THE DIAPASON APRIL 2020

Christ Cathedral Garden Grove, California Cover feature on pages 22–24 PHILLIP TRUCKENBROD CONCERT ARTISTS

ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS

RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ

JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 4, The Gruenstein Award Whole No. 1325 The Diapason received numer- APRIL 2020 ous worthy entries for our fi rst Established in 1909 Gruenstein Award, a process that Stephen Schnurr ISSN 0012-2378 ended on January 31. The award 847/954-7989; [email protected] recognizes excellence in scholar- www.TheDiapason.com An International Monthly Devoted to the Organ, ship and writing by a young person the Harpsichord, Carillon, and Church Music who has not reached their 35th from a manuscript found in the Sibley Music Library of the birthday. We are pleased to pres- Eastman School of Music in Rochester, New York. Dupré pro- CONTENTS ent our 2020 Gruenstein Award to vides a fascinating glimpse into the world of the organ in the 1909 2019 FEATURES 110 Alexander Meszler. His entry will United States, including notes on advancements in American Marcel Dupré: The Organ in the United be the feature article of our May organbuilding and education, among other topics. Kimberly States issue. Stay tuned! Shafer details an interesting project restoring the sound of bells by David Baskeyfi eld 16 to the “Leaning Tower” of Niles, Illinois. In “Carillon Profi le,” Community Bell Advocates, LLC, advises Summer events part of our “Here & There” section, Schafer introduces us to the Village of Niles, Illinois, on restoring the bells of the Leaning Tower Is your church, educational institution, or municipal orga- carillon of the Venice Performing Arts Center, Venice, Florida. by Kimberly Schafer 20 nization sponsoring summer organ, choral, or carillon events? In “Harpsichord Notes,” Larry Palmer’s friend Robert Tifft Be sure to let our readers know by including your events in chronicles the recordings of János Sebestyén and a contem- NEWS & DEPARTMENTS our calendar. Please send me the information, as we will be porary project to reissue them. In “In the Wind . . .,” John Editor’s Notebook 3 working on our June issue by the time you read this. Bishop ponders how the pipe organ and church music (as well Here & There 3 Nunc Dimittis 6 as churches) in the United States have changed in nearly half Appointments 8 Engaging the next generation a century, as he has now retired from his organ maintenance Carillon Profi le by Kimberly Schafer 9 Is your organization hosting a summer event geared towards career. Gavin Black, in “On Teaching,” continues his discussion On Teaching by Gavin Black 11 the next generation of organists and church musicians? We of physical therapy and its relation to learning to play the organ. Harpsichord Notes by Larry Palmer 12 would be pleased to send complimentary copies of The Dia- Our cover feature this month is the Fratelli Ruffatti organ In the wind . . . by John Bishop 14 pason, whether a print or a digital issue, for distribution to in Christ Cathedral, formerly the Crystal Cathedral, of Garden students. Remember—our student rate is unbeatable at $20 Grove, California, one of the most widely heard and recognized REVIEWS New Organ Music 10 per year (for digital issue). Simply send me the particulars. organs in the United States. The cathedral building as well as New Recordings 10 the instrument have recently undergone a thorough renova- New Handbell Music 10 In this issue tion for use as the spiritual center of the Catholic Diocese of David Baskeyfi eld has translated an essay by Marcel Dupré, Orange, California. The organ will be dedicated in a series of CALENDAR 25 “L’Orgue aux Etats-Unis” (The Organ in the United States), events that begin early next month. Q RECITAL PROGRAMS 28 CLASSIFIED ADVERTISING 30 Here & There

Events 8/26, Elena Doubovitskya, organ. For Those who wish to participate in the information: www.stjohncathedral.org. score reading and feedback session THE should submit previously unpublished DIAPASON The Francophone Federation of works or works-in-progress by July 15. APRIL 2020 Friends of the Organ has organized an For more information, contact Anne organ tour of the former Flanders, July Laver: [email protected]. 13–17. Located in modern day northern France and Belgium, the regional tour will include visits to 20 organs and 20 People concerts by 17 organists, with a stop at Café des orgues in Herzeele. City visits include Lille, Douai, Saint-Omer, and Auxi-le-Château. The tour includes

Christ Cathedral Garden Grove, California transportation by coach, entrances, and Cover feature on pages 22–24 fi ve meals. For information: www.ffao.com. COVER Fratelli Ruffatti, Padua, Italy; The Setnor School of Music at Christ Cathedral, Garden Grove, California 22 Syracuse University announces its fi rst Contemporary Organ Music Festival and Composer Workshop, September 12. Editorial Director STEPHEN SCHNURR The workshop is geared to composers and Publisher [email protected] Cathedral of St. John the Evangelist, at any career stage and experience level 847/954-7989 Milwaukee, Wisconsin, Noehren organ who wish to learn more about writing for President RICK SCHWER the organ. The festival will give compos- [email protected] The Cathedral of St. John the ers valuable information that they may 847/391-1048 Evangelist, Milwaukee, Wisconsin, use in revising their pieces and applying Editor-at-Large ANDREW SCHAEFFER announces recitals Wednesdays at 12:15 to a nationwide competition sponsored Daniel Ficarri and Marin Alsop [email protected] p.m.: April 1, Michael Thiele, piano; by Hendricks Chapel at Syracuse Uni- 4/15, Adrien Zitoun, cello, and Chi Li, versity to be held early in 2021. On January 25, Daniel Ficarri, a Sales Director JEROME BUTERA [email protected] violin; 4/22, Jackson Borges, organ; 4/29, The event consists of three panel ses- master’s student of Paul Jacobs at The 608/634-6253 Paul Kosower, organ; May 6, Simon sions, a composer workshop, and a festi- Juilliard School, New York City, and a Circulation/ Farintosh, guitar; 5/13, Blue Violin Duo; val concert, all open to the public. Panel member of The Diapason’s 20 Under Subscriptions THE DIAPASON P.O. Box 300 5/20, So Jung Kwak, piano; 5/27, Josh sessions will cover a variety of topics, 30 Class of 2019, performed as soloist Lincolnshire, IL. 60069-0300 Graham, marimba; including an introduction to writing for in Samuel Barber’s Toccata Festiva with [email protected] June 3, Erin Booker-Miller, harp; 6/10, the organ, French improvisation prac- the Juilliard Orchestra in Alice Tully Toll-Free: 877/501-7540 Local: 847/763-4933 Gregory Hartmann, piano; 6/17, Kathryn tice and its infl uence on contemporary Hall, under the baton of Marin Alsop. Zamarron Palominos, French horn, and composers, and tips on drafting a grant Additionally, the program included Designer KIMBERLY PELLIKAN Tiffany Boyer, trombone; 6/24, Steve proposal. The composer workshop will Shostakovich’s Cello Concerto No. 2 in G [email protected] 847/391-1024 Joyal, piano, and Lis Joyal, fl ute; July provide time for readings of selected Major and Brahms’s Second Symphony. 1, Wolff von Roos, organ; 7/22, Avanti works and feedback from practitioners Ficarri is also a published composer Contributing Editors LARRY PALMER Piano Trio; 7/29, Yeram Yoon, guitar; in the fi eld. The evening concert of and in 2015 founded Sacred Sounds at Harpsichord August 5, Olga Sklyanskaya, piano; 8/12, new organ music will be performed by St. Paul’s, a concert series promoting BRIAN SWAGER David Jonies, organ; 8/19, Andy Miller, Syracuse University faculty, alumni, and organ music at the Church of St. Paul Carillon vibraphone, and Alex Wier, marimba; current students. ³ page 4

JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the Reviewers David Troiano shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading John L. Speller only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Leon Nelson Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 3 Here & There

³ page 3 Fugue, February 7, in the fi fth concert the Apostle in the Lincoln Center neigh- of Bowyer’s Festival of North Ameri- borhood, where Ficcari is organ scholar. can Organ Music at the University of Previously, he served as organ scholar at Glasgow Memorial Chapel. Hitchcock Presbyterian Church in Scars- Tikker’s Sequentia was commissioned dale, New York. For information: by the Charleston, South Carolina, www.danielfi carri.com. Chapter of the American Guild of Organists for their regional convention in 2003 and was premiered by the com- poser at that event. Originally consist- ing of “Introduction and Passacaglia,” Sequentia was augmented with “Double Fugue” in 2011. The work derives most of its thematic and motivic material from the Gregorian chant sequence from the Requiem Mass, and over the course of the “Passacaglia” and “Double Fugue” combines various of Olivier Messiaen’s Lynn Dobson and John Panning Raphael Vogl, David Robertson, and the modes of limited transposition. Juilliard Orchestra in Alice Tully Hall Bowyer’s Festival of North American In 2012, Lynn Dobson and John Panning set in motion a business continuation Organ Music is a series of thirteen con- plan to provide for the future of Dobson Pipe Organ Builders, Ltd., Lake City, Organist Raphael Vogl, also a certs from October 2019 through June Iowa, upon Dobson’s retirement. On February 15, Dobson retired from full-time student of Paul Jacobs at Juilliard, per- 2020, presenting an overview of works employment, and Panning become the company’s owner and president. Dobson will formed Sofi a Gubaidulina’s The Rider on by Canadian and United States compos- continue to work with the company and clients on the visual design of new organs, the White Horse on January 31 in Alice ers. In addition to the Tikker’s work, the and he will remain involved in projects currently under construction. Tully Hall on the closing night of Juil- fi fth concert featured works by Chris- Dobson is acclaimed as one of the most gifted case designers of his generation, liard’s Focus Festival. David Robertson topher Marshall and Morton Feldman. producing architecturally sensitive designs that run the gamut from Gothic to con- conducted the Juilliard Orchestra. This Kevin Bowyer is represented by Seven temporary. In his 45 years as president and artistic director, the company has been season’s festival, “Trailblazers,” marked Eight Artists: commissioned to build landmark instruments for Los Angeles’s Cathedral of Our the centennial of women’s suffrage in https://www.seveneightartists.com/ Lady of the Angels, Philadelphia’s Verizon Hall, Merton College in Oxford, U.K., and the United States. The festival, which bowyer. Saint Thomas Church Fifth Avenue in New York, as well as more modest instruments took place January 24–31 was co-curated For information: www.ttikker.com. found across the country. by Odaline de la Martinez, a Cuban- The Dobson company was formed in 1974, and Panning has worked with the American conductor and composer fi rm since 1984. Dobson Pipe Organ Builders is currently building its Opus 97, a based in London, and Focus director Competitions three-manual instrument of 51 ranks for the University of Dubuque, which will be and conductor Joel Sachs. The Hymn Society in the United installed in May. A two-manual organ of 32 ranks for Saint Christopher’s Church in Vogl studied at the University of States and Canada announces a Chatham, Massachusetts, follows, then a four-manual, 51-rank instrument for Saint Catholic Church Music and Music competition for a hymn or song text for James’s Church in Sydney, Australia, the oldest building in that city’s historic center. Education in Regensburg, Germany, congregational singing that engages the The company maintains 120 organs in the upper Midwest and has two restoration concentrating in organ and church themes of death and dying. The search projects upcoming, both unaltered mechanical-action organs: the 1892 J. W. Steere music with Stefan Baier and Markus is for a text whether written for an exist- & Sons organ in First Baptist Church, Owatonna, Minnesota, and an early Lyon & Rupprecht. After a year at the Franz- ing or new musical setting. The writer Healy instrument, Opus 34 from 1899, at the Church of St. John the Evangelist in Liszt-Academy in Budapest with Laszlo of the winning entry will receive a $500 Independence, Iowa. For information: www.dobsonorgan.com. Fassang, he graduated in Regensburg in prize. Deadline for submissions is May 2018. For information: 15, 2020. http://www.raphael-vogl.de/startseite. The search is inspired by the call for html. new texts by Mary Louise Bringle at the society’s 2019 annual conference dur- ing her plenary address, “Final Breath: Death, Dying, and Song,” wherein she noted the need for new texts that engage themes that have emerged through dialogue with natural and social sciences. Writers are encouraged to read the text of this address, which was published in The Hymn, Vol. 70, No. 4 (Autumn 2019). While writers of texts are encouraged to engage with the themes identifi ed by Bringle in her presentation, texts on death and dying Edwin Beckman, Barbara S. Beckman, and Olivier Latry Timothy Tikker and Kevin Bowyer at based on other perspectives will also be University of Glasgow Memorial Chapel accepted. For information: The Historic New Orleans Collection (THNOC) hosted a recital by Olivier www.thehymnsociety.org. Latry on November 15, 2019, in the Seignouret-Brulatour building in New Orleans, British concert organist Kevin Bow- Louisiana. The former residence was built in 1816. One of its last private residents, yer gave the world premiere of the The First International Organ tobacco magnate William Ratcliffe Irby, had the Aeolian organ installed on the expanded version of American composer Competition of Korea will take place third fl oor of the house in 1925. After Irby’s death in 1926, the instrument remained Timothy Tikker’s Sequentia: Dies Irae; September 19–26 at the Korea National on site, but unused, for more than 90 years. When THNOC purchased the space as Introduction, Passacaglia and Double ³ page 6 the site for a new exhibition center, plans were adjusted to include a full restoration of the instrument, led by the Holtkamp Organ Company of Cleveland, Ohio. Aeolian Opus 1583 consists of two manuals, eleven ranks, 703 pipes, and can be played manually or operated with a self-playing mechanism. It is one of few such organs that survive in its original location without tonal alteration. Today it serves as the prelude to THNOC’s ongoing exhibition exploring the history of the French Quarter. The recital was limited to 50 guests and served as a benefi t for Notre-Dame Cathedral employees out of work since the devastating fi re of April 15, 2019. The performance included such works as Fantasy in F Minor by Mozart, Three Pieces for Mechanical Organ by Beethoven, and Variations on a Noël by Marcel Dupré. Latry concluded his performance with a series of original improvisations on themes submitted by the audience. The restoration of The Historic New Orleans Collection’s Aeolian organ and music room was made possible through the generosity of Barbara S. Beckman. The inau- gural performance was made possible with support from E. Alexandra Stafford and Raymond M. Rathlé, Jr. and the Omni Royal Orleans Hotel and Rib Room. Since the inaugural performance, THNOC has been incorporating daily organ demonstrations at 11 a.m. and 3 p.m., allowing museum visitors to hear brief recorded performances. The institution aims to host at least one organ recital each year. To illustrate the complex inner workings of the organ, THNOC created a video AUSTINORGANS.COM that gives viewers a glimpse inside the instrument while it plays an Aeolian organ roll 
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recorded by Louis Vierne (1870–1937). The video is accessible through THNOC’s You Tube channel at www.youtube.com/watch?v=Oweliz-vIKw. For information: www.hnoc.org.

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www.ConcertArtistCooperative.com •803.448.1484•[email protected] R. Monty Bennett, director •Beth Zucchino, founder & director emerita Here & There

³ page 4 University of Arts and Lotte Concert Nunc Dimittis in the United States Army. On July 14, 1956, he married Hall, Seoul, Korea. The competition is Robert Hebble, 86, died February 17. Born February Marian R. Fabsits in Chicago. open to organists born after September 14, 1934, he was a graduate of Yale University, New Haven, Sanfi lippo took over the family business, John B. San- 1, 1988. The jury is Ja-Kyung Oh (Korea, Connecticut, and The Juilliard School, New York, New York, fi lippo & Son, Inc., in 1963 and led the company until president), Michel Bouvard (France), where he studied with Vittorio Giannini and Roger Sessions. his retirement in 2006. He was a passionate collector of Arvid Gast (Germany), Naomi Matsui He also spent a year in Paris, France, in private study with steam engines, automated music machines, and art glass. (Japan), Dong-Ill Shen (Korea), and Nadia Boulanger. He belonged to many organizations of mechanical music, David Titterington (United Kingdom). Virgil Fox appointed Hebble as his assistant at The Riv- including the Musical Box Society International, Automated First prize is $8,000; second prize is erside Church, New York City, at the age of sixteen. Hebble Musical Instrument Collectors Association, the Carousel $5,000; third prize is $3,000; there are traveled extensively as an organist, pianist, composer, and Organ Association of America, and the Coin Operated Col- two additional prizes of $1,000 each. clinician throughout the United States, Canada, and Asia. lectors Association. Deadline for application is April 30. For Among many commissions and publications, his extensive The Sanfi lippo home in Barrington Hills, the Victorian information: http://lotteconcerthall.com/ choral and organ compositions included the dedicatory Palace on the Plum Tree Farm, was expanded several eng/competition. organ work Heraldings for the (former) Crystal Cathedral, times to house and showcase the collections of automated Garden Grove, California; Hoc dies resurgam to inaugurate musical instruments, including orchestrions, music boxes, The Second International Organ the Trompeta Majestatis organ stop at New York’s River- phonographs, coin-operated pianos, violin machines, dance Duo Competition will be held Octo- side Church; and A Symphony of Light, commissioned in organs, and calliopes. The music room (measuring 100′ by ber 9–16, organized by the SOKÓŁ memory of Fox, which Hebble performed in Paris, France, 64′ by 42′, complete with balcony and seating 350 persons) Małopolska Culture Centre in Nowy at the Cathedral of Notre-Dame. Other projects included of the residence features a fi ve-manual pipe organ, the Sacz, Poland. The fi rst and third rounds Cathedral Tapestry for two organs and carillon, commis- nucleus of which is 1927 Wurlitzer Opus 1571 built for of the competition will be held in Lucjan sioned by the Crystal Cathedral for the twentieth anniver- the Riviera Theatre of Omaha, Nebraska. With numerous Lipinski Hall, the second round in St. sary of the Hazel Wright Organ, and Cathedral of Com- additions, by 2005, the instrument consisted of eighty ranks Casimir Church. A preliminary selec- merce, commissioned by the Friends of the Wanamaker and was considered the largest theatre organ in the world. tion will occur by audio-video recording. Organ for the centennial anniversary of the instrument in A separate carousel building was erected for banquet-style First prize is 30,000 PLN; second prize the Philadelphia store. fundraisers. The centerpiece was a vintage carousel, but is 20,000 PLN; third prize is 10,000 Hebble was a member of the faculty of the Stevens Insti- the room also houses steam engines, vintage street clocks, PLN. The jury consists of Ireneusz tute of Technology, Hoboken, New Jersey, and consultant a Pullman passenger car, and a band organ. The Sanfi lippos Wyrwa (Poland, president), Arvid Gast to Carnegie Hall, New York City, in the design of its fi ve- combined their passion for collecting with their commit- (Germany), Jeremy Joseph (Austria), manual Rodgers organ. Hebble retired in 2003 as director ment to philanthropy by opening their residence to host Christophe Mantoux (France), Kon- of music and organist at First Congregational Church, Lake charity events to raise funds for non-profi t organizations, stantin Volostnov (Russia), and Jarosław Worth, Florida, where he served for 21 years. numbering in the dozens each year. Wróblewski (Poland). Deadline for Jasper B. Sanfi lippo is survived by his wife Marian, his application is April 24. For information: Jasper B. Sanfi lippo, 88, of Barrington Hills, Illinois, children, John (Susan), Jim (Renata), Jeffrey (Rusty), Lisa, www.aquattromani.pl. died January 28. He was born on March 26, 1931, in Chi- and Jasper (Laura) Sanfi lippo, as well as 14 grandchildren cago, Illinois, and was a 1953 graduate of the University of and a great-grandchild. A funeral Mass was celebrated Feb- Illinois. After graduation, he served six months’ tour of duty ruary 5 at St. Anne Catholic Church, Barrington, Illinois. Q Publishers Edition Walhall announces a new harpsichord publication, Suite à deux $11.95); A Verdi Organ Album, selected Clavecins, HW 446, by George Freder- and arranged by Martin Setchell (978-0- ick Handel (HD2196, €12.80). Recon- 19-352640-2, $25.50); Apollo, by James structed by Jan Devlieger, the work is Whitbourn (978-0-19-353241-0, $13.25); for two harpsichords. Only the score of and Sun Dance, by Bob Chilcott (978-0- the fi rst harpsichord has survived, and 19-353291-5, $11.95). For information: the composer may never have written global.oup.com. the score for the second harpsichord and instead have improvised it in perfor- Subito Music announces new choral mance. For information: publications by Dan Locklair: Comfort www.edition-walhall.de. Ye My People, for SATB divisi, a cappella (91480850, $2.50), and The Chapel Hill L’Harmattan editions announces a Service, for SATB and organ (91480830, new book, Jean-Pierre Leguay: Portrait $4.95). For information: of a composer and improviser (€37 www.subitomusic.com. paperback; €28.99 digital edition). This Decker Plays Decker, Volume 5 Nights Bright Days book introduces Jean-Pierre Leguay’s music for solo instruments, chamber Recordings music, and vocal music. Included are Gothic announces new CD releases. interviews, articles written for confer- Decker Plays Decker, Volume 5 ences and journals, and extracts from (LRCD-1167, $18.98), containing letters. The book observes the musician music composed by Pamela Decker at work. Composers, performers, and played on the Flentrop organ at St. former students contribute, as well. For Mark’s Episcopal Cathedral, Seattle, information: www.editions-harmattan.fr. Washington. In addition to the com- poser, performers are Douglas Cleve- Oxford University Press announces land and Edward Landin Senn (a new organ publications: Rhapsody, by member of The Diapason’s 20 Under David Bednall (978-0-19-353104-8, 30 Class of 2017). Works include

A Tribute to Yuko Hayashi Poetic Visions: Romantic Organ Music Quality Pipe Organ by German Composers Fantasy on the Name of Roy Andrew Building and Service Johnson, The Last Words and Triumph Organ Ensemble, Oriana Singers, of Christ, and Praeludium. and City Voices of Chicago, Stephen since 1969 A Tribute to Yuko Hayashi (LRCD- Squires, conductor, and organists 1139, $18.98), features Christa Rakich, Heike Burghart Rice, Jared Stell- organ, and Wendy Rolfe, fl ute. This is macher, and Mark Sudeith. Works the fi rst recording of Richards, Fowkes by Britten, Holst, Purcell, and Peter & Co. Opus 16, in Goodson Chapel at Meechan are featured. the Duke University Divinity School, Poetic Visions: Romantic Organ Durham, North Carolina. The recording Music by German Composers (MS1694, includes works by Bach, Mendelssohn, $12.95) features Felix Hell performing Carson Cooman, Cécile Chaminade, works by Brahms, Mendelssohn, Reger, James Woodman, and others. For infor- Liszt, and Rheinberger on the 1902 mation: www.gothic-catalog.com. E. F. Walcker organ at the Christuskirche, Lüdenscheid, Germany, restored in 2008 MSR Classics announces new CDs. by Orgelbaufi rma Gebr. Stockmann. For bedientorgan.com | 402.420.7662 | Lincoln, Nebraska Nights Bright Days (MS1704, $12.95) information: www.msrcd.com. features Chicago Gargoyle Brass and ³ page 8

