THE DIAPASON DECEMBER, 2006
United Methodist Church of Westport and Weston Westport, Connecticut Cover feature on pages 30–31 We wish you a Merry Christmas Epiphany Lessons & Carols; 1/28, 33rd annual Celebration of Twelfth Richard Gehrke with Concordia Wind Night. For information: 401/596-8663; THE DIAPASON Ensemble. For information:
No portion of the contents of this issue may be reproduced in any form without the specific written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the pur- pose of course reserve reading at the rate of one copy for every fifteen students. Such copies may be reused for other courses or for the same course offered subsequently.
Here & There
St. Paul’s Church, Doylestown, will be presented at the Evangelical Pennsylvania, continues its music series: Lutheran Church of St. Luke, Chicago. December 2, Solemn Evensong and Mark Bangert conducts choir, soloists, Benediction; 12/10, Lee Milhous, organ and orchestra in works by Buxtehude, recital, followed by Advent Procession Vaughan Williams, and Bach. For infor- with Lessons & Carols; 12/17, Schola mation:
DECEMBER, 2006 3 on January 6 and Mark Cheban on Jan- organ by Munetaka Yokota and one at Edward Moore, and minister of music uary 7; performances take place at 7 and First Lutheran Church in Yuba City (a emeritus Lawrence (‘Lon’) Schreiber. 8 pm. For information: small North German-style organ, also by An honors graduate of the Interlochen
Charles Miller
Charles Miller has been appointed minister of music at National City Dayton AGO members in Dayton Masonic Temple main auditorium Christian Church, Thomas Circle, Washington, D.C., the cathedral church On September 24, a Dayton Mason- ing to promote awareness of Skinner of the Disciples of Christ denomination. ic Temple Organ Tour was led by Opus 624 in the greater Dayton com- Harald Vogel At National City Christian Church, he is Rachel Spry, who demonstrated the his- munity and raise monies for a full principal organist, conductor of the toric 1926, 59-rank, 4-manual E. M. restoration. The temple facility also The Music Department of California Sanctuary Choir, artistic director for the Skinner Opus 624 organ housed in the houses six Pilcher organs. The organ State University, Chico will host a church’s Music at Midday Thursday main auditorium. The Dayton Masonic tour attendees also had a chance to view four-day workshop with Harald Vogel on noon concert series, and developer of all Temple Association, led by Don Taylor, the Skinner organ chamber as well as the music of Dietrich Buxtehude and other aspects of the church’s music and the Dayton Masonic Foundation, led by take a tour of the temple facility, led by the North Germans, March 14–17, arts program including maintenance of Brad Gamblin, and Ms. Spry are work- Brad Gamblin. 2007. The workshop will be in conjunc- the church’s five-manual, 141-rank tion with the Fifth Annual Chico Bach Möller pipe organ and oversight of the Festival (March 13–15) and will include church’s 40-member resident orchestra, daily lectures and masterclasses and two Washington Sinfonietta. Miller was organ recitals by Harald Vogel: one on appointed to this position in August the large C.S.U.C. Silbermann-style 2006 and succeeds Marvin Mills,
Combined choirs of Covenant, Myers Park, and Trinity Presbyterian Churches
The Charlotte AGO Chapter 2006 tiansen’s Beautiful Savior to Parry’s I Annual Summer Recital Series of week- Was Glad. Pictured in the foreground Robert Bates Craig Cramer Aaron David Miller ly Sunday recitals concluded on August are organists and directors: Stephen 27 with a choral festival at Covenant Talley (Covenant), Jane Arant (Trinity), Presbyterian Church. Choir members Patrick Pope (St. Peter’s Episcopal), from Covenant, Myers Park, and Trinity Susan Talley (Covenant), and Robert 425.745.1316 [email protected] www.organists.net Presbyterian Churches joined to sing Frazier (Myers Park). choral works ranging from Chris-
4 THE DIAPASON Singleton was organist and choirmaster of St. Vincent de Paul Roman Catholic Here & There Church in Elmont, New York. John Schwandt has been appointed associate professor of organ and director of the American Organ Institute at the University of Oklahoma. He previously served as assistant professor of organ and curator of organs at Indiana Univer- sity. He received his bachelor’s degree in music in 1994 from St. Olaf College in Minnesota, and he earned master’s and doctoral degrees in music from Indiana University in 1996 and 2001, respectively. Also in 1996, he received the Performer’s Certificate in organ from Indiana University. Schwandt remains an active member of the Amer- ican Guild of Organists, the Organ His- torical Society, the American Theatre Adam G. Singleton Organ Society, and the American Insti- John Schwandt tute of Organbuilders. Diane Meredith Belcher minister of music at The Church of the A nationally known performer, clini- for the AGO and the OHS and is also Holy Trinity in New York City, and has cian, leader of hymn festivals, organ con- known for his improvisational skills. In In addition to standard mixed-reper- performed in masterclasses for Marie- sultant and silent film accompanist, 1998, he placed first at the National toire programs, Diane Meredith Claire Alain. Prior to this appointment, Schwandt has been a featured performer Competition in Organ Improvisation. Belcher is offering two special concert ConcertArtistCooperative
Colin Andrews Emanuele Cardi Maurice Clerc Laura Ellis Faythe Freese Organist/Lecturer/ Organist/Lecturer/ Interpreter/Improviser/ Organist Organist/Lecturer Recording Artist Recording Artist Recording Artist Associate Professor of Associate Professor of Organ Lecturer, Organ Performance Organ and Soprano with Titular Organist Organ and Carillon School of Music & Sacred Music Studies Polina Balva (St. Petersburg) St. Benigne’s Cathedral University of Florida University of Alabama East Carolina University Titular Organist Faculty Gainesville, Florida Tuscaloosa, Alabama School of Music St. Maria della Speranza National Conservatory Greenville, North Carolina Battipaglia, Italy Dijon, France
Michael Gailit Johan Hermans Michael Kaminski Angela Kraft Cross William Kuhlman Organist/Pianist Organist/Lecturer/Recording Artist Organist Organist/Pianist/Composer/ Organist Organ Faculty Instructor of Organ Director of Music Ministries Recording Artist Professor of Music Emeritus Conservatory of Music Conservatory of Music Saint Francis Xavier Church Organist Luther College Piano Faculty University of Music Organist and Artistic Director Brooklyn College Faculty Congregational Church Decorah, Iowa Organist St. Augustine’s Church Sacred Heart Church St. Francis College Faculty San Mateo, California Vienna, Austria Organ Concert Series Brooklyn, New York Hasselt, Belgium
Tong-Soon Kwak David K. Lamb Maija Lehtonen Sabin Levi Bach Babes Organist Organist/Choral Conductor/ Organist/Pianist/ Organist/Harpsichordist/Carillonneur/ Baroque Music Ensemble Professor of Organ Oratorio Accompanist Recording Artist Lecturer/Recording Artist Variable Groupings College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Organist and Composer in Residence Soprano, Strings, Flute, Oboe, Continuo Yonsei University First United Methodist Church Oulu Polytechnic First Christian Church of Independence Milwaukee Symphony Artistic Director Columbus, Indiana Organ and Violin Assistant Music Director Orchestra Associates Torch International Organ Academy with Manfred Grasbeck Shireinu Choir of Kansas City Martha H. Stiehl, Artistic Director Seoul, Korea Helsinki, Finland Kansas City, Missouri Organ and Harpsichord University of Wisconsin-Milwaukee ConcertArtistCooperative Beth Zucchino, Director, [email protected] David K. Lamb, Associate Director, [email protected] 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
