPSICHORD, VIRGINAL, CLAVICHORD, chesls. reservoi" , pipes, swelh hedes. and fa· fered lit $10.0IXl (or neorest bid) d ue 10 illness. lion l!nd informotion. Pi onolorle kits. Full size plltterns ofter 17th cade pipes. Completely rebuilt by Moller, 1940. Please phone (617) Zl5·1IJ7. ond 18th century inslrumenls, from $320.00. Free Clln be heerd by appointment. Spech on reo MODERN, ALl·ElECTRIC STOPKEY CON· 3·MANUAL SAVILLE CUSTOM ORGAN, brochure on request. Heugel Kits, 2 bis, rue que". Write. Homplon Baptist Church.Organ, sole with accellories and remote ceplure acIion: magnificent pueled walnut 7] drawknob con· Vivienne, Paris 2, France. 40 N. KinQ, Hampton. VA 21£69, or phone ] mllnuols. P.O. BOll 22128, Dallas, Texas 15222, 10te widt~ 111 " . Reisner remote combination (004) n] 0707. HARPSICHORD PAnERNS. PRECISION FULL IIchon, mint condition, 28 compact gener.Ior ;)SUt'rl.t:T NAMI:.'UAI'ID AND MUSte RACk fil Ch. 8 transil10r amplifiers, 6J speakers, 20· tiled dra .... ngs of antique harpsichords, for MOLLER 6-RANK ORGAN, SI,OOO.OO. MOLLER Wit h 24 Rellner electric stop .ctions and en· thcl bUlloer or org onol0911t. Prices: $25 in note Dellgan chimel, too large for new home gr.ved .CVI, U!l. Actionl onlv, $25. , move· 9·rllnk cng4n " ,500.00. Wich se lf·contained 4· in FiorKi e . ovailll ble immed. l'18BII Shoreline p aper. other media to $140 in mv1or. Send $1 rank or91n reconditioned, Send SASE ment Kimb411 Swell motor, US. Crating $10 n.ooo.oo. Or .• MI. Clemonl, MI. 48tH). (Jill 463·1077. edra. Phil Garlhe, B660 E, 81h St .• MelO, Al lor descriptive b roc.ltu/e . It. K. lee, 35] School II) Cannorse O rgens, Inc •• Rt . 22, Duncansville. St., Watertown, MIIU4Chulelis 021n. Po . 1606)5. 8520]. BALDWIN ORGAN MODEL 5 A, 2.Iro4ANUAl. AGO pede I, fi9 ht ool conlole, ] channel amp· AusnN 2/12 SINGLE CHAMIER, UNIVER. FOI SAlE - PIPE OIGANS 1935 PNEUMATIC REUTER PIPE ORGAN IN lification Chore· Tone Projection, excellent con 501 chelt. Plavin9 in home. You move, onl., good cond1t' on , 2 mon. ond pedols, 17 strllight dItion. Ph one Sid Pryor a' (216 ) 434·1 1:r4 1 ed. $1,i5O. AM lJOn " cho pel" model, 70 stops, 2 rll nh, 18 comb. pillon•. G rt. org. unenclosed. 2111 8·4 doys, or 762·6674 evenings. manuals, presets, solid stete damo. III price JEREMY COOPER, ORGAN BUILDER SPE Swe ll or(;le n enclOled . Rev. Froncis Eret. Pador, $5,150. Consoles: lerge selection of church and St. Mork 's Chu,.:h. Shokopee, Minnesota 55379. ciolins in one· a nd Iwo ·mllnua l instruments. CUSTOh4 II AllEN ORGAN, THREE·MAN. thelltre tYPe. Two to four monuals, new or Mechanic lI l sydems exc usively. '5 High $t., lo.I e l. walnut finish. uhlity lone cllbinets. Un · used. Pi pes: flues ond reeds. 3·' " pres. Write Concord . N.H. 0]30t . KIMBALL·KILGEN IN GOOD CONDITION, usual clrcumstence, make availoble this little· for curren I li,l. Newport 0'9ans, 846 Produc 2 manuel 22 ranh with Moss chimes. Best offer used instrument at very lubstential slIvings. tion Place. Newport Beoch. CA 926060. (714) 11TH CENTURY ORGAN IN HISTORIC over $1 ."5. Purchaser to remove probllbly win Wit! profen ionelly ins tall in church, home or MS· 1530, Mr. Eby. PI ..singlon Priority for slIle (Mander suggests terlsprin9 74. Can be seen ond ph,yed, Con· school II nywhere in U.S. end guarantee. Write: SlImuel Green), superb mahogany "Gothid" tllct Fi tlt Ba ptlsl C hu rch , Ottewa, Kensas b6061. Apt. nl2, 115 E. Delewere, Chicago, III. 60611 NEW ORGAN PIPes, EXCELLENT WORk~ cese. Offers over '£],000 as stllnding considered. or call: dllYs (l12) b49·1950. marlShip lind a.pertly voiced. Formerlv super· Pl ease contllct P. Rose, ' Highfield' Pteasington, PILCHER, 2.MANUAL, 14 RANKS, CIRCA visor of Aeolian·Skinner p ipesho~ . Hans Rother. II llI ckburn. LancashIre. Eng lllnd. 