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Appointments Rachel Mahon is appointed director of music for Coventry Cathedral, UK, effec- tive September 1. The current director of music, Kerry Beaumont, will step down at the end of August. Mahon has been assistant director of music at Coventry Cathedral since 2018 and was the assistant organist at Chester Cathedral before that. Prior to taking up her post at Chester, she was the fi rst female organ scholar of St Paul’s Cathe- dral, London, England, assuming the post in September 2014. Mahon was raised in Toronto, Ontario, Samuel Eatherton, David Cherwien, Robert Sipe, and Donald Rotermund Canada, where her parents were both cho- ral directors. She sang with the Girls’ Choir The three-manual Schlicker Organ Company instrument installed in 1969 in of Grace Church on-the-Hill and later Zion Lutheran Church, Dallas, marked its fi ftieth anniversary with a hymn festival Rachel Mahon (photo credit: Graham the Oratory Children’s Choir. She initially on January 24. Refl ecting a number of features of the dedicatory concert played by Lacdao) began studying piano, but switched to organ Paul Manz, several hymns and improvisations heard in 1969 were incorporated by in 2005. Mahon won a scholarship from the organist and composer David Cherwien. A highlight was the premiere of Cherwien’s Royal Canadian College of Organists to begin studying with Melva Graham and Chorale and Four Variations on “Jesus, Priceless Treasure,” one of the festival hymns. in 2007 continued under Andrew Ager. She received the degree of Bachelor of Three settings were used as alternatim treatments during the singing of the hymn. Music in organ at the University of Toronto School of Music under John Tuttle. When the organ was moved and reinstalled in the current sanctuary in 1982 by Mahon has held organ posts at St. James Cathedral, Trinity College, and Robert L. Sipe Co., it was updated, provided with new façade pipes, revoiced, and Timothy Eaton Memorial Church in Toronto and at Truro Cathedral in Corn- a Trompeta Real and Trompete in the Swell were added. Presently there are 38 stops, wall, England. She has won several prizes, including fi rst prize at the 2012 49 ranks, and fi ve extensions. Samuel Eatherton is the church’s current minister of RCCO Toronto Competition for Young Organists, and second prize in the music and organist; Donald Rotermund is minister of music emeritus. For informa- 2013 Canadian National Organ Playing Competition. She has performed with a tion: www.ziondallas.org. number of choirs: the Toronto Mendelssohn Choir, the Larkin Singers, and the Tallis Choir, among others. For information: www.coventrycathedral.org.uk. ³ page 6 Organbuilders Joshua Stephens is appointed master Broome and Co., LLC, has launched of the music for Sheffi eld Cathedral, UK. a new website at www.broomereeds. He is responsible for the cathedral’s boy com. The fi rm specializes in the voicing and girl choristers and the adult choir of of reed stops for new and existing organs. Choral Scholars and Lay Clerks. Stephens Their work includes reconditioning and is from Sheffi eld and was himself a choir- re-voicing of existing reed stops; resto- boy in the cathedral choir. It is believed ration of existing reed stops; providing this is the fi rst time that a choirboy or new reed stops for new organ and tonal choirgirl in Sheffi eld has risen to become additions to existing organs; and metal master of the music in Sheffi eld. The shop repairs to existing pipework. For cathedral choir is one of the oldest institu- information: tions in Sheffi eld, tracing its origins to the [email protected]; 860/653-2106. choir that sang in the then parish church of Sheffi eld in the 1600s. Joshua Stephens Joshua Stephens re-joined the music team at Sheffi eld Cathedral as assistant director of music in September 2018 and has led the cathedral choir since Cornhill Visions: A century of musical mid-November 2019. Before this he previously held posts at Wells Cathe- innovation dral and Sheffi eld Cathedral as organ scholar and acting assistant director of music. As a musician he has performed internationally, live on BBC radio, on national television, and has guest conducted the City of London Sinfonia. In 2014, Stephens completed studies as an undergraduate at the Royal North- ern College of Music in Manchester, graduating with a fi rst-class degree with honors, studying with Darius Battiwalla and Thomas Trotter. For informa- tion: www.joshuastephensorganist.org.

Paul Watkins joins the staff of Kegg Pipe Organ Company, Hartville, Ohio, this spring. He comes to Kegg from the American Organ Institute, University of Oklahoma, Norman, Oklahoma, from which he earned both bachelor’s and Rendering of Schoenstein organ for master’s degrees in organ performance. Bishop Gadsden Episcopal Retirement He has also worked in the AOI shop Community, Charleston, South Carolina (courtesy: Cummings & McCrady, Inc.) since 2012 as a woodworker and has The English Cathedral Series, Volume freelanced at several organbuilding XX: Timothy Parsons plays the organ of fi rms over the years. At Kegg he will be Exeter Cathedral Schoenstein & Co., Benicia, Cali- involved in cabinet making, pipe voicing, fornia, is building a new three-manual, and general organbuilding. For informa- Regent Records announces new 14-voice, 16-rank organ for Bishop Paul Watkins tion: www.keggorgan.com. Q CDs. Cornhill Visions: A century of musi- Gadsden Episcopal Retirement Com- cal innovation (REGCD550), features munity, Charleston, South Carolina. It the choir of St. Michael’s Church Corn- is in the symphonic style with Great and hill, London, UK, Jonathan Rennert, Swell enclosed and high-pressure stops conductor. The disc includes fi rst record- doubly enclosed within the Swell. The ings of works by Harold Darke, Rhiannon third manual borrows solo and ensemble Randle, Jonathan Rennert, Philip Moore, stops from the Great and Swell. and Gareth Treseder. The resonant chapel is designed in The English Cathedral Series, Volume the traditional Southern Colonial style. XX: Timothy Parsons plays the organ of The instrument will be free standing in Exeter Cathedral (REGCD523). Parsons a case elevated at the west end. Instal- serves as assistant organist, and the disc lation is scheduled for September 2020. is the fi rst to feature the cathedral’s Musical advisor and organ consultant for organ following its 2014 rebuild and res- the project is Nigel Potts, canon organist toration by Harrison & Harrison. Works and master of the music, Grace Church by Mendelssohn, S. S. Wesley, Elgar, Cathedral, Charleston. Cummings & Brahms, Messiaen, Durufl é, and others McCrady, Inc., are architects of the cha- are included. For information: pel. For information: www.regentrecords.com. www.schoenstein.com. Q

8 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM Here & There

Carillon profi le Venice Performing Arts Center Venice, Florida Royal Eijsbouts Bell Foundry, Asten, the Netherlands

The Andrew W. Crawford Memorial Carillon, Venice Performing Arts Center, Venice, Florida (all photos Gijsbert Kok per- credit: Wylie Crawford) forms on the carillon

Gijsbert Kok at the keyboard of the Andrew W. Crawford Memorial Carillon, Ven- ice Performing Arts Center, Venice, Florida The audience of 800 at Kok’s January performance A mobile carillon originally from the Netherlands fi nds a permanent home in Venice, Florida. The 48-bell carillon is lighter in weight than most, with a bourdon weighing one Royal Eijsbouts Bell Foundry in Asten, the Netherlands, cast a mobile ton and transposing up fi ve semitones. The smaller size makes it an ideal visual carillon in 1991–1992 in order to demonstrate the ordinarily hidden instrument showpiece at the VPAC—rather than housed in a tower, the bells are positioned in to audiences across Europe. In 2008, the instrument was purchased by Chime the open air at ground level. Audiences can hear and see the instrument in action. Master Systems in Lancaster, Ohio. Chime Master renamed it the Mobile Mil- A regular performance schedule throughout the year is being planned by the lennium Carillon and equipped it with an electro-pneumatic auxiliary action to carillonneur, Wylie Crawford, and lessons are available as well. The inaugural supplement the manual action. Until 2018, when the instrument was decommis- winter Florida Carillon Festival kicked off in January, featuring four guest sioned, it traveled across the North American continent for hire. recitalists across the four carillons of Florida. In addition to the new carillon in In 2019, Kimiko T. Crawford donated the funds to purchase the carillon in Venice, recitalists performed at Bok Tower Gardens in Lake Wales, Century memory of her late husband Andrew W. Crawford. Meanwhile his son, Wylie Tower at the University of Florida in Gainesville, and Dimmitt Memorial Carillon Crawford, had formed the nonprofi t corporation Venice Carillon Founda- in Clearwater. Gijsbert Kok from the Netherlands performed in January in front tion to seek an appropriate venue for the memorial. Crawford has been a long- of 800 people, Roy Kroezen of Illinois performed in February, Austin Ferguson of time carillonneur at the University of Chicago’s Rockefeller Chapel, and he had Minnesota in March, and Elisa Tersigni of Toronto in April. Q recently relocated to Florida for his retirement. The Venice Performing Arts —Kimberly Schafer, PhD Center (VPAC) emerged as the best venue and steward for the new instrument, Founder and Partner, and it will complement their performing arts scene. The carillon was dedicated Community Bell Advocates, LLC on May 5, 2019, by Geert D’hollander, the resident carillonneur at Bok Tower www.communitybelladvocates.com Gardens in Lake Wales, Florida. [email protected]

UNITING TRADITION AND INNOVATION The Hybrid Organ at St. Timothy Catholic Church LUTZ, FLORIDA

This impressive new hybrid organ for the Pedal Octave 8’ and the largest pipe in St. Timothy Catholic Church was designed that rank bears the name of Fr. Kenneth Malley, by Central Music of Clearwater, Florida, Pastor of St. Timothy’s. and built by a renowned pipe organ builder and Rodgers Instruments. Critically important to the organ committee at St. Timothy’s was a digital organ’s ability First, a custom finished Rodgers Infinity Series to seamlessly blend with real wind-blown 4-manual organ was installed. Later, seven ranks pipework, for both the listening enjoyment of breathtaking pipework were added. The tonal of the congregation and the functions and specification includes a horizontal brass Trumpet features for the organist. en Chamade, and the mahogany casework is accented by three dazzling “embossed” pipes. For more information on Rodgers Hybrid Each of these pipes bears a name, stamped into Organs, visit our website or contact your its languid. The foundation of the pipework is local Rodgers dealer.

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WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 9 Reviews

New Organ Music to work his material in such fashion that Yule, Norman Harper; The Virgin’s George’s Choir. Particularly interesting Ten Free Arrangements for Organ what was already familiar to us is now last slumber song, Christian Strover; O is John Tavener’s “God is with us—a Solo, by James Aylward. Available presented in an au courant version little town of Bethlehem, traditional, arr. Christmas Proclamation,” using a text from the composer: 69 Benson Ave., that is fresh and meaningful to audi- Ralph Vaughan Williams and Thomas based on Isaiah 9. John Tavener was, San Francisco, California 94112. ences. These pieces have been part of Armstrong; Tui sunt caeli, Offertory of course, a convert from the Church The posted repertoire listings by the composer’s own experience in both anthem for Christmas Day; Glory to the of England to the Eastern Orthodox many itinerant organists as witnessed in liturgical settings and organ recitals as Christ Child, Alan Bullard; Viderunt Church, so it comes as no surprise that our monthly organ periodicals display a a performer and, as such, are useful for omnes, Communion antiphon for Christ- the Isaiah text is part of the Orthodox marked interest for orchestral and piano various occasions. This collection will be mas Day; Once in royal David’s city, Great Compline for Christmas. This transcriptions. Works that are carefully an enjoyable and worthwhile addition to H. J. Gauntlett, harm. A. H. Mann, arr. rich anthem alternates between a transcribed and attentively performed your organ repertoire. Philip Ledger. baritone soloist, the men of the choir, on the organ allow listeners opportunity —David Troiano St. George’s Roman Catholic and the full choir. It is unaccompanied to marvel at the effects produced at Saint Clair Shores, Michigan Church in Southwark, across the River except for the last three words, “Christ the hands of the transcribers. Ten Free Thames from London, was designed is born!,” which are accompanied by Arrangements for Organ Solo may be by the noted Gothic Revival architect crashing chords on the organ, producing James Aylward’s movement toward writ- Augustus Pugin and opened in 1848. a magnifi cent effect. ing transcriptions, but this collection is In 1854 it became the cathedral for the This is a remarkable and unusual anything but a rewrite of existing mate- Roman Catholic Diocese of Southwark. recording that shows off the music of St. rial. In this work you will hear (and see if Today the Metropolitan Cathedral of George’s Cathedral to excellent effect. you are the performer) adaptations, orna- St. George serves the Archdiocese of They can certainly compete with the best mental inclusions, harmonic adjustments, Southwark, comprising Greater London Anglican and Catholic cathedrals in Brit- frequent expansions to the formal design, south of the Thames and the County ain and deserve to be much more widely and pedal cadenzas all written with inge- of Kent, which lies south and east of known. I thoroughly commend this com- nuity, craft, and an ear for mass appeal. Greater London. A German incendiary pact disc to readers of The Diapason. The ten pieces of this collection bomb raid of 1942 left only the walls of —John L. Speller include “Introduction and Gigue,” which the cathedral standing, but the building Port Huron, Michigan seamlessly combines material from two was restored and reopened in 1958. Handelian works, a concerto grosso and Although comparatively small for a an organ concerto; a rendition of Mar- cathedral, St. George’s has excellent New Handbell Music cello’s popular “Psalm XIX” that is just acoustics. The organ, built by John Make Me a Channel of Your Peace, pure joy to play; a thoroughly heartfelt Christmas at St. George’s Compton in 1958, sounds very fi ne arranged for 3 octaves of handbells, adaptation of Bach’s “Air in D;” a spar- despite incorporating a great deal of by Jeffrey Honoré. Agape (a division kling “Trumpet Rondo” from a William New Recordings unifi cation, having three manuals and of Hope Publishing Company), Code Boyce symphony; a novel reworking of Christmas at St. George’s. The pedals with seventy-nine speaking stops No. 2787, Level 1+ (E+), $5.50. a eucharistic motet by Elgar entitled Choir of St. George’s Cathedral, drawn from only nineteen ranks. Like This setting was simply designed “Largo;” an updated reading of Jacques Southwark, UK, directed by Norman its bigger sister Westminster Metropoli- for a beginning group to sound full Nicholas Lemmens’s organ composi- Harper, Frederick Stocken, organ- tan Cathedral across the Thames, St. and accomplished with the conscious tion named “Fanfare;” a stylish “Giga” ist. Regent Records compact disc George’s Cathedral has a very fi ne men purpose of keeping all of the ringers from a Corelli violin sonata; a snappy REGCD533, available from www. and boys’ choir. busy. This arrangement can be used to “Divertimento” based on a piano piece regentrecords.com. Generally speaking, it is the Angli- accompany the singing of the hymn, by Albert Loeschorn; a ravishing rework Dominus dixit, Introit antiphon for can cathedrals and colleges that seem also known as “Prayer of St. Francis,” by of an organ interlude by Dom Gregory Midnight Mass; O come, all ye faithful, to monopolize Christmas liturgy and Sebastian Temple. Murray; and a highly energetic “Allegro” J. F. Wade, arr. Norman Harper; Of one music, most notably perhaps the that combines material from the Violin that is so fair and bright, Francis Duffy, appropriately named Church of Our Meditation on Crown Him with Many Concerto in E Major and the D Major arr. Timothy Craig Harrison; Out of Lady and St. Nicholas in Cambridge, Crowns, arranged for 3–5 octaves of Harpsichord Concerto by Bach that con- your sleep, Richard Rodney Bennett; otherwise known as King’s College handbells, by Jeffrey Honoré. Con- cludes the volume. While shepherds watched their fl ocks Chapel. When one thinks of Catholic cordia Publishing House, #977801, A feature of Aylward collections is the by night, Este’s Psalter, arr. Norman church music in England it is usually Level 3 (M-), $3.95. preferred registrations by the composer Harper; O magnum mysterium, Victoria; Westminster Cathedral that fi rst comes This short setting of the hymntune for all pieces. Though these appear to Silent night, Franz Gruber, arr. Nor- to mind. However, this compact disc of Diademata provides a gentle har- be designed for larger instruments, they man Harper; Laetentur caeli, Offertory Christmas at St. George’s makes a very monic and rhythmic pattern throughout can be quite adaptable to smaller organs anthem for Midnight Mass; God is with refreshing change. It begins with music emphasizing the text of this hymn of when one considers the affect utilized by us—a Christmas proclamation, John for the Midnight Mass and continues peace and prayer. The tune is woven into the composer. Composer’s notes are also Tavener; In splendoribus sanctorum, into the Mass of Christmas Day. the mix of this ongoing pattern. part of his editions and are included in Communion antiphon for Midnight The compact disc is one of interest- this volume as well. Mass; In splendoribus sanctorum, James ing contrasts. There are the Latin anti- Invocation, arranged for 5, 6, or 7 Perhaps the most striking aspect of MacMillan; Puer natus est nobis, Introit phons sung by the men sounding like octaves of handbells and 3, 6, or 7 this collection is the composer’s ability antiphon for Christmas Day; Welcome monks of a medieval monastery. Then octaves of handchimes, by Michael there are familiar Christmas carols W. Joy. GIA Publications, Inc., sung by the full choir, comprising “O G-9291, Level 3+ (D), $5.50. come all ye faithful,” “While shepherds This masterpiece was commissioned watched their fl ocks by night,” “Silent for the St. Olaf College Handbell Choir night,” and “O little town of Bethle- under the direction of Jill Mahr. The hem,” though in settings departing word “invocation” can mean a blessing from the King’s College, Cambridge, before a service, and this dynamic piece norm of Carols for Choirs—the only explores and invokes a plethora of moods exception to this being the arrange- and emotions from the opening singing ment of “Once in royal David’s city,” bell chord. The piece then moves into a by former King’s College organists A. mix of rhythms, harmonies, and dynam- H. Mann and Philip Ledger. Even this, ics that resound and culminate in a however, comes right at the end of the dramatic cadence that then winds down recording rather than its traditional the way it began with a singing, simple place at the beginning; a placement bell chord. that is doubtless deliberate. There is one sixteenth-century Reproducible Rings V, arranged for anthem, Victoria’s “O magnum myste- 2–3 octaves of handbells, by Lloyd rium,” using the text of the Responsory Larson. Agape (a division of Hope at Matins on Christmas Day. The rest of Publishing Company), Code No. the compact disc is made up of carols 2871, Level 2 (E+), $49.95. and anthems by modern composers. These arrangements are geared to the These include a very fi ne setting of volunteer choir where these nine hymn an ancient text, “Welcome Yule,” by settings can be learned quickly and be Norman Harper, who directs the St. ready to perform with short preparation time. Here is a variety of familiar carols and hymntunes that will have wide A. Thompson-Allen Co., LLC appeal to both ringers and listeners. This “superb musicianship, masterly technique and savvy programming … Archer’s 11 Court Street is another reproducible collection from sweeping assurance and stamina enable you to hear the music behind the virtuosity.” New Haven, Connecticut 06511 Agape; buy one book and copy all the — GRAMOPHONE (JAN 2018) — 203.776.1616 music for your ringers. www.thompson-allen.com —Leon Nelson MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com Vernon Hills, Illinois

10 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Therapy had not yet started therapy. I wrote that students to play like me or to copy me or I begin this month’s essay with an the kind of patient, one-step-at-a-time anyone else. anecdote that will lead to some further work that I imagined it to be seemed If a student does not believe me when refl ections and questions arising out of like something that went against the I say that a practice protocol will work, or my recovery from shoulder surgery. I am grain of my temperament. This was in that it is acceptable to work on this “diffi - writing in mid-February, and yesterday spite of whatever success I have had in cult” piece if (and only if) we approach it I needed to go to the bank. Because of making myself carry out similar tasks in this specifi c way, or that if you do this a student cancellation I had about an that add up to learning pieces of music exercise you can learn to play 5/4 trills hour free for a ten-minute errand, with- or learning to be a performing musi- comfortably, then the whole process out anything else on my schedule. As I cian. But I also thought that in this becomes ineffi cient or ineffective. Just turned into the bank parking lot I got a circumstance I would have a fairly easy as I have no idea what works and what jolt of pleasure from noticing that the lot time of overcoming any problems with does not work in physical therapy, the was empty. Maybe I would be the only impatience, distraction, or boredom due student may not know what does or does person there! Maybe I could do what I to the obvious high stakes. Here are a not work in note-learning. needed to do quickly and get it over with! few observations from three weeks into Why do I trust my physical therapist, But, as I fi shed around in a compartment the process: and why should a student trust me? It is in my car for the papers that I needed, 1) There is an element in my physical partly about institutions and partly about This makes me ponder the time ele- I realized that I was getting into a mild therapy that resembles good systematic individual experience. I assume that if I ment of music teaching. I have rarely but real panic that someone else might practicing—exercises that should be go to a reputable physical therapy estab- had a student who came for lessons drive up before I had a chance to go in. done on a consistent, regular schedule lishment, I will fi nd that the therapists as often per week or for as long each Why? I had a lot of time, it was too cold and that allow progress to happen. This there are good at what they do. This kind time as I am going to physical therapy to take a walk or to do other errands. Yet, progress has, in both situations, the qual- of reasoning is often valid, but some- now. But on the other hand I have I was not aware of any other errands that ity of sometimes being diffi cult to see times trips us up. We also trust training had students stay with me for a very I needed to do. day to day. Some days are different that and education. My physical therapist long time indeed. As best I can fi gure My arm still will not permit me to way from others. Sometimes you think has certain degrees and certifi cates. I it, I have had students whose study practice—no reason to rush back to that you can feel the small increments, do not know anything about the schools has been as short as one lesson and as the studio. If anything, it would make and sometimes you can experience the and programs that she attended; again, long as twenty-fi ve years. The former sense for me to want the bank errand progress sort of “catch up.” I have done we are largely trusting institutions. This has occasionally (rarely) been a failed to take a bit longer. I was experienc- what I would say is a “B+” job of com- often works, yet sometimes does not. connection—always determined by the ing impatience for its own sake: just plying with the home exercise schedule, (It occurs to me that if anyone assumed student, not by me—but more often manifesting a habit of being impatient maybe “A–.” It is not quite as easy to that they could trust me as a teacher been a planned one-time consultation. or maybe behaving as if being impatient make myself do it as I had expected, specifi cally because I am the director of Decades-long study needs to be thought were something that I actually needed even with an awareness of the conse- the Princeton Early Keyboard Center, about very carefully and conscientiously to practice. The latter is, unfortunately, quences of not doing it. I believe that then they would be falling into a circular by the teacher. Is the lesson process not remotely true. I am habitually impa- I am doing enough that my progress is trap. I founded PEKC, and it is a small still useful for the student? Is the bal- tient, and I have trouble putting that what the therapist expected. operation. If PEKC vouches for me as ance between the interpersonal and the aside. Increasingly I notice that most 2) And speaking of that, there is an a trustworthy teacher, then I am just pedagogic successful? Q of the time when I am upset or having important element here of the need to vouching for myself!) trouble with something, the underlying put faith in the skill and (perhaps even The next step is the experience itself. If To be continued. source of that trouble is impatience. more importantly) in the judgment of we discover that we were wrong to trust My long-term goal is to rid myself of the physical therapists. There are levels someone’s judgment and expertise, it is Gavin Black is director of the Princ- impatience, which will in turn improve to this. The fi rst is faith in the knowl- likely that we will fi nd out too late. In the eton Early Keyboard Center, Princeton, my character and temperament. It takes edge, judgment, and experience of the physical therapy situation as well as other New Jersey. He can be reached by e-mail time, and that is diffi cult. establishment and of everyone involved medical situations this could have ter- at [email protected]. I have no idea where I stand on the in creating the program. The second is rible consequences. It is diffi cult not to human impatience scale—maybe no faith in the overall skill and judgment of see any choice other than to do the best worse than average. Impatience is some- my particular therapist. Third is faith in we can in making that judgment. I should thing that is woven into the fabric of our my therapist specifi cally to know whether say that as far as I can tell, my therapist world. The desire or need to get a lot what she sees happening is right. is extraordinarily good and everything is done can lead to impatience—although When we do various exercises, there is proceeding exactly as it is supposed to. that connection is, I believe, illusory. often pain involved. (There is a big differ- (It occurs to me that if I could trust my Fervor, effi ciency, commitment, concen- ence between this and practicing organ students not to trust me about interpre- tration: those all can lead to getting more or harpsichord, by the way!) I have dis- tive matters—that is, not take anything done; impatience cannot. Impatience covered that when I am doing exercises at I say as authoritative—I would probably may be a natural, or at least common, the facility or having my shoulder worked talk to them more about such things than human feeling. But there are things on by my therapist, I can relax about I do. That seems to be a fruitful idea about modern life in particular that seem the meaning of that pain. I trust her to about which to muse further.) to nurture it—commercials, for example, know for certain whether any given pain 3) The interpersonal side of the physi- or the approbation given to multitasking. is what has to be expected or if there is a cal therapy process has something in Thankfully, this impatience does not problem. (So far there has been none of common with that of music lessons. It manifest itself when working with stu- the latter, I am glad to say.) When doing is a partnership and a kind of artifi cial dents. Encouraging students to work fer- exercises at home I do not feel that I can friendship. I am not at all sure that I vently, effi ciently, with commitment and trust myself to make that same judgment. am putting this particularly well, as it concentration is important and good. So it is nerve-racking. I do these exercises is something that I am in the midst of Becoming concerned about a student’s more cautiously than I need to. As the experiencing and just beginning to think productivity is appropriate. But impa- repair to my shoulder heals and I know about. By artifi cial I do not necessarily tience just clouds thought. Directed at that the risk of re-injury is fading, I am mean false, but rather forged by circum- others it can give rise to unhelpful and less worried. But early in the process the stances that are not themselves about unnecessary interpersonal problems. fear that I would do something to set the friendship. It is of necessity hierarchi- My own tendency towards impatience whole process back had a tendency to cal. It is time-limited—it is likely that is directed at myself. For example, once constrain my work quite a lot. after another month, I will never see in a while over the years I have thought it Trusting in the judgment of the pro- my therapist again, nor any of the other prudent to try to get my weight down. If fessionals is one of the parallels between people at the offi ce whom I have gotten I am lucky, I experience a day on which physical therapy and music lessons. I to know. This happens all the time with I eat lightly and healthy and maybe take muse about whether this experience has business or practical connections. But a walk or play a round of golf. So far, so changed my thinking about teaching. I it seems like more of a “thing” in this good. But if the next morning I have not believe that it has clarifi ed something case perhaps because the business at demonstrably lost four or fi ve pounds for me. Physical therapy is analogous to hand is important and personal, perhaps (and I have not) then I immediately the part of music teaching in which we because it is time-intensive while it is decide that this is not working, and that try to guide our students toward learn- going on. I have had a previous bout of I might as well give up. Or I should say ing the notes reliably, as to one piece or physical therapy in my life. I remember that I experience the impulse to decide as to gain general skill. But it does not being quite sad, even briefl y kind of for- that. Once or twice over the years I have include anything about interpretation, lorn, when it ended. been able to fi ght against that impulse rhetoric, or style. I have realized that I successfully. (I know that I am not the do want my students to trust me implic- only one who has had this experience!) itly and thoroughly about note-learning BACH AT NOON So all of the above ties in to my cur- techniques but that I specifi cally do not rent round of physical therapy, which want them to trust me about interpreta- Grace Church in New York in turn ties in to practicing and other tion, and so on. This is a slightly differ- aspects of musical life. When I wrote ent lens through which to view what I www.gracechurchnyc.org my March column about a month ago I have always said about not wanting my