DECEMBER, 2006 5 programs from 2006 through 2008: an
Scott Carpenter
Tannenberg organ at Old Salem
6 THE DIAPASON
Reflections, was commissioned by Scott Her numerous compact disc record- Carpenter for this recording, upon which ings include performances of the music it is premiered. of Marcel Dupré, Petr Eben and J. S. The CD is available online from Bach as well as duet literature per-
Marilyn Mason and flutist Don Fishel, with Carol Hawkinson and Roger W. Roszell Eloquence and Artistry in the background Marilyn Mason with flutist Don sant at the Cathedral of Notre Dame de Fishel presented The Breath of the Paris. The work was also performed at in Organ Building Spirit by Gregory Hamilton on Sep- the 2006 Festival Toussant in Brussels, tember 18 at Faith Lutheran Church, Belgium and festivals in Spain and Lis- Sarasota, Florida. The concert was bon, Portugal. cosponsored by the Sarasota-Manatee Hamilton composed The Breath of AGO chapter. Mason and Fishel, who the Spirit with poet Kenneth Gaertner. perform under the name “Duo Pneu- His nine poems are inspired by New ma,” commissioned the work. It was Testament personalities and events. premiered in New York at Holy Trinity They were read by chapter members Church in 2004, and has since been per- Roger W. Roszell and Carol Hawkinson. formed many times in the U.S., and has Each poem is followed by a piece for been featured in Paris’s Festival Tous- flute and organ.
Buffalo Philharmonic Orchestra. Neswick is the Canon for Music at the Episcopal Cathedral of St. Philip, Atlanta. He was formerly organist/ choirmaster at St. Paul’s Cathedral in Buffalo, New York, and was the assis- tant organist and organist-choirmaster for the Girl Choristers at Washington National Cathedral, and director of music at St. Albans School for Boys and the National Cathedral School for Girls, Washington, D.C. The new CD takes its name, Mira- cles, from the five-movement composi- tion for flute and organ by Daniel Pinkham. Other repertoire includes Gerald Near’s Suite in Classic Style, Bruce Neswick and Cheryl Gobbetti Jehan Alain’s Aria and Trois mouve- Hoffman ments, Jacques Berthier’s Liturgical St. Bede Catholic Church, Williamsburg, VA Meditations, Frank Martin’s Sonata da Neil Kraft, Music Director Organist Bruce Neswick and flautist chiesa, and Henk Badings’ Dialogues. Cheryl Gobbetti Hoffman perform The CD was recorded in the chapel Member, Associated Pipe Organ 20th-century works for the two instru- of St. Albans School for Boys on the John-Paul ments by 20th-century composers grounds of the National Cathedral, Builders of America Daniel Pinkham, Gerald Near, Jehan Washington, D.C., using the 1988 Buzard 112 West Hill Street Alain, Henk Badings, Frank Martin, organ by Karl Wilhelm. The Raven CD Pipe Organ Builders Champaign, Illinois 61820 and Jacques Berthier on a new CD is available from
8 THE DIAPASON
music degree in 1997. carillons in Europe and the United He then studied in France with Jean States since 1977. The recital program Boyer and received the Diplome in Arizona consisted of works of Nationale Superieur de Musique from Mouret, Handel, Mozart, Pratt, de the Conservatoire Nationale Superieur Fesch and folk song arrangements by de Musique de Lyon in organ, harmony, Margo Halsted, Milford Myhre, and fugue, analysis, improvisation and basso Leen ’t Hart. On the following day, continuo. His studies continued with Welch played short recitals following Olivier Latry and Michel Bouvard at the each of the morning worship services. Conservatoire Nationale Superieur de For further information, visit Musique de Paris. He also studied
10 THE DIAPASON
® page 10, Nunc Dimittis Fruhauf Music Publications, P.O. Box 22043, Santa Barbara, CA 93121-2043; Carl E. Stout died in February at telephone 805/682-5727. age 75, from complications following CHANGE IS INEVITABLE. heart surgery. Growing up in Syracuse, The Gothic Catalog announces new New York, he first studied organ with releases. Pas de Dieu: Music Sublime & Edith Schmidt and as a teenager Spirited (LRCD 1082) features Janette GROWTH IS OPTIONAL. became organist of the First Presbyter- Fishell playing Frank Ferko’s Livre ian Church in Fulton, New York, where d’Orgue and Gaston Litaize’s Prélude et he was featured on a weekly radio Danse Fuguée, along with works by { broadcast. He learned organ mainte- Franck, Vierne, and Duruflé, on the nance at the Chester Raymond Organ new Fisk organ at St. Paul’s Episcopal Company in New Jersey and serviced Church in Greenville, North Carolina. Organist Isabelle Demers, composer ARTISTRY IS CRITICAL. the Princeton Chapel organ weekly. Be Still, My Soul (CD 49251) presents Mason Bates, and Allen Organ’s Returning to Syracuse, he studied organ the Choir of All Saints, Beverly Hills, George Boyer at the 2006 New Yorker with Arthur Poister, and subsequently directed by Dale Adelmann; works Festival on BargeMusic© { earned a master of arts degree from include three new anthems by Craig East Carolina University. His teaching Phillips. Bradley Welch Plays at Broad- Pennsylvania was featured at the 2006 positions included those at Mercyhurst way Baptist (LRCD 1084) is the first New Yorker Festival sponsored by the College, St. Olaf College, and Syracuse recording by the winner of the Dallas New Yorker magazine. Isabelle Demers, INTEGRITY AND AN INFORMED University. He served as organist-choir- International Organ Competition, made doctoral candidate in organ perfor- master at Good Shepherd Episcopal on the world’s largest French-style mance at the Juilliard School, performed POINT OF VIEW,SINCE 1917 Church in Rocky Mount, North Caroli- organ. Martin Jean plays Tournemire’s a new work by composer and fellow Juil- na; Trinity Episcopal Memorial Church, Seven Last Words of Christ (LRCD liard alumnus, Mason Bates, for solo Warren, Pennsylvania; and St. Paul’s 1083) on the organ of Woolsey Hall at organ and “electronica.” The sold-out { Cathedral in Erie, Pennsylvania. He is Yale University. Other new choral event on October 7, 2006, was coordi- survived by two nephews. releases include Brothers, Sing On! (G nated and moderated by the New York- 49250) by the Washington Men’s Cam- er magazine’s music critic Alex Ross, and Maurice Odell Tillery, 61, of erata, and Christmas Time Is Here (CD was held on BargeMusic©, the “floating” Newark, Arkansas, died on March 9, 49246), featuring the Pacific Chorale concert hall at the base of the Brooklyn 2006. Born August 18, 1944, in Benton, directed by John Alexander. For infor- Bridge. The sound of the Allen instru- Arkansas, he was an elementary music mation:
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12 THE DIAPASON ALLEN PIPE AND DIGITAL COMBINATION INSTRUMENTS: ELEGANT SOLUTIONS FOR UNIQUE NEEDS
St. Joseph’s Catholic Church in Biddeford, Maine faced the challenge of coordinating a cantor located in the front of the church with the organist and choir in the rear balcony. Utilizing fiber optic technology, Allen designed a state-of-the-art pipe/digital organ and interface. Consoles and tonal resources in both of these locations can be played simultaneously or independently. The organist, choir and cantor now enjoy the versatility of performing from diverse locations without distracting sound delays. Organists have the added luxury of using both consoles at the same time to play duets.