1895, with slider chests, E· P pull·down and stop 2·MANUAL ELECTRONIC PRACTICE ORGAN German Orgon Pipecr.ft. )4 Standard 5tr., octionl and 1930 Re uter conlole. Reflecls (;lood comprhin9 A.G.O. console connected to 97· Mattopan, Man. 02126. SEMI·PORTABLE POSITIVE. STOPPED FLUTE ure. Purchon:r 10 remove. K ng Wheeler, 1140 nole electronic unit flule tonic. C:pandeble. In. I' FAGOnA, " PtPES, DURST, 5" WP, 2'12" II ' , Collie Flute 4', Principel 2', MixtUre J fllnh. 50. D.le Ct" Denver, Colo. 90219. dudes d ual amplifier ud loudspe.kers. $650 P, ice $5,000. M. A. loris, Trader Organs, RFD scole. $1 50 or best off.r. W2&S , P.O. 8011 11 024, firm. Buyer 10 remove. W. S. pae, 101 Le a· Chllrlotte, NC 28209. 2, 80rre, Vermont O5M1. (902) 47'·6J.tO. EASILY REMOVED I6-STOP, I~UNK brook Lena, Princeton, New Jersey 08S40. H.tI pipe organ, new contale ployiAg condi· WURLITZER RELAY.SWITCHSTACk, FOR 2M· TWO TUCKER ORGANS: ONE l .... lANK. tion ",,,onoble ptice. St. Jobn's Episcopol ELECTaONte OaGAN KITS, KEYlOARDS 6R and plover 32 sloPlwitches. 193t model, lite onc "I rank. 80lh itt fine condition, Several uled Church. tllb HoldeA 51., Worcetler. Mall. 01606. dnd many com~eIII,. Independent end di. new condilion; $ ~s.o. Shipping end cr. ling ellrll. Auslin conscdcs. Aif in AI (ondilioll. Immcdi· .,ider tone oenerotcm. AU diode 1eying. I. C. Phone (21', 81t·57118 evenin91. altdy oveileble. 2000 u1ed pipltl. all Z' ud up. NINE-RANK WURLltzER, REBUILT IV BAL circuitry. Build eny type or tile ol9an dC5ired. We un match any of your needs. Send Hm com ond V.ughn, Is in I)ood playing condition. Supplement yovr Artilan 019an. 15,f; for cota. KINETIC BLOWER, "'/1 HP SINGLE PHASE, pIes. Ple"e conted Howard W. Greg.on, 101 Presently locoled in north Seottle church. In· 109. Devtroni. Orl)on P,oducts, Dept. D, san 600 cu II per min 01 10 ins. Moke offar. Brady, 8b, Wenham, Man. 019&4. quiries call (2(6) 181·1313. Amepola Dr., SOlI Jose, Calif. 95129 4609 Cronbrook, Indionepolis, Ind. -4&250. CHESTER A. RAYMOND, INC. PIPE ORGAN BUILDERS McMANIS ORGANS Incorporated lIebuilding, Maintenance and Additions 10th & Garfield P.O. Box 55 Princetan, N.J. 08540 KANSAS CITY, KANSAS Phone: 609·924-0935 66104 Builders of Fine Tracker and DELAWARE Electro-Pneumatic Pipe Organs Inquiries are Cordially Invited ORGAN COMPANY, INC. a progressive company with traditional ideals W. ZiIllIller & Sons designing and building custom pipe organs tNCORPORATED 252 FILLMORE AVE. TONAWANDA, N. Y. "ailing Add,... : P. O. Box 11024. Charlotte, N. C. 28201 NATIONS FORD ROAD· CHARLOTTE, N. C. WANT A PRACriCE ORGAN? 1.lld y ••, .... - .... PEMBROKE d.·;,·y..... I' ORGAN KIT fAI~] AU ElECTRIC CHEnS ELEC1IlO PNEUMATIC PEDAL CHESTS F.,II In"rvdlo". - RHsDnabir priced AA AIKIN ASSOCIATES . "~:::z.;~'~ THE ORGAN LOFT G05SVIlLE. NEW HAMPSHIRE 03239 , •• 143 ...Icfyn, 11113 717-2"-4132 'a. If if doflft', ,.... p;p.. - if it .. ., an organ CUAnVE ottOAN IUIlDING FOIl AaTlStIC MUSICAL WUllS ORGAN LEATHERS Greenwood Organ Company WHITE, SON COMPANY CHARlOTTE, HOITH CAROUNA 21205 286 Summer Street BOIIOR, M ....chu.el18 02210 ~ "THIIE' GENf/lAr/OHS Of O/IGAH BUIlDING" FEBRUARY 1974 27 iii a n Murtagh on~ert Manage.llent Box 272 Canaan, Connecticut 06018 203-824-7877 European Artists Available Season 1974-75 ANTON HEILLER ROBERT ANDERSON CLYDE HOLLOWAY Sept. 15·Nov. 15, 1974 GUY BOVET Oct. 1974 •. • GILLIAN WEIR t it ~ , "~"' ~.J Feb. 15·Mar. 15, 1975 • , f ' • I ,1 ' HEINZ WUNDERLICH I • If, March 1975 JEAN LANGLAIS April·May 1975 MICHAEL RADULESCU April 1975 DAVID CRAIGHEAD JOAN LIPPINCOTT Combinations Organ and Assisting Artist GERRE & JUDY HANCOCK RAY FERGUSON DONALD McDONALD LADD THOMAS Organ Duo WILMA JENSEN & K. DEAN WALKER Organ & Percussion MARILYN MASON & PAUL DOKTOR Organ & Viola JERALD HAMILTON MARILYN MASON JOHN WEAVER FREDERICK SWANN AND JOHN STUART ANDERSON Organ & Actor JOHN & MARIANNE WEAVER Organ & Flute GERRE HANCOCK JAMES MOESER