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 11 Harpsichord Notes

New offering of and enthusiastic public, and with his János Sebestyén recordings founding of the harpsichord department Longtime Southern Methodist Uni- at the Academy of Music in 1970, he versity colleague and friend Robert Tifft secured for the instrument a permanent has been my principal resource should place in Hungarian musical life. information about a harpsichord record- From his childhood, however, Sebe- ing be diffi cult to locate. When he sent styén dreamed of being a radio person- me this material concerning the project ality, and his association with Magyar for releasing historic recordings by one Rádió (Hungarian Radio Corporation) of Robert’s favorite artists I realized that began in 1950 upon the recommendation I had never quite heard the entire story of composer Elek Huzella. His career of how he became one of János Sebe- there spanned more than fi fty years, styén’s best friends and promoters. resulting in hundreds of broadcasts that Robert responded that, as a young included programs documenting his lad in 1979, he had spent nearly all of travels abroad, the history of Hungarian his record budget purchasing Gustav Radio, and comprehensive surveys of the Leonhardt’s deluxe package of Bach’s great musicians of the past century. His Brandenburg Concerti discs (complete popular monthly series From the Diary with a facsimile of the manuscripts), but of a Radio Reporter meticulously recon- still desired to access a recording of the structed the past, both culturally and Italian Concerto for Harpsichord. In politically, through personal interviews searching for something inexpensive he and original sound documents. And it was came across the three-dollar Turnabout at Hungarian Radio in 1950 that he fi rst label performance by János Sebestyén, encountered Tamás (Thomas) Gallia and purchased it, and became fascinated by Pál (Paul) Déry, the two men who would this central European’s artistry at the become his closest friends and most very fi rst hearing. Correspondence was frequent collaborators in the recording followed by telephone connections and studio. Sebestyén provides the following visits to Hungary in future years, and account in his unpublished memoir: Robert’s devotion obviously remains undiminished. While the current discs I was familiar with Tamás Gallia from are primarily of organ performances, you photos in the radio newsletter. I learned only on the very fi rst day that he was the will note that there is at least one lengthy grandson of István Thomán. A smart, tall, bit of harpsichord repertoire on the handsome man with an Italian-like consti- fi rst disc. Our thanks to Robert for his tution and face, totally different from Pál informative and delightful essay about a Déry, a man considerably overweight even fi gure who deserves to be better known then, who was born in Szeged where his as a major proponent in the history of the father had a hardware business. Déry was twentieth-century early music revival. opting for a singer’s career and was on good János Sebestyén at the entrance to the Angelicum, 1968 (photo credit: collection of —LP terms with both János Starker and György János Sebestyén) Seb˟k. Tamás Gallia in his time was tak- § ing piano lessons from Béla Bartók, and Nobody suspected that deep down an or- thanks to the family traditions could claim of the revolution. Upon their return to gan was hiding. A genuine solution by the The present edition encompasses acquaintance with half the music world. In Hungary, the entire ensemble was dis- way. The second fl oor was dedicated to the the fi ve recordings published by the spite of his Italian looks he was Hungarian, missed for political reasons. Déry then fi nance director, the third to management, Angelicum label in Milan with organist but completed secondary school in Milan found work as an opera singer in Stral- on the fourth the great recording studio, and harpsichordist János Sebestyén. and possessed full command of the Italian sund, East Germany, where musicians and on the fi fth the music cabinets for the language. His father, Branco Gallia, was a Remastered from the original tapes and were still in short supply, performing scores. The general director of the institu- bank clerk in Budapest, who was offered available here for the fi rst time on CD, the leading tenor roles. He eventually tion was Riccardo Allorto, a well-known the director’s post of his bank’s branch in they represent not only Sebestyén’s fi rst returned to Budapest and by 1965 found and excellent music historian, and he de- Italy, which he was leading as long as it was recordings published in Italy, but also his way to Milan where he was initially cided on the repertoire and artists for the possible, but then came the war, repatria- recordings. The ground fl oor corridor was the beginning of his productive collabo- tion, and other things that had to follow . . . . employed as a copyist for the music decorated with the fancy covers. And the ration with the esteemed audio engineer The young Gallia proved to be an excel- publisher Ricordi. It was during this great grand master of this whole establish- Thomas Gallia and his colleague Paul lent music director, and in addition was time that Gallia was working to establish ment was the rigid, yet highly respected, Déry. At the same time, they also help attending the Technical University in the Sonart, his own independent recording Padre Zucca. tell the engaging story of three Hun- mornings and evenings as one of the fi rst company, and Déry soon partnered with garians who found themselves making students of professor Tamás Tarnóczy. him in this venture. records in Italy during the 1960s. Déry at the same time was the dedicated Sebestyén fi rst visited Italy in June Sebestyén was introduced to Allorto János Sebestyén was born in Budapest director of all song-related programs due to 1963 for a concert in Rome at Sala Casella by Gallia, whose warm recommendation in 1931 to musical parents. His father, his genuine attraction to opera. with János Liebner, a cellist then making resulted in an invitation to play a concert Sándor Sebestyén, a prominent cellist, a name for himself as baryton soloist. It with the orchestra the following Octo- educator, and author, studied with Adolf Gallia, born in Budapest in 1921, was also during this visit that he fi rst met ber. The program included concertos Schiffer and Arnold Földesy. His mother, was, in fact, descended from an illustri- and interviewed composer Miklós Rózsa. by Haydn and Handel, and in the days Rózsi Mannaberg, studied piano with ous musical family—his grandfather, Their ensuing decades-long friendship before and after this performance, both Arnold Székely and Wilhelm Backhaus. István Thomán, studied piano under culminated in Rózsa’s Hungarian-lan- works, along with two sonatas by Hin- Sebestyén’s formal musical education Liszt and was later Bartók’s teacher. guage biography Stories from My Life, demith, were recorded on the concert began in 1946 at the newly established After graduating with a piano diploma compiled by Sebestyén from their dozens hall’s “hidden” Tamburini organ. The State Music Secondary School where from the Academy of Music in 1944, of taped interviews. Before returning to records were published by the Angeli- he was a student of pianist István Antal, he studied engineering at the State Budapest, Sebestyén visited Milan where cum label the following year, a milestone organist János Hammerschlag, and Polytechnic University. From 1947 he Gallia was now director of the Angelicum for Sebestyén: composer Ervin Major. He continued worked for Hungarian Radio, but in Studio. The Angelicum, an imposing his studies with Ferenc Gergely at the 1951 was suddenly transferred by the redbrick structure designed by Giovanni This was the “Grand Overture”—the Academy of Music and graduated there Ministry to become chief engineer for Muzio and completed in 1942, was an fi rst two records made abroad. Bruno Amaducci was an excellent conductor, the with an organ diploma in 1955. the state record label MHV, predeces- important cultural center attached to orchestra was friendly, and the fact that His association with the harpsichord sor of Hungaroton. After the Hungarian both a church and monastery. Sebestyén within one session we succeeded to record came about in 1957 when he was asked Revolution in 1956 he worked in Paris, offers the following description: a whole concerto was a revelation to me (in to play the solo part in a performance of fi rst for Pathé Marconi, then Disques contrast to the Hungarian practice where Frank Martin’s Petite symphonie con- Charlin, and from 1961 he was director On the ground fl oor there was a con- one session might result in 7–8 minutes). certante. This concert proved decisive, of the Angelicum Studio in Milan. cert hall: from 10 AM to 1 PM rehearsals, Here in Italy this was all very natural, here at 4 PM an English-language fi lm screen- time was money. It was a great learning ex- awakening interest in an instrument that Déry was also removed from his ing, from 6 to 9 PM pause, and at 9 PM was unfamiliar to many in Hungary at position at Hungarian Radio, where, perience. In Western countries recordings another fi lm screening. (It was the only are being made like that . . . . that time. With opportunities for organ- according to Sebestyén, “two pillars of foreign language cinema in Milan.) On ists being limited, Sebestyén quickly the director’s unit abruptly disappeared.” Mondays there used to be concerts (no cin- established himself as Hungary’s lead- He was given a position as soloist with ema that day) with the “Orchestra stabile In 1967 Gallia visited New York with ing harpsichordist. Zuzana R͐žiȔková the Honvéd Art Ensemble and in dell’Angelicum” (a staff orchestra) with the prospect of establishing a working in Prague was infl uential, encouraging October 1956 found himself on tour in Bruno Amaducci from Lugano as director relationship with George Mendelssohn, him to play Bach, while in Hungary he China when the revolution broke out. In of music and Achille Berutti as continuo the Hungarian émigré and founder of organist and harpsichordist—an excellent inspired new works from composers December, the ensemble departed by musician who passed away early. The or- the Vox label. Mendelssohn accepted Emil Petrovics and János Decsényi. train to Moscow where they were to give gan, strangely enough, had its place under Gallia’s offer to produce recordings His many recitals, radio broadcasts, and a gala performance, but the members the stage, with several openings peeping through Sonart, and upon the recom- performances for television and fi lm unanimously staged a strike and refused out, and when not in service these were mendations of both Gallia and Miklós introduced the harpsichord to a large to perform due to Russian suppression closed down and even covered with planks. Rózsa, Sebestyén was engaged as soloist.

12 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM By Larry Palmer

dates from June 1970. Both recordings overhead bridge (fortunately) it stopped were licensed to the French label BAM, for good. Gallia looked darkly at Déry, but were also among several releases, “You did refuel the car as we agreed, didn’t including Sebestyén’s recordings of you?” “Forgot . . . ,” groaned Déry. Cover- Handel and Vivaldi fl ute sonatas with ing his head with a plastic bag, petrol can in hand, he immediately started off in the Lóránt Kovács and Telemann trio sona- direction of a luckily not too far away gaso- tas with members of the New Hungarian line station. On return he was driven back String Quartet, that were scheduled for by the station staff. This is how our Rovigo publication by Angelicum in an attempt adventure happened. to revive their fl agging record business. All of them, however, remained unpub- János Sebestyén would perhaps be lished upon the label’s demise. somewhat dismayed by the present edi- Bach’s Eight Little Preludes and tion. During a 1990 interview with music Fugues, released in late 1973, was one of historian Allan Evans, he quipped in the last records to be published by Ange- regards to these recordings and their sub- licum. The master tapes are undated, sequent reissue by the Ars Nova label that but the recording, made in the Rovigo “. . . you cannot be free from the records, cathedral, most likely dates from 1970 they are coming after you. You want to or the following year. The cathedral’s hurry away, but the records are following organ was constructed by Giuseppe . . . .” Prescient words, for here they are, Cipriani in 1832, then enlarged by pursuing him yet again. But this time he Thomas Gallia in Milan, 1968 (photo credit: János Sebestyén) Annibale Pugina in 1930 and again by need not fear. This edition is offered not Tamburini in 1960. Sebestyén vividly to the critics or as a defi nitive testament recalls the late-night session: to his art, but rather as a modest tribute to this remarkably versatile musician and We recorded the Eight Little Preludes the adept professionalism of Thomas and Fugues as “guests”—meaning that Gallia and Paul Déry. It is a memento of Gallia was renting the cathedral for an or- chestra, but with them the recording was their friendship, the Angelicum, and the fi nished by 10 PM and following a light city of Milan, Sebestyén’s second home, supper came my turn at around 11 PM. I and in these respects he would no doubt continued the work “in the dark.” be pleased. Déry died in 1992 and Gallia We fi nished around 4 AM—it was a real in 1997, their passing marking the end night rush, and outside the weather was of Sonart as well. When writing about miserable: thunderstorms and torrential both men in his memoir not long before rain, not like we were used to at home, his death in 2012, Sebestyén reminisced but twice as vehement and double the vol- over the old tapes and photos that docu- ume of water, so typical of countries near the sea. At dawn all had to be taken down, ment their time together, asking, “who things packed and transported through the will care about these in a few years?” The Thomas Gallia and Paul Déry in Milan, Paul Déry in Milan, circa 1965 (photo side door under huge plastic covers. “You present edition answers that question. 1971 (photo credit: János Sebestyén) credit: János Sebestyén) are a radio man,” I often remember hear- ing as a warning from Gallia, or rather as an Thanks to Dr. Judit Hidasi for her Mendelssohn initially offered Sebestyén in Brescia, was restored by Armando order. “Here are the keys, shut everything translation of passages from János Sebe- an exclusive contract, but Gallia, already Maccarinelli in 1958 under the technical off and close properly.” styén’s memoir. aware of Mendelssohn’s fi nancial tricks, direction of Luigi Ferdinando Tagliavini I never was a worrying type, but that —Robert Tifft felt this would limit their opportunities and Ernesto Meli.” Organist René Saor- night, yes. I switched off the lights one after the other, hastily closed the doors, and cautioned Sebestyén against accept- gin described the San Carlo organ as an and found my way down on the stairs. The Editor’s note: while the recordings are ing the offer. By this time, Gallia and ideal example of the Antegnatis’ art. The cathedral, dim as it was, gradually turned not yet available, readers are encouraged Déry’s working relationship was well master tapes for Melodie di Natale are pitch black. Red candles, subdued sounds, to follow progress: www.jsebestyen.org established, with Gallia responsible for dated November 1969, and the record small creaks, and stirrings—all this intensi- or [email protected]. the technical aspects of the recording was published in 1972. fi ed by the darkness. Penetrating fl ashes of János Sebestyén’s recording of and Déry serving as producer and edi- Following Melodie di Natale on the lightning fi lled the cathedral, and outside it Melodie di Natale can be accessed on tor. They were both assisted by Pasquale CD are selections from two records rumbled ominously. I was inching my way YouTube: https://www.youtube.com/ Soggiu at the Angelicum studio. Déry also recorded on the San Carlo organ, in the darkness and felt relief upon fi nally watch?v=8OlIEBOQekg. Q seeing the dim light coming through the later became profi cient with the techni- one devoted to works by Johann Speth, side door. Quickly, out through the falling cal aspects as well, and his patient good the other to compositions by Johann rain and into the safety of the car waiting Comments and questions are wel- nature effectively balanced Gallia’s Gottfried Walther. The Speth master outside. Off we drove to Milan. come. Address them to lpalmer@smu. sometimes-tempestuous personality. tapes, like Melodie di Natale, are dated Only for a while though, because after edu or 10125 Cromwell Drive, Dallas, With a studio at their disposal, and a November 1969, while the Walther a time the car began to jerk, and under an Texas 75229. small yet fl exible staff, Sonart was able to produce recordings quickly and eco- nomically. Sebestyén’s fi rst marathon session for Vox began in February 1968, and once the initial four albums were ATLANTA CHAPTER, AGO complete, Gallia expected him to record additional material, out of friendship, ANNOUNCES that could be licensed through Sonart. This pattern continued for several years, with the Vox sessions resulting in The Taylor Organ additional recordings licensed to CBS Italiana, Ariston, and BAM. Among these “friendship record- Competition ings” can be found the three remaining records published by Angelicum. The fi rst to be completed was the Bach recital Saturday, April 17, 2021 Dai XVI concerti trascritti per clavicem- OPEN TO INDIVIDUALS BORN AFTER JUNE 1, 1998 balo, recorded on the studio’s often- uncooperative Neupert harpsichord, the only instrument readily available to st $10,000 nd Sebestyén and Gallia. The master tapes and a solo are dated April 1968 although the record 1prize2 prize $5,000 remained unpublished until 1973. recital in Atlanta Melodie di Natale was recorded at the Church of San Carlo in Brescia. The precise origin of the church’s organ is Application deadline October 15, 2020 unclear, but it is generally attributed to For complete details including repertoire, Graziadio Antegnati—member of the prolifi c Antegnati family of organbuild- please see www.taylororgancompetition.com ers active throughout northern Italy for two centuries. The description on the organ case reads: “This instrument, www.agoatlanta.org built in 1636 by the Antegnati workshop

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 13 In the wind...