Allen is pleased to have served the music ministry of St. Joseph’s Church and looks forward to meeting your church’s unique needs.
Photo by Amber Gormley
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Box 36 8 Festival Trumpet Gallery Choir Off Macungie, PA 18062-0036 USA 8 Krummhorn Chancel Choir On Phone: 610-966-2202 Fax: 610-965-3098 Celesta (Sw) Gallery Gt/Sw/Pd Off E-mail: [email protected] Tremulant Chancel Gt/Sw/Pd On ety of organs. The rollicking bus rides more like choosing a bad meal instead of enormously successful, and a number of organ’s sound is brilliant and full. It’s are a mainstay just as they are at con- risking a good one. Leave a hotel looking important university organ departments expressive and sweet. It’s powerful ventions of the AGO or the OHS. There for a family-owned restaurant and you’re are thriving. There is a clear upswing in enough to defy the low wind pressures. were lectures on a variety of subjects at likely to be disappointed. the number and quality of young organ- It’s simply thrilling to hear. It’s more the convention hotel, and many suppli- While spending time chatting with ists, and our brilliant young players are than 40 years old and must be consid- ers to the trade were exhibiting their the good folks in the exhibition booths demanding much of their organ- ered one of the monuments of 20th- wares and services in the exhibit hall, at the AIO convention, I reflected that builders. In my experience, players are century organbuilding. which also served as center of much of there is a significant vein of sameness in increasingly aware of the quality, refine- Douglas Cleveland was the recitalist. the socializing. (I treated myself to a the American organ industry. A couple ment, and versatility of their instru- Having just read the previously men- long-coveted set of wood-handled brass generations ago, if an organbuilder ments. They have sophisticated under- tioned article in The American Organ- tuning cones at the Laukhuff booth.) wanted to include a combination action standings of organ sound and highly ist, I noted quickly the predictability of The AIO convention was the last week in an organ’s console, they had to build developed personal approaches to regis- the program: Bruhns G major, Vival- of three on the road for me. The Organ it themselves. Those were the days tration, not relying on accepted stan- di/Bach D minor, Schübler Chorales, Clearing House had just completed the when many organbuilders had hundreds dards of registration but using their ears St. Anne Prelude and Fugue. Nothing delivery of M.P. Möller’s Opus 5819 to of employees, and we marvel at the long to blend colors. They are demanding new under the sun—except for two the University of Oklahoma. (You can lists of monumental organs built by the much of their instruments and much of important points: first, Mr. Cleveland is read about this exciting project else- big firms in the early 20th century (the those who build and maintain them. a stupendous player, and second, that where in this issue of THE DIAPASON, Skinner opus list shows that Ernest This is a very good thing. was only the first half. His presentation and I will write about it in detail next Skinner built 39 four-manual organs While organbuilders in general have of those standards of the repertory was month.) Originally housed in the before the end of 1915), forgetting per- often been inclined to talk about instru- fresh and inviting. The second half of Philadelphia Civic Center, and given to haps that those shops employed hun- ments as if they were separate from the the program included Ave Maris Stella Oklahoma by the University of Pennsyl- dreds of workers. Many of today’s small music, I observe that players are increas- by Pamela Decker, Pièces de Fantaisie vania, the organ will be the centerpiece organbuilding firms would be hard ingly the focus. I had several conversa- (Deuxième Suite) by Louis Vierne, and of the American Organ Institute direct- pressed to build their own combination tions at the convention with colleagues the world premier of Four Concert ed by Professor John Schwandt. actions. The fact that organs built by a who wanted to share how moved they Etudes by David Briggs. Perfect. dozen different companies might have were by hearing what a particular player In the first half, Mr. Cleveland’s play- It’s all the same to me. identical combination actions is actually brought out of an instrument. More than ing and the Flentrop organ won me over My trip included a week each in an advantage. The elegant and reliable one expressed that the experience with their classic beauty. In the second, Philadelphia, Norman, Oklahoma, and products offered by such firms as Peter- “made it all worthwhile.” Aha—we are I (and the friends around me) was daz- Seattle. I changed planes in Atlanta and son, Solid State Organ Systems, building instruments for the sake of zled by the grandeur, excitement, and Denver. Starting and ending in Boston, Laukhuff, Heuss, Artisan Instruments, music. A layperson might see a pipe the sheer sonic power of the marriage that made seven flights and six airports, and Classic Organ Works (among oth- organ as a mechanical marvel (of course between the organ and this smashing and the common thread was sameness. ers) make it possible for the indepen- that’s true!), but a well-conceived and new music. I hope that Briggs’s Four The vendors in all the airports were vir- dent organbuilder to focus on the artis- beautifully built organ in the hands of a Concert Etudes will get many more tually identical. I started the trip with a tic content of their instruments. great player transcends the mechanical. readings. Mr. Briggs is himself a mar- book of crossword puzzles that was less velous organist—his music reflects that than I hoped, but couldn’t find a Who’s driving? Nothing new under the sun? deep understanding of his instrument— replacement because Hudson News was It’s a well-understood fact that the The October issue of The American and Mr. Cleveland knew how to inter- carrying the same book in all its stores organs of Aristide Cavaillé-Coll Organist features an article by Moo- pret it with his understanding of the ter- across the country. The culinary experi- (1811–1899) were the driving force Young Kim that presents a study of the rific instrument given for his use that ence in our airports is barely worth men- behind an entire school of organ com- programming of recent American organ night, and the audience was the richer tioning. The sameness of the airports position. Composers such as Franck, recitals. Using pie charts and other for it. More, please! I makes it easy to find your way around— Widor, Dupré, Tournemire, Vierne, graphic illustrations, the frequency of signage, numbering systems, even layout Messiaen, and Mulet were inspired and performance of pieces of organ litera- is very similar from place to place. But a challenged by those grand organs that ture is analyzed. The result of the study little exposure to local color would be featured countless mechanical and tonal is easy enough to predict—if you took Music for Voices nice. Having changed planes in Denver, innovations. It’s not as easy to tell who away the top 20 or so titles you’d have one cannot say one has been to Denver. was in charge in other eras of organ- little left. This reflects a dilemma. We and Organ From the air you see interchangeable building. J.S. Bach was knowledgeable know that audiences lean toward the by James McCray real estate developments, shopping about the organs of Gottfried Silber- familiar. (How many times have you malls, industrial parks. And although the mann, but who was teaching whom? We tried to steer a bride away from Jesu, Joy landscapes are different (to someone know Bach worked as a consultant, of Man’s Desiring or Canon in D?) But SAB repertoire for small choirs from the Northeast, Oklahoma sure is hired by churches to review new organs finding ways to balance the familiar with flat), once you get away from the airports when they were completed. His com- new music that will challenge, inspire, A composer should fit his music to the there is much sameness. We are trained ments were sometimes negative—he and thrill the public must be one of our genius of the people, and consider that the delicacy of hearing, and taste of harmony, to recognize corporate logos enough to was especially critical of inadequate principal goals. We all know that the has been formed upon those sounds which leave no doubt that you are passing wind systems—but one can say that his pipe organ was integral to the musical every country abounds with. In short, that Home Depot, Applebee’s, or Sears even music was exploring the capabilities of life of a community 200 years ago. What music is of a relative nature, and what is if you are too far away to read the text on the organs he played. about today? What about tomorrow? harmony to one ear, may be dissonance to the sign. I did some shopping in Norman The mid-20th-century American In answer to this I share thoughts another. and, although the names of the depart- Organ Renaissance was to some extent a about what was for me the high point of —Joseph Addison (1672-1719) ment stores were different, the floor collaboration between organists and my experience in Seattle. St. Mark’s The Spectator, 1710 plans were sure familiar (you can’t get organbuilders. Organists helped raise Cathedral (Episcopal) is an unusual anywhere without having to walk awareness of the classic traditions while building in a dramatic location on one of Throughout America’s churches the through the cosmetics department!). A organbuilders worked hard to interpret the city’s hillsides. The building was number of small choirs far exceeds striking and unsettling example of same- them. But the fact that organists planned in 1928 combining traditional those that may be considered large. A ness is found in the national chains of became divided (sometimes bitterly) Gothic lines with newly developed small choir generally is one having less bookstores. You would think that the over the issue of tracker vs. electric poured-concrete construction. The col- than 20 singers. There usually are far interests of readers would vary between implies that the organbuilders were lapse of the stock market in 1929 caused more females than males, and there regions, but the front tables in Barnes & really running the show. the collapse of the funding of the pro- always seems to be a need for more Noble stores are identical in Boston and During the convention, I was ject, and only the crossing was complet- tenors; however, the lack of tenors is Oklahoma City. All of that chain’s buy- impressed by the number of conversa- ed. The cathedral’s website
14 THE DIAPASON WHY
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16 THE DIAPASON and Organ, Vosk; Adoro te, Atkinson; ing this compact disc, which combines about 30 ranks—and recent Dobson sents a great musical bargain—alto- Dieu parmi nous, Messiaen; Ave Maria, Marijim Thoene’s brilliant playing on instrument holds its own in this august gether magnificent playing in a magnif- Ave Maris Stella, Langlais; Improvisa- the versatile Dobson organ with a very company, by the way. icent setting. tion sur le “Te Deum,” Tournemire; interesting choice of repertoire. An exciting Fantasia and Fugue in E The entire first disc is given over to Habakkuk, op. 434, Hovhaness. —John L. Speller Minor begins the recording, followed by the complete Dupré Stations of the Hurricane Katrina wreaked its full St. Louis, Missouri a meandering Andante con Variazioni in Cross, and the complex music is as beau- havoc on this part of Louisiana. It was A, the middle movement of an otherwise tifully played as one could wish. The thus a relief to discover that Dr. lost sonata. Paine composed little, if any- instrument is ideal for this masterpiece. Thoene, though forced to seek tempo- John Knowles Paine, Organ Music. thing, for organ after about 1870; most Disc two comprises contemporary rary refuge in Ann Arbor, Michigan, Murray Forbes Somerville, organ- of his organ composition is youthful classics, beginning with the Ginastera was able to return to New Orleans. Fur- ist. 1863 E. & G. G. Hook, Immacu- work. It shows in the exuberant passages Toccata, Villancico y Fuga, a piece not thermore, the St. Joseph Abbey build- late Conception, Boston; 1863 E. F. and liberal use of fancy pedal cadenzas. heard much today that deserves to be ing and its organ escaped serious dam- Walcker/Aeolian-Skinner 1947, There is a rousing playing of the Fan- revived. Seth Bingham’s Roulade goes age. The organ is Dobson’s Opus 73 of Methuen Music Hall, Methuen, tasia on “Ein feste Burg,” followed by by a tad faster than I would prefer, my 2000, a three-manual tracker instru- Massachusetts; 1997 Lynn Dobson, the somewhat familiar Variations and only quibble with the entire two hours ment of 38 ranks. Pakachoag Church, Auburn, Massa- Fugue on “The Star Spangled Banner,” of music. It is followed by an atmos- The first track is taken up with a spir- chusetts. Raven OAR-460 ($14.98), written, as Dr. Somerville accurately pheric playing of Messiaen’s Serene ited performance of the prelude from J.