Rites of passage on a different cycle than the Christian Almost twenty years ago, I gave up the churches, it is a large, interesting organ joy of serving churches as organist and that is easy to get around in, there is an director of music. I served two churches, elevator from street level to the balcony, one in Cleveland and one in suburban and it is just a couple blocks from where Boston, for over twenty-fi ve years, con- I get my hair cut. The organist is a good current with my work as an organbuilder. friend, and I know I will enjoy going I was offered the opportunity to join there several times each year. It is the the Organ Clearing House as director perfect retirement service client. during founder Alan Laufman’s fi nal ill- I started maintaining organs in the ness. Alan passed away in November of Boston area when I joined the shop of 2000, and as I started my new job with Angerstein & Associates in 1984, and its heavy travel schedule, I realized that when he closed his shop to become I would not be able to sustain my work tonal director at M. P. Möller, I started as a church musician. I had great expe- my own business and assumed most of riences with semi-professional choirs his service clients. I served fi ve of those in both churches and loved my role as churches for thirty-six years, and in each a worship leader, especially before the of those, I outlasted multiple pastors, retirement of the creative and support- organists, custodians, secretaries, and ive senior pastor in the last church. (He music committee chairs. was followed by a fool who made it a I have written about specifi c experi- Front guide pins of a keyboard (photo The organ that inspired back surgery, little easier to give up the work.) It was ences on the tuning road periodically credit: John Bishop) 1886 George S. Hutchings Opus 156, Korean Church of Cambridge, Massa- a huge adjustment to my professional in this column, so I do not need to tell chusetts (formerly Pilgrim Congrega- and artistic being, but it was nice to have you about the wedding that was delayed and messaging through a website. It is tional Church) (photo credit: John Bishop) weekends free for the fi rst time in my because there was a card table against increasingly diffi cult to get personally in life, especially as Wendy and I had just the intake of the blower. I do not have touch with someone to ensure that the acquired our house in Maine. to tell you about the time I was fi red for heat will be turned on before a tuning, keys, ciphers, and dead notes. The most I was fi rst involved maintaining pipe sending a bill for almost $1,000 for a and the pleasant banter with church staff noticeable physical feature of the elderly organs when I started working for John service call that took fi fteen minutes. (It over a cup of scorched coffee is a thing female organist at one church was her Leek in Oberlin, Ohio (see this column took six hours of driving and three hours of the past. waist-length gray hair. It was dramatic in the February 2020 issue, pages 12–13) on a ferryboat to make the round trip on Each church also had a sexton or and lovely, until we had to fi x dead notes in 1976. Since I moved to the Boston Good Friday!) I do not have to tell you custodian who cared for the building and in the pedal keyboards caused by great area in 1984, I have maintained scores about the furious organist who called in did routine maintenance on machinery hairballs mixed up in the pedal contacts. of organs with as many as 120 clients at the middle of a recording session saying like oiling motors and changing fi lters. Disgusting. She kept a hairbrush at the one time. Since we moved to New York the whole organ was out of tune, insisting Today it is common for churches to console, and I suppose she passed the City fi ve years ago, since I started a con- that I drive two hours right away to fi nd hire cleaning services that come weekly, time during sermons preening. I know sultation business, and since the Organ that high F-sharp of the Pedal Clarion while volunteer members of the prop- from experience that I would rather Clearing House has grown ever busier, was off speech. (A resourceful organist erty committee look after the mechani- pull recently deceased bats out of reed I realized last fall that I was unable to might have isolated the problem and cal things. In my opinion, that approach pipes. If you as the staff member who meet the needs of those clients and their turned off the stop.) And I do not have is backwards, even oxymoronic. Any uses the organ do not show your respect organs in a timely, reliable fashion, and to tell you about the night that Madame church building of any size has mechani- for the value of the instrument, you are decided to retire from organ mainte- Durufl é gave me a big hug and kiss in the cal equipment like furnaces, boilers, less likely to fi nd support from funding nance while continuing with the other midst of a post-convention recital scrum, pumps, blowers, and elevators that are committees when it becomes necessary work and while starting new ventures. thanking me for helping make her Bos- much more complex and sophisticated to spend a lot of money on it. After forty-fi ve Christmas tun- ton recital a success. than anything found in a usual home. During service calls and consultation ing rushes, after countless arrivals at But as I refl ect on that long career It makes more sense to me to hire a visits, I make a point of observing how churches to fi nd that the heat wasn’t on, of caring for organs, I thought I would stationary engineer to visit the building well a building is kept. Are trash cans after hundreds of panicky emergency share a few observations from the desk four times a year to service machinery emptied, kitchens clean, and fl oors calls from organists, and after one seri- of an itinerant organ worker. and invite volunteer church members to swept and mopped? Is the choir library ous injury caused by a rickety antique clean the place. strewn about the choir room? Is the ladder collapsing under my (admittedly Upside down and backwards organ chamber and blower room full excessive) weight, I look forward to a The health of the church universal Make your house fair of extraneous stuff? Is the basement a calendar free of day-at-a-time toolbox has diminished substantially in the last as you are able. repository for thirty-year-old rummage lugging, free of messy organ consoles, thirty-fi ve years. As director of the Organ Bet I just set you a’whistling, “Love, sale signs and moldy pageant costumes? and free of unscheduled vacuum clean- Clearing House, I see that more dramati- the Guest, is on the way.” My Facebook All these things refl ect the attitude of a ers, lawn mowers, chattering tourists, cally than many. Tomorrow I am visiting page is dotted with photos of organ con- parish toward its valuable real estate. and unannounced funerals interrupting a huge stone Gothic building in Manhat- soles labeled, “. . . my offi ce today . . . .” my work. tan that was a Roman Catholic church. True enough. An organ console is a You are the steward. Funny, even without all those appoint- It once housed thousands of worshipers workstation, comparable to an offi ce You may be a famous recitalist with ments, my calendar is still fi lled, but it at a time, surrounding them in artistic cubicle or computer station. But it is also advanced degrees from a conserva- is fi lled with new ventures, and with the glory. It is empty now. There are puddles part of a musical instrument, located in tory of music and organist of a big city effects of Anno Domini taking their toll of water on the nave fl oor and chains on a sacred and public space, and I do not church with a huge organ, or you may be on my physical being, I am excited about the front doors. The immense and opu- think it is appropriate to keep it looking a converted pianist who plays a simple this change. I met last fall with a couple lent four-manual organ is mute. We are like a dirty bathroom. As a parishioner, instrument in a small rural church, but local colleagues, asking about their waiting for permits to be approved so the I do not like seeing piles of books on you are both stewards of that instru- willingness and ability to take on new organ can be removed. the organ console. I know you want to ment. It is likely that no one else in the clients, and I have just fi nished the last But diminutions are visible even keep paper clips, post-its, Kleenex, and building knows as much as you do about round of correspondence recommend- in churches that are functioning and lozenges handy, but I have always been the organ, and it is your responsibility to ing them to the last round of my clients. relatively healthy. Earlier in my career, a little offended by nail clippers, hair- see that it is well cared for. You do not I still have a lot of church keys to return, most churches had at least one full- brushes, paper cups, used Kleenex, and have to be a very sophisticated musician but otherwise I am offi cially fi nished. I time person in the offi ce in addition to the like. I think they signal disrespect. to notice when a note is dead, when do not want to lose my last skills (after clergy. The ubiquitous parish secretary Maybe you could use a neat little box, the shutters do not work, or when the twenty years, getting on an organ bench was typically the one who really knew or a pencil case like you had in grade tremolo will not turn off. When the fur- is not like getting back on a bicycle), so what was going on in the place. Today, school. If your fi ngernails need to be nace stops working, a specialist is called. I have retained just one client here in many have been replaced by answering clipped, do it at home. I do not want to When the organ stops working, a special- New York. It is a synagogue that operates machines, out-sourced accounting fi rms, hear that snipping sound from my pew. ist should be called. If you do not know “Our Father (snip), who art in heaven anyone who services organs, ask your (snip) . . . .” local chapter of the American Guild of Good console hygiene helps the reli- Organists, ask your diocesan or denomi- The Sound of Pipe ability of the organ. Paperclips falling national headquarters. They would be between keys, sticky stains from spilled able and willing to offer guidance. Organs soda or sugary coffee, or crumbs from Get to know your technician. A that quick bagel or donut will cause sticky responsible organ technician can tell a lot M. McNeil 191 pages hardbound 0LOQDU2UJDQ now on sale at Amazon books &RPSDQ\

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14 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM By John Bishop

one verse to another, mix it up a little. and Roche were digging into the excit- Play one verse on principals alone. Play ing world of classically inspired tracker- another with the melody on an Oboe or action organs. My mentors took me to Clarinet. Read the text of the hymn. Does workshop open house parties and recitals it imply anything about the registration of on a regular basis. Many of the concerts the organ? Or do you plow through “. . . oh were followed by convivial dinners at still small voice of calm . . .” like a run- local restaurants, and I was in the thrall away train with whistles blowing? of it all. The New England Conservatory As you are the steward of the condi- of Music was a centerpiece of that activ- tion of the organ, you are also the stew- ity, and it did not occur to anyone that the ard of its favor with the congregation. heady environment might be temporary. I love a powerful organ as much as the There are still many prosperous next person. I have played two hundred- church music programs in the Boston rank organs in huge buildings with the area, but the organ department at NEC high-octane brass players from a major is gone, so fewer young and brilliant symphony orchestra. It is thrilling. But I organists are coming to town, and many (photo credit: Félix Müller) have also set a church full of people to of the churches where I serviced organs weeping, including myself, as the organ for well-known creative musicians have organ, you are not serving the parish or shimmered gently in candlelight with given up on their organs. The church the world of the pipe organ very well. an occasional punctuating note from the that I served for so long as director of This is not about you. It is about your Who you gonna call? (photo credit: John chimes. Make beautiful music. Do not music still employs an organist, but they role adding beauty, depth, and meaning Bishop) wield a weapon. formally decided to stop maintaining the to the worship of a community of faith. organ. I was stunned when I called to When I lived in rural Ohio, a neighbor about how an organ is used by snooping Nothing is forever. schedule a tuning, and the pastor got on who was a soybean and corn farmer com- around a little, seeing what volumes of When I was having my fi rst organ les- the line to inform me. mented that a particular seed for corn music are on the console or in the choir sons fi fty years ago, there was a vital and If you share catty comments on social was advertised as especially productive room, or reading a discarded Sunday active community of pipe organ profes- media when a member of the congrega- on good ground. “I can grow anything on bulletin. But I always preferred to have a sionals in the Boston area. Companies tion suggests that the organ is too loud, if good ground. What I need is something personal relationship with each organist. like Fisk, Noack, Andover, Bozeman, you think your parish owes you the fi nest that grows well on my fi elds.” Q If you are confused or concerned about something, call your tuner. It is part of a technician’s job to help the musician know their instrument better, to know why and how temperature affects the NORTH AMERICA’S pitch of the organ, to know simple facts about how to take care of it. Besides, PREMIER PIPE ORGAN service call chats are a great way to take the pulse of a congregation. BUILDING, REBUILDING A responsible organ technician will AND SERVICE FIRMS keep the organist aware of larger main- tenance issues that are looming. It is likely that a fi fty-year-old organ with electro-pneumatic action will need to be releathered pretty soon. 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WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 15 Twentieth-century organists

Marcel Dupré: The Organ in the United States

By David Baskeyfi eld

he Sibley Music Library of the East- grudging desire for France’s pedagogical Tman School of Music, Rochester, system and professional organ scene to New York, houses the collected papers learn from that of the Americans. At the of Rolande Falcinelli, professor of organ same time he is suffi ciently gushing to be at the Paris Conservatoire from 1955 to sure to keep his American impresarios 1986. A fi nding aid is available through happy, presumably the likelihood of fur- Sibley’s website (www.esm.rochester. ther lucrative touring not an insignifi cant edu/sibley/files/Rolande-Falcinelli- consideration. Overall, he plays two con- Archive.pdf). Alongside manuscripts, trasting roles, both of seasoned touring correspondence, and writings by Falci- virtuoso and wide-eyed newcomer to a nelli, the collection includes a number land of plenty. I have annotated many of of writings by Marcel Dupré, whose his claims where it seemed helpful; as to association with Falcinelli as mentor and various other assertions, the reader will subsequently colleague is well known. have no trouble drawing her or his own The article below, in Dupré’s predict- conclusions. Dupré’s prose is rather dry, ably meticulous handwriting, is appar- and I have attempted to convey this in ently unpublished. It is undated, though my translation. Marcel Dupré inscribed this photograph of himself in presentation to Clarence E. from its content can be placed in the late I am grateful to Jonathan Ambrosino Watters. 1950s: Ernest M. Skinner was still alive for advice and clarifi cation during the (he died in 1960), and Dupré appears preparation of my annotations, and to not one city without numerous concert to twenty-two, these students have to make reference to the American David Peter Coppen, head of Sibley halls, of various sizes according to loca- the opportunity to hear—and not just innovation of the Doctor of Musical Special Collections, for his kind assis- tion, and always with an organ. once—all the pianists, violinists, singers, Arts degree, launched in 1953. Further, tance with access to the archive. Orchestral concerts are given in halls chamber musicians, organists, conduc- the American Classic approach to organ rarely exceeding eighteen hundred seats. tors, orchestras, choirs touring the reform was suffi ciently advanced for Editor’s note: subheads have been I suppose that this number is the limit if United States. These concerts are paid Dupré to comment unfavorably on its added to Dupré’s text. the audience is to hear a concerto soloist for out of their tuition fees. They are a extremes. Dupré’s fi rst American tour properly, or to hear the orchestra with part of the education that they receive. was in 1921, and his observations thus Marcel Dupré: any kind of clarity. Of course, these halls It can be seen that this is building a truly span almost forty years. L’Orgue aux Etats-Unis1 are not just for orchestras—they are gen- elite audience for the future. The content would admittedly be of North America presents the organ- erally excellent for chamber music and High schools (fourteen to eighteen less interest if it were not written by a ist with a treasure trove of experiences solo recitals. years) also have concert halls and organs. fi gure such as Dupré. There is very little and opportunity. There is much to be The municipal auditorium in each This young audience, likewise attentive groundbreaking information here, it is learned there about different kinds large town is much bigger: four to fi ve and effusive, is quite capable of listening not all entirely accurate—some of his of organ installation, the instrument’s thousand seats. These are geared toward to a serious concert. These are generally assessments are suspect to the point of evolution, and trends in its construction; oratorios and special concerts by tour- given at one o’clock in the afternoon. spurious—and interest lies principally in and through these, the very place of the ing virtuosos. As they generally house The concerts are never more than an these idiosyncratic impressions coming organ within this society. an enormous organ, they invite famous hour in length. from Dupré himself. Some assertions The visitor is immediately struck by organists to perform there. Finally, numerous private homes hint at an agenda: admiration for aspects the number of churches scattered about Finally, the “Convention Hall” reaches have luxurious music rooms whose of American instruments, in particular the land. In New York City alone, I count gigantic proportions, twelve- to eighteen- organs sometimes reach a hundred their action, while unable to refrain from some 1,030 parishes. On arriving in any thousand seats. They are really only used stops. Their rich owners engage touring some nationalistic bias in his narrative, town, large or small, the visitor is greeted for political rallies or large social events. artists and invite their friends to come and taking a swipe at (likely) Ernest by a main street replete with a prodi- The acoustic is, as you might expect, listen to them.3 White and possibly even his old friend gious number of towers and steeples. terrible, and completely unsuitable for In a nutshell, there is no place in G. Donald Harrison; and perhaps a This is down to private endowment, in music. Nevertheless, they all have giant America that is not equipped to offer the form of memorials: when a member organs, which are often excellent.2 a performer a location and instrument of a wealthy family dies, his parents will with an audience of all ages, always inter- A. E. Schlueter Pipe Organ Co. wish to perpetuate his memory through The organ in the American ested and gracious. a public gift—a hospital, library, school, education system And something we can only dream of university building or church. In each of But what is perhaps most striking is is the accomplishments and the infl uence these, you will fi nd the fi nest materials, what we fi nd in universities and colleges: of the “Guild of Organists,” a national care, and good taste in the furnishings concert halls everywhere, in proportion union of American organists of more than and, regularly, a beautiful organ. to the size of the student body. Size is also 6,000 members.4 To become a member These churches have capacities vary- what determines nomenclature: a college requires sitting a two-part examination.5 ing between fi ve hundred and a thou- has fewer than three thousand students; Each year a convention takes place in sand seats and, most often, their acoustic a university has more than three thou- one town or another, bringing together is excellent. [sic!] sand and may reach ten thousand. There the thousands of members. This gives A number of cities have cathedrals of is nothing more extraordinary than to see young organists a platform and allows large dimensions. Their style is usually these huge rooms fi lled entirely by young them to make contacts. And within the  New Instruments  Tonal Additions English Gothic. In Catholic cathedrals men and young women. They make the regional chapters, the members, rather  Rebuilding  Maintenance the organ is in a rear gallery, as in most enthusiastic and spirited audiences than bitterly defending their own pro-  New Consoles  Tuning France. In the Protestant churches, it is and also the most attentive. Seven or fessional interests, discuss questions of situated close to the choir, as in England. eight minutes before the concert, these organ construction, and recently pub- How can we help you? These instruments can have as many as immense halls begin to fi ll. After the last lished organ and choral music, devoting a hundred or a hundred and fi fty stops. encore, they empty even faster. their efforts to developing local interest 800-836-2726 But it is not only in the churches that Over the course of their four years in the organ. They are very successful in www.pipe-organ.com fi ne instruments may be found. There is of higher education, from age eighteen this endeavor.

16 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM The fi rst page of Marcel Dupré’s article, “L’Orgue aux Etats-Unis”

Young organists get a great deal of in Caen in 1860, but developed and help. I could mention one college that established across the Atlantic, and has thirty-fi ve [sic]6 little practice organs. copied slavishly elsewhere, only eventu- This state of affairs did not happen ally returned to France, its birthplace, overnight. It is due to two factors: in 1924.11 Dupré wrote about a number of American organbuilders in a small school note- 1. The existence of a “Music Doctor- American builders did not limit book. Here is the fi rst page of his entry on Skinner. On Skinner’s work: “beautiful voicing, but soft ensemble.” He also sketches the top of a French Horn resona- ate,” something unknown in France. In themselves to addressing mechanical tor. Overleaf, he describes another Skinner innovation: “an enormous fl ute called the USA, quite apart from the “Doctor problems. They strove to create stops of Philomela: unusable.” Honoris Causa,” a composer can receive new timbres. No fi rm was short of the a doctorate for an opera, an oratorio necessary workshops, laboratories, and or even a symphony.7 As I see it, we teams of specialist engineers.12 One curious endeavor was that by Then came the fads. This was, fi rst of [French] are a long way from this kind Naturally, time would tell which of Haskell, of the Estey fi rm,17 who man- all, string stops, mostly in instruments of accreditation for music and the arts. these ideas would be viable and useful, aged to imitate the sound of reed stops in private homes. They were, naturally, 2. More than eighty years of enter- and which would be rejected. Though it with fl ue pipes. He wished to avoid accompanied by celesting ranks (imitat- prise and progress in organbuilding. cannot quite be said that organbuilding frequent reed tuning. Up close, the ing vibrato). They displaced almost all France actually plays a part in this story, over there is completely standardized, illusion is perfect, though disappears in the other families of tone color. Build- as I will explain: however logical that conclusion would be, large rooms at a greater distance from ers even tried to make mixtures out of a great deal of standardization is never- the instrument. very narrow pipes. The sound of those American and French theless applied. In spite of this, it is clear organbuilding differences that competition between progressive The electro-magnet, which made pos- builders sometimes led to extremes, and sible electric key action, was invented certain tendencies grew into real infatu- in 18608 by Albert Peschard, organist ations, which can be summarized below.

of the Abbaye aux Hommes in Caen, I would not mention here the so- and a physicist. He built a small house called “theatre organ,” which can be con- organ to test this (Bouches du Rhône), sidered to have disappeared completely which was unfortunately destroyed. Two with the development of cinema with French builders, Debierre and Merklin, recorded sound, in 1929, except that we built electric action organs. Meanwhile, too often forget that this type of instru- the invention made it over the Atlantic ment actually came about more than 15 and, over some forty years, American years prior to the invention of moving builders struggled with failed attempts pictures. In effect it was conceived by and every possible mishap. Little by the English organbuilder Hope-Jones little electric action was made reliable. for the University of Edinburgh, around Not ceasing to experiment, these build- 1885.13 It was Wurlitzer, of Cincinnati,14 Proud builders of the ers improved key and stop action, devel- that picked up the idea and used it unal- pipe organ kit oped their specifi cations for fl exibility, tered in the fi rst movie theatres. and made their instruments more and The fi rst infl uence was that of high- more comfortable. pressure stops, from England. There, It was the builders Huntching [sic], they built Tubas and Diapasons on up follow 15 us on Steere, Ernest Skinner (who is still alive to a meter of wind, whereas many of facebook! today), Kimball, and Austin who worked Cavaillé-Coll’s cathedral organs do not hardest at this early stage.9 go beyond 10 centimeters of pressure. In Canada, the two brothers Clavers English organists use these stops for a Photo courtesy of Eric Harrison [sic]10 and Samuel Casavant, French specifi c purpose: they are made only to Canadians from Montreal and personal solo out the melody of a hymn sung by friends of Aristide Cavaillé-Coll, worked the whole assembly. They can support 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA ceaselessly over almost half a century, and guide thousands of voices, but an t 800 625-7473 [email protected] with magnifi cent results. experienced organist would never play Visit our website at www.letourneauorgans.com We are forced to admit that the elec- chords on the stop; the reverberation tric organ, though having been invented would be explosive, blinding.16

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 17 Twentieth-century organists

Dupré’s sketch of the plan of the organ hall on the fourth fl oor of the Eastman School of Music. Note the Marr & Colton (“Golton”) theatre organ in room 429, and The Sorcerer’s Apprentice designation of room 428 as the teaching studio of Abel Decaux. Decaux taught at The fi rst page of Dupré’s unpublished transcription of . Eastman 1923–1925, before returning to France to teach at the newly founded École Written for performance on his home organ in Meudon in 1944, note use of soste- César Franck at the Institut Grégorian in Paris. Prior to coming to America he had nuto device and pedal divide, “coupure pédal: ut,” and the initial positions of the been the fi rst organiste titulaire of the Cavaillé-Coll-Mutin organ at the Basilique three swell pedals. The present author has edited the transcription and gave the Sacré Coeur, a position he held from 1903, concurrently succeeding Guilmant at the United States premier performance at the East Texas Organ Festival, 2016. He has Schola Cantorum. Decaux was succeeded at Sacré Coeur by Ludovic Panel, who in also recorded it, Acis APL67072, 2018. turn was succeeded by Rolande Falcinelli. things was particularly acidic. There was of thought so numerous that everything also the profusion of various reed stops ends up circulating in an unlimited The giant organs in America intrigue of production, which at fi rst glance just (oboes, clarinets, etc.), which took the expansion of ideas. There is room for French organists. The questions are seems effortless. Whoever goes there place of foundation stops, making all but these different instruments to coexist often the same: “Are all these stops really and has the fortune to be initiated into special effects impossible. and last peacefully, for the most part. necessary?” “Can they all really be dif- the organ world in its various forms, can Finally, after the proper reintroduc- Most organbuilders are still guided by ferent?” My answer is that the massed only long for such potential, such will, tion of classical mixture stops, which common sense. And they build countless effect and depth of sound produced by and such drive in his own country. Q happened around 1923,18 the trend instruments of rich and beautiful palettes these instruments is astonishing. Then, shifted little by little to the almost com- of sound, perfectly adapted to their loca- on playing them, you realize that every Translation © David Baskeyfi eld, 2019 plete exclusion of foundation stops. I tion. A list of names, even abridged, is stop does have its own characteristic can cite almost unbelievable examples impossible here. I shall simply mention: effect. Each family of stops on each key- David Baskeyfi eld studied at Oxford of instruments of more than 90 stops 1. The cities richest in fi ne organs: New board presents a gradation of intensity University and the Eastman School of with only six 8′ foundation stops.19 You York, Philadelphia, Washington, Boston, and volume, which allows an almost infi - Music (studio of David Higgs). The recip- can judge the aggressiveness of these Chicago, Detroit, Cleveland, Cincinnati, nite subtlety in combining stops. Think ient of several fi rst prizes at national and organs yourself. I fi nd them like drink- St. Louis, Denver, Salt Lake City, San of a great box of pastels, where each international organ competitions (all with ing bowlfuls of vinegar, and you may Francisco, Los Angeles, Columbus. color contributes its own shade and hue audience prize), and one of few organists quote me on that. 2. The best endowed universities: Yale, to the whole spectrum. based in North America to improvise Princeton, Columbia, Harvard, Chicago, Among these immense instruments, regularly in recital, he enjoys an interna- Blended styles and large Minneapolis, Los Angeles. the strangest, and also the biggest in the tional performance career. His latest CD, instruments I would also mention, in Canada: world, is the Wanamaker of Philadelphia. on the Acis label, Dupré: The American But this country is so big, the opportu- Montreal, Quebec, Toronto, Winnipeg, It has 451 stops, around 32,000 pipes.20 Experience, was recorded on the French- nities so great, and the different schools Vancouver. There is no borrowing or duplexing, infl uenced 1932 Aeolian-Skinner organ even on the pedals. It has six manuals, at Saint Mary the Virgin, Times Square, but actually consists of eleven enclosed New York City, and includes the United divisions that can be assigned by stop- States premier recording of an unpub- MANDER ORGANS keys to whichever manual you wish. It lished orchestral transcription by Dupré has 48 general pistons, adjustable at of Dukas’ The Sorcerer’s Apprentice. He will; having registered a whole recital in is represented in North America by Karen New Mechanical Action Organs advance, the touch of a thumb on one of McFarlane Artists, Inc. Connect on the buttons under the manuals will bring Facebook (David Baskeyfi eld, organist), on or take off stops instantly to give the www.youtube/c/dbaskeyfi eld, or www. prepared combination. davidbaskeyfi eld.com. It seems that the era of the building of these giants is over. They remain, never- Notes theless, as witnesses to a period where 1. Roland Falcinelli Archive, Sibley Music material possibilities seemed limitless. Library, Eastman School of Music, Roches- Today we can confess that, though inter- ter, New York, Box 33/1. esting, they are, happily, not necessary 2. Data on original seating capacity are ³ St. Peter’s Square - London E 2 7AF - England to art. hard to come by and modern building and fi re [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 codes render current occupancy irrelevant to Exquisite America is a land of surprises, and you making a judgment on Dupré’s fi gures. For Continuo Organs [e] [email protected] will walk from discovery to discovery, all example, Boardwalk Hall now lists a maxi- www.mander-organs.com of them refl ecting the diversity of thought mum seating capacity of 14,770, a substan- and opinion. The European stands tially smaller number than its original 41,000. astonished before this rampant and 3. Currently living in Rochester, I am duty Imaginative Reconstructions incessant activity, this prodigious amount bound to note George Eastman’s Aeolian