DECEMBER, 2006 17 remember being absolutely thunder- Arthur, March from The Married Beau, of 18 on this CD. He has chosen the down, to suggest the manuals). A fur- struck at the beauty of the instrument, Purcell; Fantasie, Albinoni; Trumpet instrument in the church of the Très- ther slow sonata in B minor (K87) is then relatively new. It was—and is—a Voluntary and The Prince of Denmark’s Saint-Rédempteur in Montreal. Built in played on the flutes with the tremolo; its jewel of an organ, 59 ranks mint and March, Clarke; Prelude from Te Deum 1993 by Karl Wilhelm, it was designed reflective sober nature is transmitted by unaltered. It is apparent from both the in D Major, Charpentier; Opening and built in the Classical Italian tradi- Boucher’s playing, underscoring the program booklet and the playing that Movement from A Mighty Fortress Is tion, but with the Principale chorus to sarabande-like movement. 2 Prof. Peterson knows what he has Our God, Bach. ⁄3v, the Voce Humana and Tromboncini The final four sonatas start with K56 there—a landmark instrument. When you combine the top-notch 8v on one manual, and the flutes up to in C minor in 12/8 marked Allegro con 3 It is pleasing to note, as an Illinois boy Empire Brass Quintet with the first-rate 1 ⁄5v on the other. There is a tremulant spirito; with its crossed-hands passages myself, that three composers with Illi- organist William Kuhlman in a program and manual couplers; the small pedal including six bars at a stretch as well as nois connections (Buck, Eggert, Sower- of Baroque music for brass and organ, division is not used in this recording. LH leaps covering almost four octaves, by) are first on the recording. Dudley the results could not be more satisfying. In the first sonata played here, K31 in extended LH arpeggios and dashing RH Buck’s 1868 Variations on “The Star In a recording of music by the giants of G minor, Boucher uses echo effects in scales in 32nd notes, it enables Boucher Spangled Banner” is the first selection, the Baroque era, we hear familiar works the repeat of the initial phrase, which is to show his technical prowess. A further perhaps a bit more sophisticated musi- by Purcell, Campra, Bach, Handel and somewhat unusual, and does not apply allegro in C minor, K99, contains LH cally than the version by Paine, and just lesser-known compositions by Charpen- the Andante marked in bars 42–47 crossed-hands leaps in thirds as well as as much fun to play and hear. John tier, Telemann and Albinoni. Recorded (interestingly, this tempo change is not an almost ceaseless flow of sixteenth Eggert’s (b. 1946) Partita on “Nettleton” on the Luther College campus in Deco- marked in the second half at the occur- notes in the RH. In the Presto in G is highly imaginative and complex. rah, Iowa, where Kuhlman was on the rence of the same pattern in the writ- minor, K12, the insistent RH eighth Sowerby’s classic Carillon uses bor- faculty for many years, the quintet joins ing). A full chorus is used in this, and notes against oscillating LH sixteenths rowed handbells for chimes, which with the Robert Sipe 43-stop mechanical indeed to a greater or lesser degree in are memorable; the subtle changes of works well. Two settings by Charles W. organ in this virtuosic display of some most of the sonatas, but the clarity of harmony are enhanced by the Principale Ore are typically rhythmic and colorful. very exciting music of the era. One could the voicing is immediately apparent— chorus not being full. The CD finishes Three of Calvin Hampton’s very not fault the ensemble playing in these just listen to the added notes in the left- with the well-known fugue in G minor, involved compositions illustrate his well-recorded arrangements by Rolf hand chords in several of the sonatas. K30, here taken at a slower pace than worth as a composer, and Jay Peterson Smedvig, conductor and trumpeter of The simpler, predominantly two-part, some players, but again the milder regis- has the ability to bring them off as the Empire Brass, as well as the arrange- writing in the second sonata, K35 in G tration allows the amazing harmonies to Hampton intended. ment of the Pachelbel Fantasia in D minor, sounds well on a lesser Princi- be heard clearly. The Folk Hymn Sketches by Emma Minor by Egil Smedvig. Available from pale chorus. A tinkling gapped registra- The booklet gives brief details of the Lou Diemer illustrate her usual musical Telarc, 23307 Commerce Park Rd., tion is just right for the sonata in C composer and the instrument as well as intelligence. These are followed by a Cleveland, OH 44122; 800/272-7748. minor in 3/4 (K84), its opening arpeg- notes on the performer who, apart from meandering October Interlude of Also available in Super Audio, SACD- gios forcefully catching the attention. being a virtuoso on the organ, is also a Clarence Mader. Given the sympathetic 60614, $19.99. Boucher shows his prodigious technical financial analyst. His playing is flawless, interpretation, it comes off just right. An —Robert M. Speed ability in this piece with his carefully helped by having such a beautifully exciting unpublished March from Amer- articulated thirds and sixths in the RH, voiced instrument; its responsive action ican Suite by John Kuzma concludes this the tuning emphasizing the Neapolitan allows his carefully considered articula- estimable recording of a wonderful Domenico Scarlatti Sonatas. Played sixths. The following fugue in C minor tion to be heard clearly. A varied selec- American treasure. Kudos to all. by Vincent Boucher on the organ of (K58) is based on the descending chro- tion of the Principale chorus with con- —Charles Huddleston Heaton L’Eglise du Très-Saint-Rédempteur, matic tetrachord and shows a more sidered use of the reeds also helps to Montreal. ATMA Classique SACD2 sober side to Scarlatti’s genius: the long erase the curious notion (apparently still 2341, TT 73:18,
18 THE DIAPASON lates to A minor and segues into Christ circles for his very useful works. A grad- Handelian, and the ornamentation is New Organ Music lag in Todesbanden, which is laid out in a uate of Concordia University-River written out for the organist. This move- sparsely textured chant. The piece reca- Forest, Illinois, and Northwestern Uni- ment would easily serve as a wedding pitulates with the opening material. This versity, where he completed master’s procession. Although it is a five-part Diane Bish, The Organ Music of Fanfare would make a young organ stu- and doctoral degrees, he did further rondo, it would be simple to shorten it Diane Bish, Volume 1, Lenten/East- dent sound wonderful! The pedal is easy study at Germany’s Westphalian to an A-B-A form for shorter proces- er. Fred Bock Music Company, and wouldn’t demand much of beginning Church Music Institute in Herford. sions. One might even use it for a exclusively distributed by Hal students. Likewise, adding tympani and Behnke is professor of music at Con- Gospel procession. Leonard, ISBN 0-634-05610-7, brass (or just a solo trumpet) would cre- cordia University in Mequon, Wiscon- Ron Boud studied at Moody Bible 2003, $12.95;