18 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM In Dupré’s own words, “mechanical improve- 13. This is misleading. Hope-Jones’s earliest ments on American organs are far in advance work was the 1887 rebuilding, with electric of European . . . I believe that American in- action, of the organ at the church of Saint John, ventiveness and ingenuity will within the next Birkenhead, where he was organist and choir- few years bring about advances as yet unheard master. In 1897 he completed a total rebuild of.” Mentioning specifi cally the year of Skin- of the 1875 Hill organ in McEwan Hall at the ner’s personal visit might suggest a hint of University of Edinburgh: though unquestion- proprietorial pride: Michael Murray [Mar- ably a glimpse of things to come and indeed cel Dupré, The Work of a Master Organist. decked out with such novelties as Tibia Clausa, Boston: Northeastern Music Press, 1985, p. Diapason Phonon, Kinura, and Diaphone— 132] writes that Dupré had gone so far as to high pressure, unblending stops of extreme convey to him in a personal conversation that, scale that would later fi nd their proper place during the mid 1920s, he had “helped Skin- in the Hope-Jones Unit Orchestra—it could ner introduce electricity” to organs in Paris. no more properly be characterized as a theatre This is an extraordinary claim and not without organ than the Worcester Cathedral rebuild of the previous year. smugness. Skinner recounted his 1924 trip in 14. The Rudolph Wurlitzer Company Stop, Open and Reed, his company’s house started in Cincinnati in 1853 but relocated to publication, volume 2 (1924). Of Dupré, he North Tonawanda, New York, in 1908. writes, “M. Marcel Dupré is a vitally alive mu- 15. Dupré’s characterization is not quite sical personality. His interest in the ancient right and more than a little hyperbolic. Al- organs is great but he is equally interested though Hill got the ball rolling as early as 1840 in the modern organ. He does not glorify the at Birmingham Town Hall with his celebrated past to the disparagement of the present. Our Grand Ophicleide on 15′′, high-pressure reed American Orchestral Color has received the voicing was developed by American builders entire approval and indorsement [sic] of M. considerably beyond that of the English. A Marcel Dupré. He leaves no room for doubt metre is 39′′ in Imperial units; Harrison and in his admiration for it. His use of it will make Harrison tubas were typically voiced on 12′′ to a further contribution to organ literature un- 15′′. At Salisbury (1877), Father Willis’s Tuba less I am very much mistaken.” was on 18′′; a generation later, Harrison and Skinner found the Cavaillé-Coll factory Harrison’s at Ely (1908) were still on [only] “absolutely destitute” of modern machinery. 20′′. Liverpool Cathedral (1912–1926) and “Everything done by hand. No electric or Westminster Cathedral (1920–1932), both tubular actions . . . There is much prejudice by Willis III, with whom Dupré and Skinner in France against doing anything new.” Else- were associated, do have Tubas on 30′′ (and where, “The French Organ is a work of art Liverpool has a Tuba Magna on 50′′), but they and a great one, tho [sic] according to our are the exception, and by that point Willis III present day standards very crude mechani- and Skinner were long acquaintances. We cally . . . The inconvenience of the French can be grateful that Hope-Jones’s proposal at console is inconceivable.” Worcester to mount a Tuba over the Canons’ ′′ At the time of Skinner’s trip, Convers stalls on 100 was not carried out. was new in his position, having only recent- 16. A bad demonstration by an enthusiastic ly succeeded Charles Mutin. Skinner liked incumbent? Convers and considered him a good man to 17. Both William Haskell and his father Marcel Dupré inscribed this souvenir program of the centennial of the Cavaillé-Coll bring the company out of the dark ages. In Charles worked for the Roosevelt fi rm. When organ at Saint-Sulpice, Paris, France, in 1962 for Alexander Boggs Ryan. the event, the electric action instruments his father established his own fi rm, C. S. produced by Manufacture d’orgues Cavaillé- Haskell, William left Roosevelt to work with his father; he subsequently established Wil- organ of 132 ranks at its completion; the East- directly. This tended to magnetize the electro- Coll, Mutin, A. Convers et Cie. proved unreli- liam E. Haskell Co. of Philadelphia in 1901. man House’s collection of rolls includes a num- magnets permanently, causing ciphers. The able and the company was bankrupt by 1928. That fi rm was acquired by Estey, whereupon In noting the year 1924, Dupré is probably ber recorded by Dupré at the Aeolian Hall stu- large wet-pile batteries required to generate William became superintendent of the Estey dios, New York City, and from correspondence such strong current were costly and required simply taking credit for introducing Skinner pipe division. archived at the Eastman House we can see frequent replacement, and there was a dan- to Convers at the factory, Skinner presumably 18. This may be a reference to Skinner’s that Dupré played for George Eastman at least ger of splashing mercury from the contacts being encouraging of Convers’s novel path. second visit to England in 1924, where he twice, in December 1923 and 1924. during staccato playing. In 1898 Cavaillé-Coll In any case, Skinner himself takes no credit met Henry Willis III. The trip is considered 4. The Story of the American Guild of Or- rebuilt the instrument with Barker machines for any substantive involvement with electric a turning point in Skinner’s tonal philosophy, ganists, by Guild founder Samuel A. Baldwin, [Fenner Douglass, Cavaillé-Coll and the action in French instruments. Given the tone whereupon he reevaluated the place of quint published in 1946—the AGO’s 50th anniver- French Romantic Tradition, New Haven, Yale of Stop, Open and Reed, had this been so, he mixtures in the ensemble and began drasti- sary year—describes membership as “well University Press, 1999]. certainly would have. cally expanding his chorus work. above 6,000.” That fi gure in itself, though, 9. Dupré’s characterization is misleading. 12. This translation may be drier than Du- 19. An extreme example might be Er- does not really help much in pinning down a It was Skinner, working at the time for Hutch- pré intended to convey. His term here is nest White’s essay at St. George’s Episcopal precise date of Dupré’s article. ings, who produced the fi rst electric action ingénieurs spécialisés. The noun ingénieur Church, New York City (Möller, 1958): of 96 5. This is not accurate; examination has (1893) bearing that company’s name, prior translates directly as engineer, but the as- ranks, two are unison principal stops. only ever been required for certifi cation to founding his own company [Ambrosino, A sociation of the root with the quality of in- 20. Dupré exaggerates only slightly. Ex- [Baldwin, 1946]. History of the Skinner Company]. Dupré also ventiveness might be borne in mind: the verb panded 1911–1917 and 1924–1930, the Wa- 6. In mentioning such an obviously infl ated omits the contribution of Robert Hope-Jones, ingénier means to strive; the noun ingéniosité namaker organ now has 464 ranks, 401 stops, number, Dupré may have hoped to put pres- who was associated in America with Austin means ingenenuity. and 28,750 pipes. sure on the Paris Conservatoire or the Ameri- (1903–1904) and Skinner (1905–1906). Skin- can Conservatory at Fontainebleau. His inter- ner had fi rst met Hope-Jones in England in est in the distinctly American concept of the 1898. Later in life professing dislike of Hope- practice organ (unknown to European schools Jones’s instruments, he nevertheless must at that time) is neatly illustrated by a pencil have been impressed by their action: “I be- sketch of the plan of the Eastman School or- lieve you were the fi rst to recognize the im- gan practice rooms with a note of each room’s portance of a low voltage of electric action, instrument, also in the Falcinelli Archive. and that the world owes you its thanks for the 7. This seems likely to be a reference spe- round wire contact and inverted magnet.” cifi cally to the DMA, the academic study of 10. The builder’s Christian name is Claver. music at degree-conferring institutions being 11. Dupré is being coy. No instrument of long established in Europe. Such fi gures as milestone status was completed or dedicated Mendelssohn, Liszt, and Brahms had been in 1924; 1924 was the date of the infamous named honorary Doctors of Music, the title installation of the electric blower at Notre “Dr. Brahms” being frequently used pejora- Dame, but “electric organ” clearly refers to tively by his contemporaries to belittle him as key action. The year is almost certainly a ref- a stolid, academic composer. The DMA was erence to two events. developed principally by Howard Hanson In 1924, Auguste Convers assumed di- (dean of the Eastman School of Music and rectorship of what had been the Cavaillé-Coll himself the recipient of an honorary doctorate company, though the fi rm had yet to produce in 1925). The accreditation body, the National a new organ. The same year, E. M. Skinner Association of Schools of Music, approved the visited Paris for the second time (the fi rst was degree in 1952, it was offered in 1953, and the in 1898 when Dupré would have been twelve fi rst degree was conferred in 1954. years old) and Dupré might just be taking 8. At the Paris Exposition of 1855, Stein the rare liberty of a rhetorical twist to con- and Son, manufacturers of reed organs, exhib- fl ate electric playing action with the person ited an organ operated by electromagnets ap- of Skinner. Dupré spoke extremely highly of plied directly to the pallets. Suffi cient current Skinner’s instruments; his admiration of their could not be generated to operate the larger action and playing aids is well documented. pallets reliably. In 1861 Peschard worked with Arthur Poister, the legendary pedagogue Charles Barker on applying electromagnets and one of Dupré’s fi rst American students, to Barker’s pneumatic motors; Peschard’s recalled that “had it not been for [Dupré’s] electro-pneumatic system was patented in experience with American organs with their 1864. It was famously used in the organ for St. easier manual and pedal actions, he could not Augustin, completed 1866, but proved unreli- have written some of the music he wrote. His www.ruffatti.com able, principally owing to the strong current entire concept of tempos and playability was required for magnets operating on the motors changed by his fi rst American experience.”

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 19 Tower bells

Community Bell Advocates, LLC, advises Village of Niles, Illinois, on restoring the bells of the Leaning Tower

By Kimberly Schafer

he village of Niles, Illinois, on the Tnorthwest border of Chicago, has invested in their Leaning Tower, espe- cially in its bells, to renew its status as a central landmark for the village. Origi- nally constructed to conceal water tanks for adjacent pools, this half-size replica of the Leaning Tower of Pisa was built in 1934 as part of Ilgair Park for employees of Robert Ilg’s Hot Air Electric Ventilat- ing Company. The tower and surround- ing land were donated by the Ilg family to the YMCA in 1960, and the tower The Leaning Tower of Niles, Illinois (photo credit: Kimberly Schafer) declined in use and purpose as the area transitioned from a recreational park to commercial corridor. In 1995 the village leased the tower from YMCA, renovating the building and improving the landscaping. Andrew Przybylo, the current mayor of Niles, has Outdoor bell display (photo credit: Kimberly bigger plans for the tower and the entire Schafer) area now that the village has purchased it from the YMCA. He intends to turn to replace theirs in the early 1930s. The the extended site into a vibrant, walkable Barigozzi foundry in Milan, hired to cast district for the village with the tower as the new bells, had taken the old ones the renewed icon. Towards this effort, in exchange. Rather than melting them the tower bells at the top of the Leaning down for their bronze to cast the new Tower of Niles, which have been silent bells, the foundry likely sold the bells to for decades, have been restored to ring Robert Ilg or a middleman. The details of out the time and melodies to build and this transfer are unknown. The ecclesias- project a sense of community below. tical and city archives of Cavezzo are still In early 2017, Steven Vinezeano, vil- in disarray after the 2012 earthquake, lage manager, contacted Community which damaged the historic Saint Giles Bell Advocates (CBA) for their help in Church as well as many other buildings, researching and restoring the Leaning and thus these important resources are Tower of Niles bells. The village had fi ve inaccessible indefi nitely. bells at the top of the tower, but they The other two bells were cast in the were no longer functioning, nor was their nineteenth or twentieth centuries. The Kimberly Schafer and Jim Fackenthal audio recording bell (photo credit Dan Frysinger) history known. CBA was hired to answer fourth bell has no identifi able mark- questions about their origins and prov- ings on it save two simple bands at the method that the village decided to main- chosen for the job in spring 2018. Sun- enance. Furthermore, CBA was to guide top. The cast-in clapper staple suggests tain for ceremonial purposes. The village derlin recommended changes to the ini- their many options in restoring the bells, a casting date prior to 1900, but this also wanted the bells to be played auto- tial plan that were adopted by the village. including determining which bells could mounting technology was so prevalent matically via computer control, so that The damaged bell four—because of its be rung, how they could be remounted, in the nineteenth century that it could they could be heard more frequently. unknown origins, discordance with the and whether new bells could be added. have been cast nearly anywhere in North To fi ll in two empty niches in the tower, other bells, and diffi culty of repair—was By June 2017, CBA had researched America or Europe. The fi fth bell was create more melodic possibilities, and put on outdoor display near the Leaning and written a full historical report on cast by the Pacifi c Brass Foundry of complement the set of their existing Tower. Unfortunately, the small crack on the fi ve tower bells. Using empirical and San Francisco in 1912, as noted by the bells, the village decided to order two the largest Italian bell wended through archival research and calling on experts inscription at the very top of the bell. new bells. Two of the original bells were the bell’s interior, making its repair dif- in North America and Europe, CBA was CBA was unable to determine if all fi ve already known to have cracks, including fi cult and uncertain. A replica of the bell able to uncover surprising information. bells were bought as a set or if these two the largest Italian bell, so the village was cast for functional use, while the origi- The three largest bells date from the were acquired separately from the three wanted these repaired. To highlight the nal was mounted on display in the tower’s seventeenth and eighteenth centuries. Italian bells. The provenance of these Italian provenance of the three bells and indoor visitor area. All of the bells—of Furthermore, archival research revealed two bells is unknown. the inspiration behind the tower, the different profi les and founders—were re- that these three bells, while from dispa- CBA worked with Niles leaders to village desired to keep the Italian head- tuned to better complement each other. rate sources, were all located in Saint envision a renewed set of functioning stock design for the remounted bells Given the space availability for three new Giles (Egidio) Church of Cavezzo, Italy, bells that would honor Niles’s historic After considering proposals from bells instead of only two, the melodic before they arrived in Niles. This same past and serve its future. The original four different domestic bell fi rms, B. A. possibilities for the set increased. Sun- church in Cavezzo had desired new bells bells were rung manually via clocking, a Sunderlin Bellfoundry in Virginia was derlin recommended that the composite set follow a major scale (absent the sixth scale degree), rather than forming a pentatonic scale as originally planned. In effect, Niles found a way to have their cake and eat it too—they were able to maintain the unique soundscape of their bells by keeping three original bells (plus a replica) in their tower, and they were

20 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM Three remounted bells (photo credit: Kimberly Schafer)

Original bell 1 (photo credit: Dan Frysinger)

New bell cast by Sunderlin (photo credit: Kimberly Schafer)

New bell cast by Sunderlin (photo credit: Kimberly Schafer)

Kim Schafer, founder and partner of Community Bell Advocates, LLC, is a bell performer, researcher, and advo- Original bell 1 inscription (photo credit: cate. She has performed on the carillon Dan Frysinger) since a college student in residence at universities across the country and in also able to keep two original bells, one recital in the United States and Europe. of them gorgeously decorated, on display She plays regularly for Sunday services for visitors to view from ground level. at St. Chrysostom’s Episcopal Church, Visitors will experience the bells both Chicago. She studied bell instruments visually and audibly. as part of her musicological disserta- CBA contributed to the project to tion research, and she now serves as further distinguish the bells as unique Original bell 1 on display inside tower the editor-in-chief of the Bulletin, the symbols of Niles. CBA arranged many (photo credit: Kim Schafer) journal of the Guild of Carillonneurs in recognizable tunes for use throughout North America. She advises institutions the year, including patriotic tunes, pop Other improvements to the tower have on the repair, installation, performance, tunes, and holiday favorites. In recogni- been completed: the outside railings have and programming of tower bells and bell tion of the village’s prominent Korean been upgraded to allow visitors to safely instruments in North America and coor- Original bell 2 with bishop fi gure (photo population and the desire to make climb the tower and lighting is improved dinates events to promote them. credit: Dan Frysinger) the Leaning Tower of Niles a site of to illuminate the tower at night. CBA multicultural diversity, CBA arranged has provided a programming road map Confident pedal work a popular Korean folk song, “Arirang,” to integrate bell ringing into local events for automatic play. CBA also composed and community life, such as weddings, comes with practice and melodies for their exclusive use, includ- school science research, and memorial ing two clock-chime melodies and a tributes. As a testament to the impor- the right shoes wedding peal for visiting newlyweds. tance the village places on the tower, the CBA and Sunderlin worked together to village secured its listing in the National on the design inscriptions and decorations on Register of Historic Places in 2019. the three new bells that resembled those The village leaders aspire to transform pedals on the historic Italian bells, thus rever- the area surrounding the Leaning Tower ing the history of the original bells while of Niles into a community destination x Men’s & Women’s Organ Shoes binding together the old and new. with the tower as the singular center- The tower is nearly ready as a public piece. The village, CBA, and the Sun- with suede soles and heels landmark for visitors to explore up close. derlin Bellfoundry have collaborated to x Whole & Half By January 2020, all seven bells were make the bells a critical aural dimension Sizes in 3 Widths installed in the tower, and two display of this vision. Truly, Niles has embraced bells were installed onsite. Although the historic function of the bell tower x Quick & Easy fully functional, the bells will remain representing and projecting community Returns silent until the grand opening ceremony for modern times. CBA was honored to for the tower in spring 2020 (date yet to help bring this vision to fruition, making OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET be determined; for updates, visit: www. tower bells relevant and dynamic fi xtures 44 Montague City Rd Email: [email protected] vniles.com/883/Leaning-Tower-of-Niles). for the community today. Q Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 21 Cover feature

The Renovation of the Christ Cathedral Organ, Garden Grove, California Fratelli Ruffatti, Padua, Italy Resurgam by Frederick Swann Few pipe organs in history have received as much attention as has the iconic Fratelli Ruffatti instrument dedicated in May 1982 in the Crystal Cathedral in Garden Grove, California. For many years it was seen and heard weekly by millions of people via televi- sion throughout the United States and in over 130 foreign countries on The Hour of Power with Dr. Robert Schuller. In addition to recordings, tens of thousands experienced it live for over three decades in religious services, solo recitals, and a variety of musical presentations. It is generally known that the plan for this instrument was made by Virgil Fox, who died prior to the installation. The 1977 Ruffatti organ in the former worship space of the congregation was combined with the 1966 Aeolian-Skinner from Philharmonic Hall in New York. The Ruffatti fi rm added several new divi- sions, all controlled by what was, at the Christ Cathedral, Garden Grove, California time, the largest drawknob console in the world—fi ve manuals, 363 drawknobs, 68 insects, plus drastic variations in tem- Bishop Kevin Vann and Cathedral Rec- All pipes were cleaned and repaired coupler tablets, and a myriad of control perature and humidity, took a heavy toll tor Fr. Christopher Smith are organ- as necessary, and the chests restored. As assists. The organ was an instant success. on the organ. Portions ultimately became ists and realized the signifi cant part mentioned, no changes were made in Many carefully considered changes and unusable despite the dedicated efforts of the organs could play in the planned the specifi cation. additions were made in the early years. the curators. dynamic music program of the cathe- The organ was removed from its The stoplist accompanying this article is In October 2010 Crystal Cathedral dral. It was soon announced that this chambers starting in December 2013. the fi nal result. No changes were made Ministries fi led for bankruptcy. In Febru- would be under the direction of Dr. The work, supervised by Piero Ruffatti, during the present renovation. ary 2012 the entire campus of architec- John Romeri and organist David Ball. was accomplished by six workers from the Over the years the organ was used on a turally stunning buildings—including the A truly signifi cant music ministry has Ruffatti factory plus cathedral organ cura- daily basis. It was beautifully maintained 78,000-square-foot Philip Johnson glass been established by these gentlemen tors Brian Sawyers and Scott Clowes. The by curators John Wilson, Guy Hender- cathedral and the original church (now and staff. assistance of four riggers was required. son, and Brian Sawyers. Mr. Sawyers known as The Arboretum)—was pur- In 2012 a committee of diocesan The pipes were all carefully laid out rank continued the work with various helpers chased by the Roman Catholic Diocese of organists and clergy was formed under by rank covering the empty fl oor of the for many years after the death of Mr. Orange, California. the direction of Monsignor Art Holquin. cathedral—an impressive sight—before Wilson and the debilitating illness of Mr. You can perhaps imagine the joy felt After due investigation and consider- being carefully packed for shipping. Henderson. The lack of heating and air when the diocese announced that the ation, the decision was made to entrust The console, chests, and most pipes conditioning in the building resulted Hazel Wright Ruffatti in the Cathedral the renovation of the organ to Fratelli were shipped by sea to the Ruffatti in many large windows being open for and the Fred Swann Aeolian-Skinner in Ruffatti. I was asked to be advisor and factory in Padua, Italy. The Ruffatti twenty-four hours most days throughout the Arboretum would be retained, and consultant throughout the several-year company subcontracted Brian Sawyers the year. The accumulated dirt from the cathedral organ would undergo a project, and I have been honored to to work on some of their pipes plus most blowing winds and visits of birds and thorough restoration. Thankfully, both accept these duties. of the Aeolian-Skinner pipes and some