accompaniments. Her harmony is func- B tional, with suspensions, added sevenths, UZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD and non-harmonic seconds being funda- mental means for enhanced expressive- ness. Above all, Bish has a flawless feel- ing for what sounds good on a large organ, and the music lies comfortably under the fingers and feet. “Were You There?” begins in G major with a soft, atmospheric, recita- tive-like passage in which hints of the hymn tune are heard. This leads into a presentation of the hymn tune in G-flat, soloed in the right hand over a chordal accompaniment on another manual supported by pedals. A soft second statement of the theme in the same key follows, in which there are several sub- Butter tle changes of tone color and dynamics. Then, in a succinct bridge passage, there is a modulation to B-flat, together Doesn’t Claim with a rapid increase in emotional intensity and volume, and, remaining in B-flat, this leads to the piece’s grand to climax, a majestic full-organ statement of the African-American spiritual melody. There is a play to the gallery at Taste Like the end, with a solo trumpet flourish on the manuals over a tonic pedal point for the feet, and the pedal 32v Bombarde Margarine! entering on the last chord. A trumpet stop is again called for in the last work, “Thine Is the Glory,” which is based on Handel’s hymn tune Judas Maccabaeus. Technical demands are few, but the panache of Bish’s own playing style is a requirement for suc- cess. The work opens in E-flat with spo- radic modulating majestic fortissimo statements of a phrase with horn fifths for trumpet, against a backdrop of triplet ostinato figures on another man- ual. This section concludes on a domi- nant seventh chord in E-flat and leads into a regal hymn-like chordal statement of Handel’s hymn tune in that tonality, It’s not about fooling your ears. which is repeated. Then a brilliant six- teenth-note ascending scale sweeps the listener into the final statement of Han- It’s about thrilling your soul! del’s theme, which is now in D major and for full organ. These pieces may appeal in particular to busy church organists with advanced To receive information about pipe organs technique, who are looking for new music that has vitality, popular appeal, A and recognized pipe organ builders and that may be learned quickly. P write or call toll free 1-800-473-5270 —Peter Hardwick Minesing, Canada O or on the web @ www.apoba.com BA Associated Pipe Organ Builders of America Triptych for Easter Day: Fanfare, P.O. Box 155 • Chicago Ridge, Illinois 60415 Meditation, Toccata [based on BOODY East- & QUIMBY TT PARSONS REDMAN SCHANTZ SCHOENSTEIN TAYLOR er Hymn and Duke Street], John A. O Behnke. CPH 97-6557, $8.00. The Triptych opens with a Fanfare on NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON the Easter Hymn, in C major. It modu-
DECEMBER, 2006 19 Documentation of Restorations Uwe Pape*
fter more than 50 years of organ instrument. If anything at all was docu- Arestoration activity in northern Ger- mented, at least the specifications and many, we have observed increasing perhaps rough drawings were pre- demands for pre-restoration planning, served, but in general scalings and process control, and submission of other significant details are not usually reports. Simultaneously, the scope of to be found. In many of these early pro- organ restoration expanded substantial- jects we would be glad if we could find ly, ranging today from the oldest exist- at least these data. ing instruments to electro-pneumatic After World War II, some companies organs of the 20th century. It is clearly began maintaining written documenta- not possible to create a uniform set of tion, sometimes accompanied by a set of rules or principles for documenting this black-and-white photographs. Friedrich whole range: We may document an Jakob of the Theodor Kuhn organ com- older instrument more carefully than pany (Männedorf, Switzerland) writes newer ones; different information is that the AGSO (working group for the desirable for different actions, etc. preservation of Swiss historic organs) The increased demands for proper was established in 1958.3 Subsequently, documentation result not only from the the first technical reports were devel- technical advances of recent years, but oped in cooperation with Jakob; these also from the interests of the research ‘internal inventory reports’ were, how- and educational institutions and scien- ever, substantially less detailed than the tists involved in this topic. In the begin- more developed restoration documents ning, research projects were carried out used today. The concepts compiled in by the institutions themselves,1 but these reports, which later provided the today these services are also available basic structure for full restoration docu- from professional or commercial mentation, were divided into the follow- sources.2 The research and documenta- ing sections: tion capabilities of these institutions and similar organizations usually go far A. Literature beyond those of organ builders, so that B. Sources many organ builders now perceive these C. Inscriptions research projects as a meaningful addi- D. Inventory tion to their own work and support 1. Specification these activities. 2. Case including pipe order Many consultants are aware of these 3. Console including stop order advances and interests, and have begun 4. Wind chests, with slider and to expect that the organ builder carry valve order out the needed research and provide 5. Key action the documentation. In practice, howev- 6. Stop action er, severe financial problems arise from 7. Wind system the costs involved in carrying out this 8. Pipe work, with scalings research with the required scholarly E. Restoration suggestions detail. Thus organ builders are encoun- tering a new and significant (as well as For the first time the relationships of expensive) requirement on the part of façade, pipes, sliders and pallets were both congregations and experts as a examined and recorded. This report for- result of this increased interest in docu- mat was expanded and refined in the Unrestored organ at Galenbeck, Mecklenburg, North Germany. The organ builder mentation by the professional world. At following years. With two publications is unknown, and the metal pipes have been stolen. No work has been done on this the same time, many organ builders are in 1965 and 1968,4 a level of standard- organ since 1945. (Photo credit Uwe Pape) also conscious of their obligation as ization was reached, which at that time restorers of historic instruments to meet was judged by German specialists as 2. Case and façade pipes tection for the restorer against possible at least some of these new require- exemplary and trailblazing. However, 3. Console later challenges. ments. The organ builder therefore these were still not true and complete 4. Wind chests The main problem in this ‘museum must tread a via media between these restoration reports, as they documented 5. Key action approach’ was quickly identified, how- new demands and reasonably pricing or only an exact inventory of the instru- 6. Stop action ever: In general, a state or not-for-prof- financing the project—a true dilemma. ment’s then-current state and provided 7. Wind system it enterprise such as a museum doesn’t only restoration suggestions. 8. Pipe work, including scales work under time pressure, and the Development of restoration In the 1970s, the expansion of this 9. Temperament costs of the documentation and scien- documentation in organ building earlier form of report to real restoration 10. Voicing7 tific research are covered by an institu- If we look at early restorations, we reports that included detailed accounts tional budget. The situation in organ find that no actual reports were pre- of the work done, became standard in German experts in church adminis- building is quite different: The costs of pared until the 1940s, and find only rel- many large companies, as organ tration also developed large archives for a report must be covered by the price atively primitive attempts at documen- builders perceived and understood the organ documentation, of which the of the restoration and, perhaps, by a tation in correspondence and record- need for comprehensive restoration churches in Hannover and Magdeburg special budget item or contribution of ings in archives. If something was doc- information.5 In Germany, the Alfred are well-known examples.8 It also the congregation. umented and, above all, photographed, Führer organ company of Wil- became evident that extensive restora- In some firms a combination of it was usually the expert or consultant helmshaven6 was one of the first enter- tion reports, such as those provided par- increased personal efforts and internal who did the work. Archives of organ prises to provide more extensive ticularly by the staff experts in museums company restructuring made these builders may provide, from their pro- reports, including: of musical instruments, could be in the more extensive reports feasible. Firms ject bids and invoices, some hints of the organ builders’ own best interests, by such as Theodor Kuhn (Männedorf), scope and nature of the work proposed 1. History, with pertinent literature providing both a record of the work Johannes Klais (Bonn), Hermann Eule and eventually carried out on a given and sources undertaken and a certain level of pro- (Bautzen), and Alexander Schuke (Pots- A.E. Schlueter Pipe Organ Co. Current Projects for 2006-2007