Fratelli Ruffatti

CHANCEL (North) ORGAN includes: Tremulant 8′ Gambe Celeste 8′ Flauto Celeste Great, Swell, Choir, Positiv, Solo, Bom- Sub 8′ Salicional 8′ Cor de Nuit barde, Percussions (partial), Pedal Unison off 8′ Voix Celeste 4′ Prinzipal GALLERY (South) ORGAN includes: Super 8′ Erzähler 4′ Koppelfl öte 2 Gallery Great, Celestial, String, Percus- 8′ Erzähler Celeste 2⁄3′ Rohrnazat sions (partial), Gallery Pedal GALLERY GREAT (Manual II, 4′ Prestant 2′ Prinzipal EAST ORGAN includes: Gospel unenclosed) 4′ Octave 2′ Zauberfl öte 3 WEST ORGAN includes: Epistle 8′ Grand Montre 4′ Cor de Nuit 1⁄5′ Tierce 1 8′ Principal 4′ Flûte à Pavillon 1⁄3′ Larigot 2 2 GREAT (Manual II, unenclosed) 8′ Holzgedeckt 2⁄3′ Nazard ⁄3′ Scharff IV 16′ Montre 4′ Octave 2′ Doublette 16′ Fagotto 16′ Kontra Geigen 4′ Koppelfl öte 2′ Flûte à bec 8′ Petite Trompette 3 16′ Bourdon 2′ Fifteenth 1⁄5′ Tierce 8′ Millenial Trumpet (Gallery) 1 1 8′ Diapason 1⁄3′ Nineteenth 1⁄3′ Larigot 8′ Clarinet 1 8′ Principal Major 1′ Twenty-second 1⁄7′ Septième ** 4′ Fagotto (ext 16′ Fagotto) 1 8′ Principal 1⁄3′ Fourniture V 1′ Piccolo Tremulant 1 8 8′ Flûte Harmonique (TC) ⁄2′ Zimbel IV ⁄9′ Neuf Sub 8′ Spitzfl öte 16′ Sub Trumpet (ext 8′ Trumpet) 2′ Plein Jeu III Unison off 1 8′ Spitz Celeste 8′ Trumpet 1⁄3′ Mixture V Super 2 8′ Holz Gedeckt 8′ Millenial Trumpet ⁄3′ Cymbale III Great–Choir Transfer 1 5⁄3′ Gross Quinte (TC) 8′ Herald Trumpet (Bombarde) 8′ Cornet de Récit V (wired) 4′ Oktav 4′ Clairon (ext 8′ Trumpet) 16′ Bombarde POSITIV (Manual V, 4′ Octave Gallery Great on Choir 16′ Contre Trompette (ext 2ème Tpt) unenclosed) 4′ Flûte Ouverte Gallery Great on Swell 16′ Basson 16′ Bourdon (Great) 4′ Flûte à cheminée Gallery Great on Solo 8′ Première Trompette 8′ Prinzipal 1 3⁄5′ Gross Tierce Gallery Great on Celestial 8′ Deuxième Trompette 8′ Rohrfl öte 2 2⁄3′ Quinte Gallery Great off II 8′ Voix Humaine 4′ Prinzipal 2 2⁄3′ Sesquialtera II Tremulant 8′ Hautbois 4′ Spillfl öte 2 2⁄3′ Jeu de Tierce II Sub 8′ Hautbois d’Orchestre 2′ Oktav 1 2′ Fifteenth Unison off 4′ Premier Clairon 1⁄3′ Larigot 2′ Super Octave Super 4′ Deuxième Clairon 1′ Siffl öte 2′ Blockfl öte Tremulant 1′ Scharff IV 1 1 1⁄3′ Mixture IV–VI SWELL (Manual III, enclosed) Sub ⁄4′ Terz Zimbel III 1 1⁄3′ Ripieno IV 32′ Contre Gambe * Unison off 16′ Fagotto (Choir) 2 ⁄3′ Cimbalo IV 16′ Gambe * Super 8′ Krummhorn 1 ⁄2′ Zimbel IV 16′ Flûte Courte 2 drawkobs prepared 8′ Tuba Mirabilis (Bombarde) 16′ Contre Trompette 16′ Quintaton 4′ Rohrschalmei 16′ Posaune (ext 8′ Trompete) 8′ Montre CHOIR (Manual I, enclosed) Tremulant 8′ Trompette 8′ Principal 16′ Gemshorn Sub 8′ Trompete 8′ Bourdon 8′ Viola Pomposa Unison off 8′ Herald Trumpet (Bombarde) 8′ Flûte Couverte 8′ Viola Celeste Super 4′ Clairon 8′ Viole de Gambe 8′ Flauto Dolce

22 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM The dedication recital will be played on Friday, May 5, at 8:00 p.m., by Paul Jacobs, Hector Olivera, and Fred Swann, with special guests Michael Barone and Diane Bish. Saturday features workshops and various presentations, and on Sunday, May 17, Hector Olivera will present a recital at 3:00 p.m. Monthly recitals will be played through January 2021. A com- plete list was published in a full page fl yer in the January and March issues of The Diapason. Further details may be found by visiting ChristCathedralmusic.org or by email: Music@christcathedralparish. org; or call 714/620-7912. A new book, Let everything that has breath praise the Lord—The story of the Hazel Wright Pipe Organ, by Dr. David Crean, will be available for purchase during the dedication weekend events, and may be ordered at a later date. It will consist of the history of other organs over the years in the buildings of the Crystal Cathedral congregation, with major and detailed emphasis on the Hazel Wright organ in the cathedral. Finally, a bit about the most fre- quently asked question over the years. Many have wondered about the prob- Chancel Organ, with crucifi x and canopy lems associated with the tuning of the organ. Keeping the organ sounding chest actions in his shop not far from the portions have been painted a beautiful revoicing was accomplished by the end well was a challenge ever since the church. Major cleaning and all necessary white color to blend with changes in the of November 2019, and the reeds were initial installation. The tuning was repairs were fi nished by all on schedule, cathedral interior. Most exposed wooden started in December and continued in always done in evening hours. The tun- but could not be returned to the cathedral pipes were also painted white. February 2020. ing held well, but on warm mornings it due to unexpected major repairs needed When the organ was fi rst tested we The Ruffattis have given unstintingly was not possible to couple unenclosed on the 10,000-plus windows. Meanwhile were all shocked. Due to the physical in every way to assure the success of the and enclosed divisions. I always hoped it was decided to keep the fi ve-manual changes made in the cathedral interior, entire renovation project. for cloudy or overcast Sunday morn- gallery console (M. P. Möller, 1990), and the organ sounded as if it had been The remodeled Christ Cathedral was ings, as coupling was then possible. it was sent to Italy where it received an designed for another building, which in dedicated in mid-July 2019. A large By most afternoons, heat rendered the amazing transformation by Ruffatti. reality it had been. The new acoustic was Walker Technical Company digital organ almost unusable. But, as soon as Consequently it was necessary for the excellent, but the organ was much too organ has accompanied all Masses and the sun went down the tuning quickly entire organ to be placed in a climate- bold a sound for the space. This neces- programs and will be used until Easter settled in perfectly. controlled warehouse in May 2016. The sitated the revoicing of almost every 2020. The Walker voices that had been This is why recitals were always played organ was fi nally taken to the cathedral, one of the more than 16,000 pipes. This installed in the Ruffatti organ for bona in the evening. When it was announced and re-installation began in January enormous task was accomplished by fi de reasons and used successfully for that all windows in the remodeled build- 2019. This was largely completed fi ve Francesco Ruffatti and three assistants years are being replaced with the latest ing would be sealed and air conditioning months later. However, the enormous from the factory working two eleven- technology. installed, we became very hopeful. But, amount of wiring and careful detailing hour shifts each weekday for almost It is planned that the completed since the organ is located at such a variety continued for months. three months. The cathedral was closed organ will be blessed before the end of of heights and locations in the building, it Although the entire organ remains to visitors except on weekends so that the Lent and used for the fi rst time during has so far been impossible for the air con- in place as before, all visible woodwork work could be done in quiet. The fl ue Easter Masses. ditioning to reach them all. Consequently,

Christ Cathedral, Garden Grove, California

SOLO (Manual IV, enclosed) CELESTIAL (Manual V, 8′ Muted Viole I EPISTLE (fl oating) 8′ Gambe enclosed) 8′ Muted Viole Celeste I 8′ Principal * 8′ Gambe Celeste 16′ Bourdon Doux (ext 8′ Fl à cheminée) 8′ Muted Viole II 4′ Octave * 8′ Doppelfl öte 8′ Principal 8′ Muted Viole Celeste II 2′ Mixture IV–V * 8′ Major Flute (TC) (Gallery) 8′ Flûte à cheminée 8′ Violoncello 8′ Mounted Cornet V 4′ Orchestral Flute 8′ Viola Pomposa 8′ Cello Celeste 16′ Trompette en chamade 2 2⁄3′ Quintfl öte (TC) 8′ Viola Celeste 8′ Rohrpfeife 8′ Trompette en chamade 2′ Fife 8′ Flauto Dolce 4′ Nachthorn 4′ Trompette en chamade 8′ French Horn 8′ Dolce Celeste (TC) 8′ Voix Humaine 2′ Trompette en chamade 8′ English Horn 4′ Principal Tremulant 16′ Pedal Principal * 8′ Corno di Bassetto 4′ Italian Principal Sub Sub 8′ Cor de Bassett (Gallery) 4′ Flûte Traversière Unison off Epistle on Choir 2 Tremulant 2⁄3′ Sesquialtera II (TC) Super Epistle on Great Gallery Flute Trem 2′ Doublette String Off I Epistle on Swell Sub 2′ Octavin String on Great Epistle on Solo 1 Super 1⁄3′ Plein Jeu V String on Swell Epistle on Celestial 2 ⁄3′ Cymbale IV String on Solo 4 BORSTWERK ⁄5′ Jeu de Clochette II String on Celestial GOSPEL (fl oating) 6 drawknobs prepared 16′ Contre Trompette (ext 8′ Trompette) String Tutti 8′ Principal * 16′ Ranquette 1 drawknob prepared 4′ Octave 4 * BOMBARDE (Manual IV, 8′ Trompette 2′ Super Octave * 1 unenclosed) 8′ Cor Anglais ECHO (fl oating, expressive) 1⁄3′ Mixture IV * 8′ Flûte d’Arvella (TC, Ped 4′ Spillfl öte) 8′ Cromorne 8′ Violes Forte II * 16′ Trompette en chamade 16′ Tuba Profunda (TC, 8′ T. Mirabilis) 4′ Clairon 8′ Fernfl ute * 8′ Trompette en chamade 8′ Tuba Mirabilis 4′ Chalumeau 8′ Vox Amorosa II * 4′ Trompette en chamade 8′ Herald Trumpet Tremulant 4′ Divinare * 16′ Pedal Principal * 8′ Millenial Trumpet (Gallery Great) 8′ Harpe * 8′ Vox Seraphique II * Sub 2 4′ Tuba Clairon (ext 8′ Tuba Mirabilis) Sub 2⁄3′ Rohr Nazat * Gospel on Choir Unison off 8′ Anthropoglossa * Gospel on Great BOMBARDE (Manual IV, Super 8′ Oboe d’Amore * Gospel on Swell enclosed with Solo) Positiv Off Tremulant Gospel on Solo 4′ Major Octave 1 drawknob prepared Sub Gospel on Celestial 1 1⁄3′ Harmonics VI Super 1 1⁄3′ Fourniture III STRING (Manual I, enclosed) Echo on V PERCUSSIONS 1 ⁄2′ Cymbel IV 16′ Viola Echo on IV Bells on IV * 16′ English Post Horn (ext 8′) 16′ Viola Celeste Echo off III Bells on Pedal * 8′ English Post Horn 8′ Dulciana Echo on II Rossignol 8′ Trompette Harmonique 8′ Unda Maris Echo on I Etoile de Grand matin 4′ Clairon Harmonique 8′ Salicional Echo to Pedal Glockenstern Unison off 8′ Voix Celeste Celestial Cloches 8′ Dulcet 8′ Choir Harp * 8′ Dulcet Celeste 4′ Choir Celesta *

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 23 Cover feature

Crucifi x and Chancel Organ

Trompette en chamade Console the same challenges still exist of having all Cathedral 1982–1998. Upon retirement Hector Olivera, Michael Barone, and September 18, Chelsea Chen; October divisions maintain the same pitch at all he was designated Director of Music Diane Bish; the following day, work- 16, Olivier Latry; November 20, Ste- times. This will continue to be worked and Organist Emeritus, and the Aeolian shops, masterclasses, and presentations phen Tharp; December, a Christmas on; meanwhile, learned knowledge and Skinner organ he had been instrumen- will be made by Swann, Bish, Jacobs, concert with the cathedral choirs. On experience will be helpful for the most tal in securing for the Arboretum was and Olivera. Hector Olivera will present January 5, 2021, Paul Jacobs will per- effective use of the organ. named The Fred Swann Organ. a solo organ recital on May 17. form with the Pacifi c Symphony, Carl Monthly recitals will follow: June St. Clair, conductor. For further infor- Frederick Swann was Director of The dedication recital will take place 12, David Ball; July 17, Peter Richard mation: www.christcathedralmusic.org Music and Organist of the Crystal May 15 with Fred Swann, Paul Jacobs, Conte; August 21, Nathan Laube; or www.hazelsback.org.

2 Great Chimes * 2′ Spindlefl öte (ext 4′ Spillfl öte) 2⁄3′ Mixture V (ext Gallery Gt Fourn V) Selected accessories 1 Carillon on Pedal (bell tower) 5⁄3′ Fourniture IV 32′ Contre Bombarde * Pedal divide 2 Carillon I (bell tower) 2⁄3′ Ripieno VI 16′ Bombarde Echo Expression to Solo 1 Carillon IV (bell tower) 1⁄3′ Acuta II 16′ Contre Trompette (Celestial) Full Organ 32′ Contre Bombarde * 16′ Sub Trumpet (Great) PEDAL 32′ Kontra Posaune 16′ Ranquette (Celestial) String Expression on Celestial 64′ La Force (resultant) 32′ Contra Fagotto * 8′ Trompette (ext 16′ Bombarde) String Expression on Choir 32′ Double Diapason 16′ Posaune (ext 32′ Kontra Posuane) 8′ Millenial Trumpet (Gallery Great) String Expression on Swell 32′ Kontra Geigen (ext 16′ Geigen) 16′ English Post Horn (Bombarde) 4′ Clairon (ext 16′ Bombarde) String Expression on Solo 32′ Contre Gambe (Swell) * 16′ Contre Trompette (Great) All Swells to Swell 32′ Contra Bourdon * 16′ Bombarde (Swell) COUPLERS 32′ Grand Cornet IV (wired) 16′ Basson (Swell) Great to Pedal 8 – 4 21 Generals, divisionals, reversibles, silencers, 1 21 ⁄3′ Diapente Grave (ext 16′ Geigen) 16′ Fagotto (Choir) Swell to Pedal 8 – 4 silencer cancel 16′ Contre Basse 8′ Trompette Choir to Pedal 8 – 4 Gallery in Control / Split / Chancel in Control 16′ Diapason (ext 32′ Double Diapason) 8′ Trompete Solo to Pedal 8 – 4 Tutti 16′ Principal 8′ Herald Trumpet (Bombarde) Positiv to Pedal 8 – 4 Chancel Tutti 16′ Montre (Great) 8′ Fagotto (Choir) Gallery Great to Pedal 8 – 4 16′ Geigen (Great) 8′ Krummhorn (Positiv) Celestial to Pedal 8 – 4 Digital stops marked with * 16′ Gambe (Swell) * 4′ Trompette (ext 8′ Trompette) String to Pedal 8 – 4 Stop preparations marked with ** 16′ Subbasso 4′ Klarine (ext 8′ Trompete) Epistle to Pedal 8 16′ Bourdon 4′ Krummhorn (Positiv) Gospel to Pedal 8 *Digital stops were added over the years to 16′ Flûte Courte (Swell) 4′ Rohrschalmei (Positiv) help support congregational singing in the 16′ Quintaton (Swell) Pedal FFF (tutti) Swell to Great 16 – 8 – 4 distant East and West galleries, and also to 16′ Gemshorn (Choir) 1 drawknob prepared Choir to Great 16 – 8 – 4 reinforce the Pedal due to the poor acous- 2 10 ⁄3′ Quinte Solo to Great 16 – 8 – 4 tics for bass frequencies. Those digital voic- 8′ Principal GALLERY PEDAL Positiv to Great 8 es have now been replaced with the latest 8′ Octave 32′ Untersatz * Celestial to Great 16 – 8 – 4 technology, under a separate contract not 8′ Principal (Positiv) 32′ Contre Basse * Pedal to Great 8 involving Fratelli Ruffatti. ′ ′ 8Violone 32 Grand Harmoniques IV (wired) Great to Choir 8 8′ Geigen (Great) 16′ Open Wood 263 pipe stops, 265 pipe ranks, 16,000 pipes ′ ′ ′ Swell to Choir 16 – 8 – 4 8Bourdon (ext 16 Bourdon) 16 Montre La Tour (ext Gallery Great Solo to Choir 16 – 8 – 4 8′ Bordone Grand Montre) Builder’s website: www.ruffatti.com ′ ′ Positiv to Choir 8 8Spitzfl öte 16 Bourdon Celestial to Choir 16 – 8 – 4 Cathedral website: 8′ Flûte Courte (Swell) 16′ Bourdon Doux (Celestial) https://christcathedralcalifornia.org 8′ Gemshorn (Choir) 16′ Viola (String) Choir to Swell 16 – 8 - 4 Cathedral music website: 1 2 5⁄3′ Octave quinte (ext 10 ⁄3′ Quint) 16′ Viola Celeste (String) Solo to Swell 16 – 8 – 4 http://christcathedralmusic.org 4′ Octave 16′ Gemshorn * Positiv to Swell 8 Cathedral organ website: 4′ Choralbass 8′ Viola (String) Celestial to Swell 16 – 8 – 4 http://hazelsback.org 4′ Principal (Positiv) 8′ Viola Celeste (String) 4′ Spirefl öte 8′ Prestant (Gallery Great) Positiv to Solo 8 4′ Spillfl öte 8′ Bourdon (ext 16′ Bourdon) Celestial to Solo 16 – 8 – 4 2′ Octave 4′ Basse de Chorale (Gallery Great) Great on Solo 8

24 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN + Scott Detra; St. John’s Episcopal Ca- Park Ridge Presbyterian Church This calendar runs from the 15th of the month thedral, Knoxville, TN 7:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for 22 APRIL NEW YORK Feb. issue). All events are assumed to be organ Bloomingdale, IL Choir of Notre Dame Cathedral, Paris; recitals unless otherwise indicated and are grouped Cathedral of Christ the King, Atlanta, GA within each date north-south and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ 7:30 pm Jackson Borges; Cathedral of St. John dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it the Evangelist, Milwaukee, WI 12:15 pm specifi es artist name, date, location, and hour in Peter Fennema; Luther Memorial Director of Music writing. Multiple listings should be in chronological Church, Madison, WI 12 noon St. Andrew’s by the Sea, order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN 23 APRIL Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Bradley Burgess; St. Paul’s Chapel, Trinity Church Wall Street, New York, NY 1 pm UNITED STATES East of the Mississippi 24 APRIL Dean W. Billmeyer Ken Cowan; Emmanuel Episcopal 15 APRIL Church, Chester Parish, Chestertown, MD University of Minnesota Just Bach; Luther Memorial Church, 7:30 pm Madison, WI 12 noon Alexander Frey; National City Christian, Minneapolis 55455 • [email protected] Washington, DC 12:15 pm 16 APRIL Cathy Shelton; Cathedral Church of the Peter Sykes; St. Paul’s Chapel, Trinity Advent, Birmingham, AL 12:30 pm Church Wall Street, New York, NY 1 pm Jeremy David Tarrant, works of Bach; AVIN LACK Byron L. Blackmore Keble College Choir; St. Thomas Church Cathedral Church of St. Paul, Detroit, MI G B Fifth Avenue, New York, NY 7:30 pm 7:30 pm Princeton Early Keyboard Center Crown of Life Lutheran Church Choral Evensong; Cathedral Church of Jackson Borges, silent fi lm, Sherlock 732/599-0392 the Advent, Birmingham, AL 5:30 pm Jr.; St. Luke’s Episcopal, Evanston, IL 7 pm Sun City West, Arizona Nathan Laube; Hillsdale College, Hills- www.pekc.org 623/214-4903 dale, MI 11 am worship service, 7:30 pm 25 APRIL recital Barnard-Columbia Chorus & Choir of Gdynia Maritime University, Dvorák, Re- 17 APRIL quiem; Church of the Ascension, New York, THOMAS BROWN Carson Cooman Karen Beaumont; Church of Notre NY 8 pm UNIVERSITY Vincent Dubois Dame, New York, NY 7 pm ; Corinth Reformed PRESBYTERIAN CHURCH Composer and Concert Organist Johann Vexo; Christ Church Episcopal, Church, Hickory, NC 7 pm Harvard University Philadelphia, PA 7 pm CHAPEL HILL, NORTH CAROLINA Mercersburg Academy Chorale; St. John’s 26 APRIL ThomasBrownMusic.com www.carsoncooman.com Episcopal, Hagerstown, MD 7:30 pm Yale Camerata & Yale Glee Club; Wool- Mark Thewes & Chad Pittman; National sey Hall, Yale University, New Haven, CT City Christian, Washington, DC 12:15 pm 4 pm Nicholas Schmelter; First Presbyterian, CONCORA; First Church of Christ, Con- Your professional card Caro, MI 12 noon gregational, New Britain, CT 4 pm DELBERT DISSELHORST GM Chorale; Middletown High School, could appear here! 18 APRIL Middletown, CT 4 pm Professor Emeritus Contact: [email protected] Ken Cowan; St. Norbert Abbey, DePere, Choral Evensong; St. John’s Episcopal, University of Iowa–Iowa City or 608/634-6253 WI 2 pm West Hartford, CT 5 pm Jillian Gardner; Cathedral of St. John 19 APRIL the Divine, New York, NY 4:45 pm Ryan Kennedy; Center Church on the Jeremy Filsell; St. Thomas Church Fifth Green, New Haven, CT 3 pm Avenue, New York, NY 5:15 pm STEVEN EGLER JOHN FENSTERMAKER Grant Wareham; Woolsey Hall, Yale Uni- Peter Baratta; Cadet Chapel, West Central Michigan University versity, New Haven, CT 7:30 pm Point, NY 2:30 pm School of Music TRINITY-BY-THE-COVE Tallis Scholars; St. Ignatius Loyola Cath- Ken Cowan; First Presbyterian Church in Mt. Pleasant, MI 48859 olic Church, New York, NY 4 pm Germantown, Philadelphia, PA 4 pm [email protected] NAPLES, FLORIDA Aaron Tan; Cathedral of St. John the Di- Adam J. Brakel; Pleasant Hills Commu- vine, New York, NY 4:45 pm nity Presbyterian, Pittsburgh, PA 3 pm Timothy Noon; St. Thomas Church Fifth Tallis Scholars; Shadyside Presbyterian, Norberto Avenue, New York, NY 5:15 pm Pittsburgh, PA 3 pm Timothy Lyons; Cadet Chapel, West Eileen Guenther; Cathedral of St. Mat- Point, NY 2:30 pm thew the Apostle, Washington, DC 3:30 pm Susan Goodson Guinaldo Johann Vexo; St. Stephen’s Episcopal, Colin Andrews; Washington National His Music Milburn, NJ 4 pm Cathedral, Washington, DC 5:15 pm Emanuel United Church of Christ See—Listen—Buy David Hirst; Washington National Ca- Alcee Chriss; Hyde Park Community Manchester, Michigan www.GuinaldoPublications.com thedral, Washington, DC 5:15 pm United Methodist, Cincinnati, OH 4 pm Adam J. Brakel; Basilica of the National Choral Evensong; Cathedral Church of Shrine of the Immaculate Conception, St. Paul, Detroit, MI 4 pm Washington, DC 6 pm A Professional Card in Steven Ball, silent fi lm, The Adventures 28 APRIL STEPHEN HAMILTON of Prince Achmed; Tampa Theater, Tampa, Clara Gerdes; Marquand Chapel, Yale The Diapason FL 3 pm University, New Haven, CT 7:30 pm For rates and digital specifi cations, recitalist–clinician–educator Clark Wilson, silent fi lm, King of Kings; Students from Vassar College; Central contact Jerome Butera First Congregational, Columbus, OH 7:30 Synagogue, New York, NY 12:30 pm www.stephenjonhamilton.com pm Raymond Nagem; Cathedral of St. John 608/634-6253; [email protected] Mark Herman; Senate Theater, Detroit, the Divine, New York, NY 7:30 pm MI 3 pm Renée Anne Louprette; Trinity Luther- 29 APRIL an, Grand Rapids, MI 3 pm Janet Yieh; Cathedral Basilica of the Sa- David Herman University of Evansville Choirs, Durufl é, cred Heart, Newark, NJ 12 noon Requiem; First Presbyterian, Evansville, IN Paul Kosower; Cathedral of St. John the Trustees Distinguished Professor Emeritus of Music and University Organist 6 pm Evangelist, Milwaukee, WI 12:15 pm Richard Elliott; Zion Lutheran, Wausau, Ethan Mellema; Luther Memorial The University of Delaware Q [email protected] WI 3 pm Church, Madison, WI 12 noon Laura Bottei; Loyola University, Chica- go, IL 3 pm 30 APRIL Choir of Notre Dame Cathedral, Paris; Gail Archer; St. Paul’s Chapel, Trinity Emmanuel Episcopal, La Grange, IL 3 & Church Wall Street, New York, NY 1 pm Gail Archer 7 pm 1 MAY organist 21 APRIL Alcee Chriss; Calvary Episcopal, Ston- www.gailarcher.com Lorraine Brugh, Ph.D. Shannon Murphy; Church of St. Paul ington, CT 7:30 pm Professor of Music the Apostle, New York, NY 7 pm Yale Schola Cantorum; Battell Chapel, Vassar College Johann Vexo; St. Anne’s Catholic Yale University, New Haven, CT 7:30 pm Barnard College, Columbia University University Organist Church, Bethlehem, PA 7 pm Students of Juilliard; St. Bartholomew’s [email protected] Valparaiso, Ind. Choir of Notre Dame Cathedral, Paris; Church, New York, NY 7:30 pm (212) 854-5096 Cathedral of St. John the Evangelist, Chelsea Chen; United Church of Canan- valpo.edu Promotion Cleveland, OH 7:30 pm daigua, Canandaigua, NY 8 pm 219.464.5084 SOZO Media Adam J. Brakel; Community Church at Thomas Heywood; Longwood Gardens, [email protected] [email protected] Tellico Village, Loudon, TN 7 pm Kennett Square, PA 8 pm

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Colin MacKnight; National City Chris- Carolyn Booth; Franciscan Monastery New York, NY Syracuse, NY 13203-2816 tian Church, Washington, DC 12:15 pm of the Holy Land, Washington, DC 4 pm www.andrewhenderson.net Stephen Warner, silent fi lm, Phantom of Amanda Mole; Christ and St. Luke’s (315) 471-8451 the Opera; Jefferson Avenue Presbyterian, Episcopal, Norfolk, VA 4 pm Detroit, MI 7:30 pm Nicholas Stigall & Noah Klein; First 12 MAY Presbyterian, Evansville, IN 7 pm Christoph Tietze; Central Synagogue, Richard Barrick Hoskins Brian Jones New York, NY 12 noon Director of Music & Organist 2 MAY Director of Music Emeritus Diane Meredith Belcher, with violin, 13 MAY St. Chrysostom's Church works of Bach; Dartmouth College, Ha- Verdi, Requiem; St. Ignatius Loyola Cath- TRINITY CHURCH Chicago nover, NH 1 pm olic Church, New York, NY 8 pm [email protected] BOSTON Carolyn Craig; Marquand Chapel, Yale Kalle Toivio; Cathedral Basilica of the University, New Haven, CT 3 pm Sacred Heart, Newark, NJ 12 noon Meg Cutting; Woolsey Hall, Yale Univer- Scott Atchison & Oliver Brett; sity, New Haven, CT 7:30 pm Peachtree Road United Methodist, Atlanta, KIM R. KASLING JAMES KIBBIE Alan Morrison; Spivey Hall, Clayton GA 12 noon D.M.A. The University of Michigan State University, Morrow, GA 3 pm Michael Davidson; Luther Memorial Ann Arbor, MI 48109-2085 Church, Madison, WI 12 noon St. John’s University 3 MAY 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 Michelle Horsley; St. John’s Episcopal, 14 MAY email: [email protected] West Hartford, CT 12:30 pm Nicole Keller; St. Paul’s Chapel, Trinity The Salvatones; St. Malachy’s Catholic Church Wall Street, New York, NY 1 pm Church, New York, NY 3 pm Choral works of Bach and Handel; Ca- David K. Lamb, D.Mus. New York City Children’s Chorus; Madison thedral Church of the Advent, Birmingham, Karen Schneider Kirner Avenue Presbyterian, New York, NY 3 pm AL 7:30 pm Director of Music Jackson Borges; Cathedral of St. John Director, Notre Dame Handbell Choir Trinity United Methodist Church the Divine, New York, NY 4:45 pm 15 MAY Assistant Director, Notre Dame Folk Choir New Albany, Indiana Christopher Keady; St. Thomas Church Blue Heron; First Church Congregation- University of Notre Dame 812/944-2229 Fifth Avenue, New York, NY 5:15 pm al, Cambridge, MA 7:30 pm Christopher Houlihan; St. John’s Epis- Peter Richard Conte; Cathedral of St. copal, Cold Spring Harbor, NY 3 pm Agnes, Rockville Centre, NY 7:30 pm Isabelle Demers; Overbrook Presbyte- Michael Hey; Pine Street Presbyterian, rian, Philadelphia, PA 3 pm Harrisburg, PA 7 pm Chelsea Vaught; Washington National Chelsea Chen; First Presbyterian, Wilm- A.S.C.A.P. Cathedral, Washington, DC 5:15 pm ington, NC 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS Girl Choir of South Florida; St. Paul’s Nicholas Schmelter, with piano; Cherry 345 SADDLE LAKE DRIVE Episcopal, Delray Beach, FL 2:30 pm Hill Presbyterian, Dearborn, MI 7:30 pm ROSWELL-ATLANTA, GEORGIA 30076 (770) 594-0949 Nathan Laube; St. John’s Episcopal, David Jonies; St. Mark’s Episcopal, Charleston, WV 4 pm Glen Ellyn, IL 7 pm Gail Archer; Presbyterian Church, Cochocton, OH 3 pm 16 MAY First Church Choir; First Congregational, Benjamin Sheen; St. Thomas Church ANDREW PAUL MOORE LEON NELSON Columbus, OH 4 pm Fifth Avenue, New York, NY 3 pm Director of Traditional Music Huw Lewis Choral concert; Cathedral Church of St. CHRIST CHURCH ; First Congregational, Tra- Southminster Presbyterian Church verse City, MI 3 pm Paul, Detroit, MI 7 pm Mary Zelinski SHORT HILLS Arlington Heights, IL 60005 , works of Vierne; St. Hugo of the Hills Catholic Church, Bloomfi eld 17 MAY Hills, MI 7:30 pm Rosalind Mohnsen; Trinity Church, Bos- Choir School of First Presbyterian ton, MA 12:15 pm Church; First Presbyterian, Evansville, IN St. Ignatius Children’s Choirs and Canti- 4 pm cum Sacrum; St. Ignatius Loyola Catholic Read our May 2020 issue, which will include the Church, New York, NY 3 pm 5 MAY Canterbury Choral Society, Mozart, work of the winner of our C rst Gruenstein Award. Students from Indiana University; Cen- Mass in c; Church of the Heavenly Rest, tral Synagogue, New York, NY 12:30 pm New York, NY 4 pm David Hirst; St. Ann and the Holy Trinity Sam Backman; Advent Lutheran, Mel- Church, Brooklyn, NY 1 pm bourne, FL 3 pm Lance Luce; Senate Theater, Detroit, MI 6 MAY 3 pm Isabelle Demers; St. Ignatius Loyola Nicholas Schmelter, with piano; Jef- PHILIP CROZIER LARRY PALMER Catholic Church, New York, NY 7 pm ferson Avenue Presbyterian, Detroit, MI David McFarlane; Cathedral Basilica of 4:30 pm CONCERT ORGANIST Harpsichord – Organ the Sacred Heart, Newark, NJ 12 noon Thomas Bara; First Presbyterian, Ypsi- ACCOMPANIST Peter Bayer; Cathedral of St. Matthew lanti, MI 4 pm Professor of Music, Emeritus the Apostle, Washington, DC 12:45 pm John Weit 3355 Queen Mary Road, Apt 424 ; Loyola University, Chicago, Sue Mitchell-Wallace; Peachtree Road IL 3 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas United Methodist, Atlanta, GA 12 noon Canada Bruce Bengtson; Luther Memorial 20 MAY Church, Madison, WI 12 noon Wendy Johnston; St. Luke Catholic (514) 739-8696 Recitals — Lectures — Consultancies Church, McLean, VA 12 noon [email protected] 7 MAY Kirk Rich; Peachtree Road United Meth- [email protected] + 214.350-3628 St. Thomas Church Choir; St. Thomas odist, Atlanta, GA 12 noon Church Fifth Avenue, New York, NY 7:30 pm Just Bach; Luther Memorial Church, Works of Pergolesi; Church of St. Luke in Madison, WI 12 noon the Fields, New York, NY 8 pm 21 MAY 8 MAY Julian Wachner; St. Paul’s Chapel, Trin- Choral Evensong; Christ Episcopal, New ity Church Wall Street, New York, NY 1 pm A gift subscription to Haven, CT 6 pm Ascension Evensong; Emmanuel Epis- Michael Stefanek; National City Chris- copal Church, Chester Parish, Chester- tian, Washington, DC 12:15 pm town, MD 6 pm The Diapason Jeremy David Tarrant; Cathedral Church Choral Evensong; Cathedral Church of of St. Paul, Detroit, MI 12:10 pm the Advent, Birmingham, AL 5:30 pm The perfect gift for Organized Rhythm (Clive Driskill-Smith, Choral Evensong; Cathedral Church of + organist colleagues + choir directors organ, & Joseph Gramley, percussion); St. St. Paul, Detroit, MI 7 pm Paul’s Episcopal, Milwaukee, WI 7 pm + students + organ builders 22 MAY + teachers + clergy 10 MAY Michael Britt; National City Christian, Choral Evensong; Christ Episcopal, New Washington, DC 12:15 pm Each month your gift will keep on giving by providing the Haven, CT 6 pm important news of the organ and church music fi eld. Know that Johannes Krahl; St. Thomas Church 24 MAY Fifth Avenue, New York, NY 5:15 pm Robert Gallagher; Cathedral of St. Mat- your gift will be just right. Bruce Xu; Cadet Chapel, West Point, NY thew the Apostle, Washington, DC 3:30 pm For information, The Diapason, P.O. Box 300, Lincolnshire, IL 2:30 pm Anna Judkins; Washington National 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: Isabelle Demers; First United Method- Cathedral, Washington, DC 5:15 pm 847/763-4933. Or visit www.thediapason.com and click “subscribe.” ist, Schenectady, NY 3 pm Andrew Sheranian; Emmanuel Episco- 27 MAY $44 one year USA; $35 one year digital; $20 one year student pal Church, Chester Parish, Chestertown, Andrew Sheranian; St. Paul’s Episco- MD 7:30 pm pal, Greenville, NC 7 pm

26 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM Calendar Tiffany K. Ng, PhD DEREK E. NICKELS, DMA University Carillonist | New Music Performer Church of the Holy Comforter Jens Korndörfer; Peachtree Road Unit- 26 APRIL The University of Michigan, Ann Arbor Kenilworth, IL 60043 ed Methodist, Atlanta, GA 12 noon Steven Ball; St. Francis de Sales Ora- [email protected] tory, St. Louis, MO 2 pm soundcloud.com/carillonista (847) 251-6120 • [email protected] 28 MAY Andrew Peters, Easter hymn festival; Michael Messina; St. Paul’s Chapel, Second Presbyterian, St. Louis, MO 4 pm Trinity Church Wall Street, New York, NY Jonathan Ryan; St. Philip’s Episcopal, 1 pm Beeville, TX 3 pm GREGORY PETERSON Choir of Notre Dame Cathedral, Paris; ANDREW PETERS 29 MAY Church of the Incarnation, Dallas, TX 4 pm Organ Recitals – Silent Movies – Hymn Festivals Professor of Music Carol Feather Martin; National City Conte-Ennis Duo (Peter Conte, organ, and College Organist & Andrew Ennis, organ & fl ugelhorn); St. Christian, Washington, DC 12:15 pm www.AndrewJPeters.com Luther College, Decorah, Iowa Monica Czausz; St. Luke Catholic Andrew’s Episcopal, Amarillo, TX 7:30 pm Church, McLean, VA 7:30 pm Chelsea Chen; Our Lady of Lourdes Catholic Church, Sun City West, AZ 3 pm 31 MAY ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. Erik & Chuyoung Suter; Washington Na- 1 MAY tional Cathedral, Washington, DC 5:15 pm Nolan Reilly; Third Baptist, St. Louis, Luther Memorial Church (ELCA) Organist/Director of Music MO 12:30 pm Madison, Wisconsin Scott Dettra; Stambaugh Auditorium, First Presbyterian Church Youngstown, OH 4 pm 3 MAY [email protected] Gainesville, Texas Ken Cowan; St. John’s United Method- Recitals — Hymn Festivals [email protected] UNITED STATES ist, Lubbock, TX 3 pm West of the Mississippi Jeremy Bruns; Grace Cathedral, San Francisco, CA 4 pm 17 APRIL 8 MAY Wolff von Roos; Third Baptist, St. Louis, STEPHEN SCHNURR Brent Nolte; Third Baptist, St. Louis, MO MO 12:30 pm 12:30 pm Saint Paul Catholic Church Organogenesis Artists LLC Alex Weimann; St. Mark Episcopal Ca- 18 APRIL Valparaiso, Indiana [email protected] thedral, Seattle, WA 7:30 pm Gail Archer; Westport Presbyterian, Kansas City, MO 7:30 pm 10 MAY Musica Sacra San Antonio; Basilica of Nicholas Schmelter; Velda Rose United the National Shrine of the Little Flower, Methodist, Mesa, AZ 3 pm ROBERT L. San Antonio, TX 7:30 pm Sr. Jo Baim; Trinity Episcopal, Seattle, Bradley Hunter Welch (concerto con- WA 1:30 pm SIMPSON Mark Steinbach cert); Utah State University, Logan, UT Jeannine Jordan, with media artist; Per- Brown University 7:30 pm forming Arts Center, Astoria, OR 4 pm Christ Church Cathedral 1117 Texas Avenue George Fergus; St. Mark’s Episcopal, Houston, Texas 77002 19 APRIL Berkeley, CA 4 pm Chelsea Chen; Manchester United Alcee Chriss; St. James Episcopal, Los

Methodist, Manchester, MO 7 pm Angeles, CA 6 pm ] Nathan Laube; Episcopal Church of the THOMAS R. THOMAS 15 MAY Joe Utterback Transfi guration, Dallas, TX 7 pm Organist/Choirmaster • Ken Cowan; University of Nevada Las Choral Evensong; Epiphany Episcopal, ]] ] Seattle, WA 5 pm Vegas, Las Vegas, NV 7:30 pm St. Luke’s Episcopal Church www.jazzmuze.com + Douglas Cleveland; St. John’s Episco- Live Oak, Florida 32064 203 386 9992 20 APRIL pal, Olympia, WA 7 pm [email protected] Donna Parker, silent fi lm, Get Your Man; Lynne Davis; Trinity Episcopal Cathe- Paramount Theatre, Seattle, WA 7 pm dral, Portland, OR 7:30 pm Steven Ball, carillon; Christ Cathedral, 24 APRIL Garden Grove, CA 7 pm Tom Vozella; Third Baptist, St. Louis, + Fred Swann, Paul Jacobs, Hector Kevin Walters Olivera, Michael Barone & Diane Bish; David Wagner MO 12:30 pm DMA Renée Anne Louprette; All Saints’ Epis- Christ Cathedral, Garden Grove, CA 8 pm M.A., F.A.G.O. www.davewagner.net copal, Fort Worth, TX 7:30 pm 16 MAY Rye, New York Bradley Hunter Welch (concerto con- Steven Ball, carillon; Christ Cathedral, cert); Cathedral of the Madeleine, Salt Garden Grove, CA 11:30 am Lake City, UT 8 pm Wyatt Smith; University of Puget Sound, 17 MAY Alan G Woolley PhD Tacoma, WA 12 noon Bruce Neswick; St. Andrew Episcopal, KARL WATSON Choir of Notre Dame Cathedral; Christ Tacoma, WA 3 pm Musical Instrument Research

Catholic Cathedral, Garden Grove, CA Choral Evensong; Epiphany Episcopal, FIRST PRESBYTERIAN CHURCH Edinburgh 7:30 pm Seattle, WA 5 pm WOODBRIDGE, NJ [email protected]

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected]

2014 - Easter Music . . . uplifting and engaging compositions A for organs and voices to raise the spirits. A two-inch Professional Card in The Diapason P 2015 - A Tribute to Notre Dame Cathedral . . . selections from For information on rates and specifi cations, contact Jerome Butera: R a recent Pipedreams Live! event at the Meyerson Symphony [email protected] 608/634-6253 Center in Dallas, Texas.

2 2016 - For the Beauty of the Earth . . . music for an Earth Day 0 celebration of the world’s splendor and the environment that ArtistArtist Spotlights Spotlightspotlight s 2 is our life-support. 0 Artist Spotlights 2017 - American MusicDUHÀHFWLRQRQWKHGLYHUVHVW\OHVE\ are available on Your professional card which American composers express themselves. The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 27 Calendar Recital Programs

Steven Ball, carillon; Christ Cathedral, Peter King; St. Lawrence, Alton, UK 8 GAIL ARCHER, Our Lady of Sorrows Ba- Dalarn, Lindberg; Allegretto, Allegro maes- Garden Grove, CA 2:30 pm pm silica and National Shrine, Chicago, IL, No- toso e vivace (Sonata IV in B-fl at, op. 65, no. Hector Olivera; Christ Cathedral, Gar- vember 3: Komm heiliger Geist, BWV 651, Al- 4), Mendelssohn; Miroir, Wammes; Allegro den Grove, CA 3 pm 6 MAY lein Gott in der Höh sei Ehr, BWV 662, Bach; vivace (Symphonie V in f, op. 42, no. 1), Widor. Irene Roth-Halter Tägerwilen; Magnifi cat VII. Toni, Scheidemann; O Welt, 24 MAY Katholische Pfarrkirche, Kolbermoor, Ger- ich muß dich lassen, Mein Jesu, der du mich CRAIG CRAMER, St. Paul Catholic Ca- many 7:45 pm Monica Czausz; Walt Disney Concert (Eleven Chorale Preludes, op. 122), Brahms; thedral, Pittsburgh, PA, November 10: Tocca- Hall, Los Angeles, CA 7:30 pm 9 MAY Te Deum, Demessieux; Communion (Messe ta in D, BuxWV 155, Buxtehude; Partita: Freu de la Pentecôte), Messiaen; Ein feste Burg ist dich sehr, o meine Seele, Böhm; Passacaglia 29 MAY Ashley Grote; Victoria Hall, Hanley, UK 12 noon unser Gott, op. 27, Reger. et thema fugatum in c, BWV 582, Bach; In- Joseph Adam, works of Vierne; St. troduction, Scherzo, and Fuge on B-E-A-T-E, Joseph Catholic Cathedral, Seattle, WA 12 MAY KEVIN BIRCH, Old West Church, Bos- Zahnbrecher; Le Mystère de Noël, Fauchard. 7:30 pm Carolyn Craig; St. Lawrence Jewry, ton, MA, November 15: Mijn God, waar zal London, UK 1 pm 31 MAY ik henen gaan’, Bolt; Choralphantasie: Nun SHAWN DAWSON, St. Francis in the komm, der Heiden Heiland, Praeludium in Fields Episcopal Church, Harrods Creek, KY, Bradley Hunter Welch; Bentwood Trail 13 MAY Presbyterian, Dallas, TX 7 pm G, Bruhns; Récit de Tierce en taille (Livre November 3: Litanies, JA 119, Suite, JA 68, JA Holger Gehring; Kreuzkirche, Dresden, d’orgue), de Grigny; Grand Dialogue (3e Livre 69, JA 82, Alain; Prélude et fugue sur le nom Germany 8 pm d’orgue), Marchand; Wir glauben all an einen d’Alain, op. 7, Durufl é. INTERNATIONAL 17 MAY Gott, Vater, BWV 740, Toccata and Fugue in Nathan Laube; Saint-Sulpice, Paris, F, BWV 540, Bach. JOHN DEAVER, Trinity Episcopal 18 APRIL France 4 pm Church, Covington, KY, October 21: Trum- Jonathan Scott; Victoria Hall, Hanley, JUSTIN BISCHOF, St. Thomas Church, pet Tune, Phillips; Tiento II Cuarto tono, UK 12 noon 18 MAY Fifth Avenue, New York, NY, November 3: Cabezón; Tiento de medio registro de baxon Jamie Rogers; Reading Town Hall, Nimrod (Enigma Variations, op. 36), Elgar, de 1° tono (XXXIV), Tiento de 5° tono (V), 20 APRIL Reading, UK 1 pm transcr. Bischof; Dismas Variations, Rob- de Arauxo; Scherzo (Dix Pièces), Gigout; Carol Williams; Royal Festival Hall, inson; Improvisation on M-C-N-E-I-L and 1er Kyrie en Taille à 5, Fugue a 5. qui renfer- London, UK 7:30 pm 20 MAY G-E-R-R-E, Bischof. me le chant du Kyrie, Cromorne en taille à Karen Beaumont; Domkirke, Tonsberg, 2. parties, Trio en dialogue, Dialogue sur les 22 APRIL Norway 12 noon SHEAN BOWERS, St. Thomas Church, Grands Jeux (Livre d’orgue), de Grigny; Pré- Silvius von Kessel; Kreuzkirche, Dres- Johannes Matthias Michel; Frauen- Fifth Avenue, New York, NY, October 27: lude, Adagio, et Choral varié sur le thème du den, Germany 8 pm kirche, Dresden, Germany 8 pm Gail Archer; University of Glasgow, Suite Modale, op. 43, Peeters; The Cuckoo Veni Creator, op. 4, Durufl é. 24 APRIL Glasgow, Scotland 1:10 pm and the Nightingale, Handel, transcr. Willem- Loreto Aramendi; St. James Anglican, sen; Fantaisie in E-fl at, Saint-Saëns; Prelude SCOTT DETTRA, First Presbyterian Vancouver, BC, Canada 7:30 pm 26 MAY and Fugue in B, op. 7, no. 1, Dupré. Church, Kilgore, TX, November 14: Sonata in Thomas Trotter; Royal Festival Hall, e-fl at, op. 65, Parker; Dryden Liturgical Suite, 25 APRIL London, UK 7:30 pm ADAM J. BRAKEL, St. Martin’s Episcopal Persichetti; Arioso, Sowerby; Prélude, Adagio, Mitchell Miller; St. John the Evangelist, Church, Houston, TX, October 18: Concert et Choral varié sur le thème du Veni Creator, Islington, UK 7:30 pm 27 MAY Variations on the Star Spangled Banner, Buck; op. 4, Durufl é. Jillian Gardner; Cathedral, Blackburn, Sonata in c, BWV 526, Bach; Symphonie VI 26 APRIL UK 1 pm in g, op. 42, no. 2, Widor; Dialogue sur les MATTHEW DION, Church of the Cov- Isabelle Demers, with violin; Berliner Olivier Latry; St Davids Cathedral, St Grands Jeux (Livre d’orgue), de Grigny; Récit enant, Cleveland, OH, November 19: Prae- Philharmoniker, Berlin, Germany 11 am Davids, Wales 7 pm de tierce en taille, Couperin; Fantastical Pre- ludium in F, Tunder; Nun bitten wir den Denis Bédard; Westminster United 28 MAY lude and Fugue, Rone; Adagio (Sonata in e), heiligen Geist, BuxWV 208, Praeludium in d, Church, Winnipeg, MB, Canada 2:30 pm Nicholas Schmelter; St. Theresa, Wei- Nanney; Deux Études, Demessieux. BuxWV 140, Buxtehude; Liebster Jesu, wir limdorf, Germany 8 pm sind hier, BWV 731, Prelude and Fugue in a, 29 APRIL BRINK BUSH, First Presbyterian Church, BWV 543, Bach. Maria Mokhova & Rudolf Müller; 30 MAY Kilgore, TX, November 10: Toccata and Fugue Frauenkirche, Dresden, Germany 8 pm Jillian Gardner; Bloomsbury Baptist, in d, BWV 565, Bach; Suite Carmelite, Fran- CLIVE DRISKILL-SMITH, St. Luke’s James McVinnie, with London Philhar- London, UK 4 pm çaix; Dies Irae (50 Pièces sur des thèmes des United Methodist Church, Kilgore, TX, No- monic Orchestra; Royal Festival Hall, Lon- Peter Wright; St. John the Evangelist, dimanches et les fêtes de l’année), Toccata, Ni- vember 11: Paean, Leighton; The Holy Boy, don, UK 7:30 pm Islington, UK 7:30 pm belle; Fantaisie in E-fl at, Saint-Saëns; Lamen- Ireland; The Carman’s Whistle, Byrd; Volun- tations, Canon in F, Middelschulte; Sonata VII tary in G, Purcell; Trumpet Voluntary, op. 6, 5 MAY 31 MAY in f, op. 127, Rheinberger. no. 5, Stanley; Adagio in E, Bridge; Alleluyas, Carolyn Craig; St. George’s Chapel, Jillian Gardner; Clare College, Cam- Preston; Andante espressivo (Sonata in G), Windsor Castle, Windsor, UK 1:10 pm bridge, UK 5:25 pm JARED COOK, St. Luke’s United Meth- Elgar; Psalm Prelude, Set 1, No. 1, Howells; odist Church, Kilgore, TX, November 13: Larghetto in f-sharp, Wesley; Flourish for an Cortège et Litanie, op. 19, no. 2, Dupré; Two Occasion, Harris. Scherzos, Roberts; Solemn Melody, Davies, arr. West; Passacaglia in c, BWV 582, Bach; PETER DUBOIS, St. Thomas Aquinas Wir danken dir, Gott, wir danken dir, BWV 29, Catholic Church, Dallas, TX, November 12: Bach, arr. Hebble; Gammal fåbodpsalm fran Prelude and Fugue in E-fl at, op. 99, no. 3,