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) Rebuilds: St. John’s Church, Savannah, GA: 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manaul, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Tennille, GA: 2-manual, 8 rank Tellers, complete restoration 800-836-2726 y www.pipe-organ.com
20 THE DIAPASON only the finished picture, not how it ment used by Kuhn is as follows and came to be, whereas we want to com- may be taken as a model for documen- prehend more thoroughly the work tation reports in general: itself and the various influences on it. Until a few years ago a project was usu- A. Initial situation ally documented and presented only in 1. Basis summary fashion, perhaps even some- 2. Problem what favorably colored or highlighted. 3. Historical outline No one would mention errors, misjudg- 4. Specification (existing) ments, and false estimates. Many mat- B. Report ters and decisions later criticized or 1. General condition even condemned may be much better 2. Pipe work understood if we knew why or how they 3. Key action were done or reached. We may even 4. Stop action discover a level of respect for what may 5. Wind chests be an inadequate execution when work- 6. Console ing conditions are better known. For 7. Wind system these reasons we should try to find a way 8. Case and framework to utilize the technical achievements of C. List of requirements our times, thus responding to modern demands while at the same time holding Sections A1 and A2 describe the ini- the expenditure of time (and money) to tial state of the instrument and terms of reasonable orders of magnitude. reference. Sections A3 and A4 discuss The Kuhn company sought to merge the historical development of the the documentation process as far as pos- instrument and list the specification(s) sible with the regular work routine, see- with all major changes. It is in general Unrestored organ at Badresch, Mecklenburg, North Germany. The organ builder ing it to a certain extent as a by-product an excerpt of documents from church was Ernst Sauer, the father of Wilhelm Sauer. No work has been done on this of its work planning. The adjustment of archives and may be supplemented by organ since 1945. (Photo credit Uwe Pape) the documentation process to the work facsimiles of bids, contracts, and/or cer- schedule also led to another and more tificates.13 dam)9 set up their own restoration tation of restorations, in which he objective overall report. As opposed to Each part of section B consists of four departments in which the chief restorer describes the report not only as an earlier methods, this new kind of docu- elements. was also responsible for the full docu- account of the work but also of the time mentation became a collection of data mentation of projects. A summary and circumstances under which the work subsets encompassing the entire 1. Project bid report on the entire restoration, supple- has been carried out. This report should restoration period. The first part of the restoration report mented by photographs and drawings, take into consideration the requirements begins with the project bid, because the became standard.10 Newer organ com- of the instrument’s period, e.g., the sense The Kuhn model investigation report for the bid is the panies have attached great importance of musical style, the materials available, From the beginning of the 1990s the first part of the overall report. Unfortu- to this documentation from their incep- certain demands of consultants or archi- Kuhn company ceased preparing final nately it is not possible to include the tion: Kristian Wegscheider (Dresden) is tects, the importance of a light action, or restoration reports, instead arranging competing project bids of the other well known for his careful reports, the aesthetic sense and approach of the the production plan and the information firms here also, even though this would which consist of a ‘condition report’ owner. If one can understand from the data simultaneously as total project doc- result in a more complete picture for before the restoration as well as a later documents the conditions under and umentation. In order to obtain a consis- later readers. ‘restoration report’ on the work done; materials with which organ builders had tent overview, this sequentially written both are indispensable components of to work at a certain time, one may better report always has a similar arrangement 2. Disassembly Report the process.11 understand the work they actually were of the individual parts. Thus if one looks The second part of the restoration able to accomplish. In fact, this under- for statements about, e.g., wind chests, report, the disassembly report, is defi- Procedure and arrangement standing may perhaps help to compre- one can easily find the inquiry results, nitely the most complex and most Wolfgang Rehn (of Th. Kuhn AG) hend and preserve a certain building sit- recommendations, resolutions, and all important part of the total documenta- reports his personal ideas as a restorer uation as the record of a great achieve- related remarks in a certain place in the tion. The following approach to invento- and the requirements for documentation ment of the time. contents of each report. Each report ry and description of pipes serves as an in a large restoration department.12 He Documentation should also be seen part is regularly provided with an example of the importance of this docu- developed a special model for documen- as a ‘process report’. Typically we see appendix of photographs. The arrange- mentation:
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DECEMBER, 2006 21 All pipes are noted in the account projects/orda/); GOArt, Göteborg University, Box 210, SE-405 30 Göteborg, Sweden sheets prepared for the corresponding (www.goart.gu.se). organ with measurable and computable 2. Judit Angster, Fraunhofer-Institut für Bau- values—scalings of circumferences, physik, Nobelstr. 12, D-70569 Stuttgart, Germany lengths of bodies and feet, widths of (www.ibp.fraunhofer.de); Martin Kuhnt, Waldstr. toe-holes, mouth widths, cut-ups and 65, D-74731 Walldürn, Germany (www.orgel dienstleistungen.de). number of nicks. If pipes are of differ- 3. F. Jakob: “Sinn und Zweck der Dokumenta- ent design, these are described exactly tion von Orgelrestauerungen.” In W. Rehn (Ed.): and illustrated by photographs. The Dokumentation von Orgelrestaurierungen. Berlin analysis of alloys may be provided by 2006, ISBN 3-921140-71-4, pp. 9–20. 14 4. Reports about the Wallis organs of Ernen companies for material testing. Very and Münster. important is the investigation of inscrip- 5. Museums of musical instruments like the tions [any markings on the pipes, e.g., Musikinstrumentenmuseum in Leipzig or the pitch indications, maker’s marks, etc., Germanische Nationalmuseum in Nuremberg also influenced restorers. Both institutions offered known as Signaturen]. These are copied workshops and worked as training centers. Here a by hand and transferred to special doc- completely different style of education in restora- umentation sheets with information tion was put into practice. It was mainly this sys- describing their placement on each tematic work and type of documentation that pipe. A specific or unusual Signatur impressed the visiting organ builders. 6. Fritz Schild: Denkmal-Orgeln: Dokumenta- characteristic may also be photographed tion der Restaurierung durch Orgelbau Führer, in all octaves. (See illustrations.) 