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GAN BUILDERS - EST E OR . 187 Subscribers can view the digital PIP 7 version of this issue (as well as selected past issues) at our website. Schoenstein SAN FRANCISCO Visit www.TheDiapason.com w to experience this! ww 58 .sch 47-58 oenstein.com - (707) 7 ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

28 Q THE DIAPASON Q APRIL 2020 WWW.THEDIAPASON.COM Recital Programs

Saint-Saëns; Allein Gott in der Höh sei Ehr, l’esperance (Trois Poèmes), Escaich; Over- DAVID JONIES, Presbyterian Homes, NICHOLAS SCHMELTER, Christ the BWV 662, Wir glauben all an einem Gott, ture (Egmont), Beethoven, transcr. Hey- Evanston, IL, October 28: Concerto in B-fl at, Good Shepherd Catholic Parish, St. Helen BWV 680, Bach; Sonata for Organ, Persichet- wood, Heindl. op. 4, no. 2, Handel, transcr. Dupré; Prelude Campus, Saginaw, MI, October 20: While the ti; Choral No. 2 in b, Franck; Amazing Grace, and Fugue in D, BWV 532, Bach; O Salutaris King Sitteth at His Table, His Left Hand Is Shearing; Andante, Final (Symphonie I in d, HEY-LIBERIS DUO (Michael Hey, or- Hostia, Saint-Saëns; Es ist ein Ros entsprun- Under My Head, and His Right Hand Doth op. 14), Vierne. gan; Christiana Liberis, violin), Overture Hall, gen (11 Chorale Preludes, op. 122), Brahms; Embrace Me, I Am Black but Comely, O Ye Madison, WI, October 22: Allegro (Symphonie Salve Regina, op. 39, Piechler; Sonata I in f, Daughters of Jerusalem, Lo, the Winter Is DOMINIC FIACCO, Our Lady of VI in g, op. 42, no. 2), Widor; Capriccio, Ha- op. 65, no. 1, Mendelssohn. Past, How Fair and Pleasant Art Thou (Fif- Lourdes Catholic Church, Utica, NY, Octo- kim; Chaconne, Vitali; Pomp and Circum- teen Pieces for Organ Founded on Antiphons, ber 6: Prelude and Fugue in D, Bach; Choral stance No. 1, Elgar; Pageant, Sowerby; Pa- ALAN LEWIS, Cathedral of St. Philip, At- op. 18), Dupré; Das Magnifi cat Mariae (2 No. 3 in A, Franck; Peace, Takle; Finale (Sym- vane, Ravel; Praeludium and Allegro, Kreisler. lanta, GA, October 27: Prelude and Fugue in settings), Pachelbel; Machs mit mir, Gott, phonie III), Saint-Saëns, transcr. Scott; Caril- E-fl at, BWV 552, Allein Gott in der Höh sei nach deiner Güt, BWV 957, Bach; Prière à lon-Sortie, Mulet; Concerto No. 3 in G, Soler, EDWARD HEWES, St. Thomas Church, Ehr’, BWV 676, Dies sind die heilgen zehen Notre-Dame (Suite Gothique, op. 25), Boëll- transcr. Biggs; Hymn to Freedom, Takle; Fan- Fifth Avenue, New York, NY, October 13: Gebot, BWV 678, Wir glauben all an einen mann; Annonciation, op. 56, Dupré; Ave tasy and Fugue on the name B-A-C-H, Reger. Suite Brève, Langlais; Prelude and Fugue in C, Gott, BWV 680, Christ, unser Herr, zum Jor- Maria, Near; Seven Versets for Organ on the BWV 547, Dies sind die heilgen zehn Gebot, dan kam, BWV 684, Bach. Magnifi cat, Hyslop; Triptych on the Lourdes THOMAS GAYNOR, Hyde Park Com- BWV 678, Bach; Rhapsody in D-fl at, op. 17, Hymn, Sanders. munity United Methodist Church, Cincinnati, no. 1, Howells; Carillon Orléanais, Nibelle. ADAM PAJAN, University of Las Vegas, OH, October 27: Sinfonia (Cantata 29), Bach, Las Vegas, NV, October 25: Sinfonietta, Gjei- PATRICK SCOTT, Fourth Presbyterian transcr. Guilmant; Fantasia in f, Mozart; Fan- CHRISTOPHER HOULIHAN, St. lo; In Memoriam, op. 2, Landmann; An Was- Church, Chicago, IL, October 18: March taisie in E-fl at, Saint-Saëns; Danse Macabre, Mark’s Episcopal Cathedral, Seattle, WA, serfl üßen Babylon, BWV 653b, Allein Gott in (The Birds of the Aristophanes), Parry; Hu- Saint-Saëns; Symphonie VI in g, op. 42, Widor. October 18: Praeludium in g, BuxWV 149, der Höh sei Ehr’, BWV 676, Bach; Fuge über moresque (L’Organo Primitivo), Yon; Outer Buxtehude; Master Tallis’s Testament (Six B-A-C-H, op. 60, no. 2, Schumann; Three Pre- Hebrides, Halley; Air, Hancock; Imperial STEPHEN HAMILTON, Westminster Pieces for Organ), Howells; Four Sketches for ludes for Piano, Gershwin, transcr. Pajan; The March, op. 32, Elgar; improvised symphony Abbey, London, UK, October 6: Prelude and Pedal Piano, op. 58, Schumann; Passacaglia Mirrored Moon, Hymn to the Stars (Seven on four hymn tunes. Fugue in c, BWV 546, Bach; Joie et Clarté des and Fugue in c, BWV 582, Bach; Symphonie Pastels from the Lake of Constance, op. 96), Corps Glorieux (Les Corps Glorieux), Messi- II in e, op. 20, Vierne. Karg-Elert; Moto ostinato, Finale (Sunday JOHN W. W. SHERER, Fourth Presbyte- aen; Hommage à Messiaen, Robinson; Choral St. Ann Catholic Church, Washington, DC, Music), Eben. rian Church, Chicago, IL, October 25: Toccata in E, Franck. October 1: Fantaisie in E-fl at, Saint-Saëns; and Fugue in d, BWV 565, Bach; Andante sos- St. Michael Episcopal Church, New York, Toccata, Adagio, and Fugue in C, BWV 564, JONATHAN POE, Cathedral of St. Philip, tenuto (Symphonie Gothique, op. 70), Widor; NY, November 10: Introduction and Passaca- Bach; Scherzo, Cantabile (Symphonie II in Atlanta, GA, October 13: Fantasia in g, BWV Psalm Prelude, op. 32, no. 3, Howells; Toccata glia in d, Benedictus, op. 59, no. 9, Reger; Par- e, op. 20), Vierne; Allegro (Symphonie VI in 542, Bach; Fantaisie in A, Franck; Recollec- (Suite Gothique, op. 25), Boëllmann; De Pro- tita Sopra la Aria della Folia de Espagne, Pas- g, op. 42, no. 2), Widor; Symphonie Concer- tion (Soliloquy No. 2), Conte. fundis, Chapman; Intermezzo (Symphonie VI quini; La Romanesca con Cinque Mutanze, tante, Jongen. in g, op. 42, no. 2), Widor; Carillon de West- Valente; Toccata, Villancico, y Fuga, op. 18, CHRISTA RAKICH, Duke Chapel, Duke minster (Pièces de fantaisie, Troisième suite, Ginastera; Joie et Clarté des Corps Glorieux SU-RYEON JI, Cathedral of St. Philip, At- University, Durham, NC, October 13: Par- op. 54, no. 6), Vierne; Tu es petra et portae in- (Les Corps Glorieux), Messiaen; Pastorale, lanta, GA, October 6: Prelude and Fugue in tita on Nun komm, der Heiden Heiland, feri non praevalebunt adversus te (Esquisses Franck; Resignation, Wondrous Love, New G, BWV 541, Bach; Passacaglia (Sonata VIII Heiller; Sonata in C, BWV 529, Bach; Prae- Byzantines), Mulet. Britain (The Sacred Harp), Coe; Passacaglia in e, op. 132), Rheinberger; Allegro (Sym- ludium, Hindemith; Passacaglia and Fugue in c, BWV 582, Bach. phonie VI in g, op. 42, no. 2), Widor in c, BWV 582, Bach; Ecce Lignum Crucis, JOHANN VEXO, Loyola University, Chi- Heiller; Partita on Nun komm, der Heiden cago, IL, October 20: Toccata in E, BWV 566, SEBASTIAN HEINDL, St. Thomas SIMON JOHNSON, St. Francis in the Heiland, Distler. Allein Gott in der Höh sei Ehr, BWV 664, Church, Fifth Avenue, New York, NY, Octo- Fields Episcopal Church, Harrods Creek, KY, Bach; Variations sérieuses, op. 54, Mendels- ber 6: Toccata, Adagio, and Fugue in C, BWV October 29: Fantasia and Fugue in G, op. 188, NICHOLAS SCHMELTER & Tyler sohn, transcr. Smits; Allegro (Symphonie II, 564, Bach; Fantasie und Fuge über den Cho- Parry; Liebster Jesu, wir sind hier, BWV 633, Kivel, piano, St. Lorenz Lutheran Church, op. 20), Vierne; Lied, Scherzo (Douze Pièces), ral Ad nos, ad salutarem undam, Liszt. Bach; Nun ruhen alle Wälder (Orgelbüchlein Frankenmuth, MI, October 6: Ouverture, Litaize; Suite, op. 5, Durufl é. Westminster United Church, Winnipeg, Project), van Oortmerssen; Fantasia and Menuet, Gavotte, Pastorale (Masques et Ber- Georgetown University, Washington, DC, MB, Canada, October 27: Grand Choeur Di- Fugue in g, BWV 542, Bach; Wohl dem der gamasques), Fauré; Lord of the Dance, Mine October 28: Toccata in E, BWV 566, Allein alogué, Gigout; Toccata, Adagio, and Fugue in Gottes furcht steht (Orgelbüchlein Project), Eyes Have Seen the Glory, arr. Raney; Fan- Gott in der Höh sei Ehr, BWV 664, Bach; Vari- in C, BWV 564, Bach; Cantabile, Pièce Johnson; Wer nur den lieben Gott läßt walten, tasia in a, BWV 922, Bach; Rondo in D, op. ations sérieuses, op. 54, Mendelssohn, transcr. héroïque (Trois pièces pour grand orgue, BWV 642, Bach; La cinquième trompette 175, no. 1, Gurlitt; Pièce d’Orgue, BWV 572, Smits; March upon Handel’s ‘Lift Up Your FWV 36–37), Franck; Overture to ‘St. Paul’ (Cinq Méditations sur l’Apocalypse), Lan- Bach; Petite Suite, L. 65, Debussy; Dance of Heads,’ Guilmant; Variations sur un thème de with ‘Sleepers awake,’ Mendelssohn, tran- glais; Prélude et Fugue sur le nom d’Alain, op. the Hours (La Gioconda), Ponchielli; Scara- Clément Janequin, JA 118, Alain; Prélude et scr. Best, Heindl; Le Masque de mort, Vers 7, Durufl é. mouche, Milhaud. fugue sur le nom d’Alain, op. 7, Durufl é.

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The booklet berto Guinaldo: More precious than rubies; In her and for the Convents (21 works in each Mass) ($8.00 per copy, which includes postage) is husband’s heart; Fortitude; Artful and charitable; played on the very organ pipes François Cou- available from the Isle Royale and Keweenaw PUBLICATIONS / RECORDINGS Wisdom and kindness; Gratitude and blessings; perin played when he composed the pieces in Parks Association, 49445 US Hwy 41, Hancock, The beauty within. 28 pages. See, listen, buy. 1690 as organist of St-Gervais in Paris. Titular Michigan 49930. For information: 800/678-6925. www.guinaldopublications.com. organist of St-Gervais Aude Heurtematte exqui- Raven has released the fourth in a series of sitely performs the works in a 2-CD set (for the recordings by Jon Gillock of the organ works of price of one CD) on Raven OAR-153, $15.98 PIPE ORGANS FOR SALE Olivier Messiaen: Monodie, Diptyque, and Les The Organ Historical Society e-shoppe is tak- postpaid. Raven, Box 25111, Richmond, VA Corps Glorieux (OAR-984) played on the 2011 ing orders for a new DVD by Fugue State Films, 23260. RavenCD.com. 804/355-6386. Pascal Quoirin organ of 111 ranks at Church of The English Organ, a three-part documentary 26-rank Casavant - Létourneau pipe organ for the Ascension in New York. $15.98 postpaid in presented by Daniel Moult. In addition to three sale. Orgues Létourneau is offering a 22-stop the US from RavenCD.com 804/355-6386. hours of documentary, almost eight hours of Learn to play “worship piano!” Is your pastor Casavant Frères pipe organ (Opus 1274 from music is presented on DVD or CD (in both or worship committee harping on you to get out 1928) for sale. This electro-pneumatic instru- stereo and surround). More than thirty organs of your “comfort zone” and embrace worship ment was rebuilt by Létourneau in 1987 and is Johann Sebastian Bach’s 335th birthday anniver- have been fi lmed and recorded, including Christ songs and praise choruses? Empower your con- currently in storage at the Létourneau shops. It sary is being acknowledged by Fruhauf Music Church Spitalfi elds, Truro Cathedral, Sydney gregation to “Love the Lord” with renewed music is available for purchase in “as is” condition for Publications with the issue of a complimentary Town Hall, St. George’s Hall Liverpool, St. Paul’s and praise! Now you can learn all the tricks of US $35,000 with its original two-manual console. online PDF booklet fi le. Prelude and Fugue in Cathedral Melbourne, and King’s College. The the real contemporary worship-music pros in 10 Likewise, Létourneau would be pleased to pro- C Minor for Keyboard is a uniquely appropriate set can be ordered for $98. For information: easy lessons—even if you don’t know how to vide a proposal to rebuild this instrument, taking salute to Bach’s priceless legacy as a com- https://ohscatalog.org. play piano! Don’t be left behind when your church into account any desired changes to the stoplist poser—and as a teacher—in that his music turns to contemporary worship. Learn how to wit- as well as installation costs, voicing, casework as continues to offer ongoing guidance, inspiration, ness with the best of them. This training course required, and rebuilding the two-manual console instruction, and emulation by future generations. Raven has published a 32-page catalog of CD also includes all the latest praise jargon, so you with a new solid-state switching system. The The fugue dates from student years, but the pre- recordings and DVD videos, mostly produced by can communicate with the worship advocates. organ requires approximately 360 sq. ft. with 20′ lude is a 21st-century addition. Please visit www. Raven but with a few items produced by others. Address box “Worship piano,” c/o The Diapason. ceiling for 16′ ranks. For more details, visit www. frumuspub.net’s home page bulletin board for a The catalog is free upon request to RavenCD@ Supplies limited; order before midnight and letourneauorgans.com, email info@letourneauor- link to the score. RavenCD.com or 804/355-6386. receive a free “I’m Saved” mouse pad. gans.com or call Andrew Forrest at 450/774-2698.

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SON for all your friends who love the organ, harpsichord, carillon, and church music. Your Schoenstein Opus 7, 1891. The great 1906 San Bosch Opus 518 (1968) for sale. Tracker String sale: 16′ Austin Gamba, triple mitered; gift will be remembered throughout the year. Francisco Earthquake destroyed most of Felix action, 16 ranks, 12 stops, Hauptwerk, Schwell- three ranks Austin 8′ strings, block tin; two (And don’t forget our special bargain for stu- F. Schoenstein’s life work. This two-manual, werk (expressive), Pedal. Excellent condition. ranks Skinner strings. Flue Pipework: 8′ Spitz dents at $20!) Visit www.thediapason.com 24-rank mechanical-action instrument in the Detached console. Buyer to remove from Principal, new Gemshorn with Estey Haskel and click on “subscribe.” German Romantic style is the only remaining Seattle, Washington by 2/26/21. Best offer. Con- basses, 12 Haskel Diapason Basses, 12 Prin- example. It is currently in the care of A. David tact for pictures and details: Howard Wolvington, cipal bases with racking & chest, 4′ wood Flute Moore of Pomfret, VT, who states, “A wonderful [email protected], 425/761-4729. d’Amour, Moller Doppelfl ute, Berkshire III Mix- THE DIAPASON’S new website has an increased example of Nineteenth Century organ building ture. Several (1970s) OSI chests available. 400 capacity for new videos. Go to www.thediapa- infl uenced from earlier times—Full principal feet of PVC cable, 4 sets of 8 pair. Best offers. son.com and click on videos to see what you’ve chorus on the Great with the correct balance Expressive and compact—3/27 Kilgen (1940). Must clear warehouse. André CT 860/664-0046 missed! Visit www.thediapason.com often and of upperwork, a diverse selection of 8′s and 4′s Two expressive divisions. 17 manual 8-foot fl ues. [email protected] ″, ″, ″. keep up to date with all the news items. and a 2′ in the Swell.” His fi rm is prepared to H: 237 W: 170 D: 189 Stopkey console. renovate and install it. The organ is offered free Original restorable condition. $30,000. Organ of charge along with a starter grant to the insti- Clearing House, 617/688-9290, john@organ- SERVICES / SUPPLIES clearinghouse.com. THE DIAPASON E-Newsletters are e-mailed tution providing its new home. Full information: monthly to subscribers who sign up to [email protected]. Releathering all types of pipe organ actions receive them. Don’t miss the latest news, Aeolian-Skinner, 1962. III/50. $45,000. For more and mechanisms. Highest quality materi- featured artists, and classifi ed ads—all with information, visit https://www.organclearing- als and workmanship. Reasonable rates. photos—some before they appear in print! 1954 Walcker, 2 manuals and pedal, 8 stops, Columbia Organ Leathers 800/423-7003. house.com/organs-for-sale#/2997-aeolianskin- Visit www.TheDiapason.com and click on tracker action. Great condition, excellent voicing, www.columbiaorgan.com/col. well maintained. Free standing oak case. Suit- ner-new-york-city. Subscribe to our newsletter. For assistance, able for home or chapel. $20,000 or best offer. contact Stephen Schnurr, 847/954-7989, Contact: Julio Blanco-Eccleston: jublec18@ Patrick J. Murphy & Associates Opus #47 Aeolian/Robert Morton-style maroon [email protected]. earthlink.net, 703/582-8308. (2006). Three manuals, 61 stops, includes 32′ leather is now available from Columbia Organ Bombarde. Reading, Pennsylvania. $200,000, Leathers! Highest quality. 800/423-7003, www.columbiaorgan.com. THE DIAPASON’s website (www.thediapason. Zoller home pipe organ (1985) for sale. One exclusive of OCH fees and relocation costs. manual and fl at pedalboard, cherry case with Video recordings and layout plans are available com) features an ever-increasing number of by request. Contact John Bishop, the Organ PDFs of vintage issues. Search the website doors, bench. Six stops divided at middle C: Complete Pipe Organ Services from the Organ Clearing House, [email protected]. 8′ Stopped Diapason, 8′ Krummhorn, 4′ Flute; Clearing House: 450 vintage pipe organs avail- now for selected issues, as most are avail- 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Tierce (no able, renovation, tuning, consultation. Other able from 1944–1945, 1966–1993, and 2005 to the present! pipes). $15,000 or best offer, buyer to remove, MISCELLANEOUS FOR SALE services include transportation, cleaning and located Newcastle, Maine. 207/563-5679. renovation of carvings, reredos, liturgical furnish- ings. Call John Bishop at 617/688-9290. john@ ′ 16 reed sale. Three by Skinner: Ophicleide organclearinghouse.com. Postal regulations require that mail to THE Pfeffer and Debierre organs. Circa 1860 Pfeffer (low 6 wood), Bombard, Bassoon, triple miters; DIAPASON include a suite number to assure eight-rank organ, available rebuilt and custom OSI ½-length Fagotto; also three 8′ Trumpets delivery. Please send all correspondence to: fi nished. Also 1884 choir organ by Louis Debi- (Moller–Zajic), OSI, Berkshire; also Clarinet, The Diapason offers a world of opportunity in THE DIAPASON, 3030 W. Salt Creek Lane, Suite erre. Both are pictured on the Redman website: English Horn, Rohr Schalmei. Best offers. André advertising. Contact Jerome Butera for all your 201, Arlington Heights, IL 60005. www.redmanpipeorgans.com. CT 860/664-0046 [email protected] advertising needs: [email protected].

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2020 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Trinity College Cambridge United Kingdom (September 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole Notre-Dame Cathedral Paris (April 2020)

Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 98th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young