1974–1991, Teile I und II, Wilhelmshaven, 2005. Of course this investigation and 7. This arrangement, used in the report of recording of information must have rea- Hohenkirchen (1974), became the model for fur- ther reports and was modified several times. ‘Key sonable limits. While it is clear that Signatur on front of C pipe (Photo credit Signatur on front of C-sharp pipe (Photo and Stop action’ became one grouping, and ‘Tem- there are still more possibilities con- Uwe Pape) credit Uwe Pape) perament and Voicing’ were included in the cerning pipe documentation, it is grouping ‘Pipe work’. important not to strive for accuracies 8. Evangelisch-lutherische Landeskirche Han- novers, Rote Reihe 6, 30169 Hannover, Germany; that are beyond reasonable measure- Evangelische Kirche der Kirchenprovinz Sachsen, ment. We apply the principle: better no Am Dom 2, 39104 Magdeburg, Germany. data than incomprehensible or incorrect 9. Th. Kuhn AG, Seestr. 141, CH-8708 data. Rehn gives several examples such Männedorf, Switzerland; Johannes Klais Orgel- bau, Kölnstr. 148, D-53111 Bonn; Hermann Eule as wall thickness of small pipes and Orgelbau, Wilthener Str. 6, D-02625 Bautzen; pipes with coned-in feet. How many Alexander Schuke Potsdam Orgelbau, Otto- measurements are reasonable? Another Lilienthal-Str. 33, D-14542 Werder/Havel. example is the measurement of the 10. Wolfgang Rehn gives an extensive insight windway and the languid bevel. Here into his documentary work in the company of Theodor Kuhn Orgelbau: W. Rehn: “Dokumenta- one could demand a multiplicity of val- tion von Orgelrestaurierungen.” In W. Rehn ues at each languid. Further examples (Ed.): Dokumentation von Orgelrestaurierungen. are also the depth and placement of Berlin 2006, ISBN 3-921140-71-4, pp. 89–102. nicks, or which file profile has been used 11. Kristian Wegscheider, Bauernweg 61, D- 01109 Dresden. in the nicking process. These character- 12. See footnote 10. istics are much more relevant to a pipe’s 13. Examples for database systems to receive a sound than the second decimal place of biography of instruments in Northern Germany a scale’s diameter. Another example are ORDA (aedv.cs.tu-berlin.de/projects/orda/) and ORDA 2015 (www.orda2015.de). may be the analysis of the partials pro- Signatur on back of C pipe (Photo credit Signatur on back of C-sharp pipe (Photo 14. Examples are BAM = Bundesamt für Mate- duced by each pipe of an organ. Thus Uwe Pape) credit Uwe Pape) rialprüfung (Berlin) or EMPA = Eidgenössisches the actual tonal condition can be exactly Materialprüfungsamt (Zürich). These are state documented. But what is the use of a becomes a tool in the workshop: Deci- Summary owned agencies, but there are also private firms. documentation of the sound of dirty sions concerning allocation of and actu- Restoration reports should compile pipe work? We would have to measure al work on the pipes follow the descrip- and obtain as much meaningful infor- Prof. Dr. Uwe Pape studied mathematics the sound characteristics again after tion of the registers from the investiga- mation as possible. Rehn emphasizes and physics in Göttingen. He was a professor cleaning. And we have to do this yet tion in accordance with their manufac- that details should be written to explain of information systems at the Technical Uni- again after the restoration in order to turing method and Signaturen. Along that “We implemented the following— versity of Berlin from 1971–2001, also serv- document the result and any changes. with this process a classification table and these are our reasons.” Although ing as visiting professor at MIT in 1974 and Does this make sense? If we recognize may be provided to ensure an overview including such details may be viewed as 1984–85. His interest in organbuilding began that the third partial tone is weaker than during work on the project while also ‘make-work’ in connection with organ in the 1950s, during his student days in Göt- it was in the second measurement, what allowing a later comprehensive repre- restorations, one must admit that there tingen, when he encountered Paul Ott and his workshop. In 1959 he began an inventory do we do then? sentation of the project. may be a real need for such remarks in of the organs of Braunschweig. In 1962 he Demands and expenditure can This example shows how the docu- individual cases, and that how and why established an organbuilding history publish- become limitless in light of the possible mentation becomes to a certain extent a actions were undertaken should be ing house. He is the author of many mono- scientific measurements. The costs of by-product of the work. The other parts made clear in a report. Glossing over graphs in the field of north German organ the documentation of the pipe work of the organ are documented in the facts, rationales, and ideologies should construction. Since 1985 he has directed a alone in a large organ can thus easily same way during the restoration not be allowed. research group for the documentation of reach five- to six-digit Euro or dollar process. Apart from these remarks all As the financial support available for organs and organ restoration projects. He is a amounts. Therefore, in practice we minutes of meetings and the resolutions the documentation of a restoration is consultant for institutions in Berlin, Bremen, must limit ourselves to the values speci- of issues raised are also attached in this usually very limited, the organ builder Niedersachsen and Sachsen. fied above. These permit us to make an section of the report. must work as efficiently as possible. The G. Nicholas Bullat, D.Mus.A., J.D., exact copy if necessary. From these data approach described above provides a F.A.G.O., F.R.C.C.O., L.T.C.L, a former later substantial changes, e.g., changes 4. Implementation useful method and reasonable result. I Dean of the Chicago AGO Chapter, served as of cut-ups and toe-hole openings, are The last part of the restoration report chairman of the graduate studies division readily understandable. summarizes briefly which portions of *This article was edited by Dr. G. and organ and theory departments of the the plan were definitely implemented. Nicholas Bullat. American Conservatory of Music, Chicago, 3. Project Elaboration This part is deliberately brief because and for many years was minister of music at First United Church of Oak Park, Illinois. In this section of the report the more detailed reporting would result in Notes After retiring from performing and teaching results of the investigation process are additional expenditure that has no real 1. International Association for Organ Docu- in the early 1990s, he practiced securities law converted into a work program and its relation to the craftsmanship. It consists mentation e.V., Peer Schlechta, Postfach 103511, D-34035 Kassel, Germany; Technische at a large Chicago firm and was Vice Presi- documentation. Continuing the exam- mainly of references to necessary parts Universität Berlin, Fakultät IV, Forschungsstelle dent and Counsel at Harris Trust and Sav- ple of the pipe work, we can see how the of sections 2 and 3, and, if necessary, für Orgeldokumentation, Franklinstr. 28-29, D- ings Bank, Chicago, until his retirement in documentation at the same time supplements any deviations from plan. 10587 Berlin, Germany (aedv.cs.tu-berlin.de/ mid-2005. 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22 THE DIAPASON 2006 AGO National Convention Chicago, Illinois Edward Maki-Schramm, Joy Schroeder, W. James Owen, and Jerome Butera
In beginning a daunting task such as reviewing a national convention, I thought it best to canvas convention- goers for their reactions. Not surprising- ly, everyone asked had an opinion not only about the convention but also how the review should appear—easier than filling out the questionnaire tucked into the mammoth, 400-page convention book or losing it in the largest conven- tion bag of recent memory. I received all kinds of advice on not only content but also style: “Don’t let it be boring,” and “nothing too long.” In deference to them, I offer this con- cise opinion of convention events: Peter Gomes, Janette Fishell, Stefan Engels, Rollo Dilworth, the Bach Week Festival Orchestra, St. Clement Choir and Sophie-Véronique Cauchefer-Choplin— fabulous. 7:00 a.m. bus rides, long Fred Swann and Pleasant Rowland evening concerts that cut time away from the exhibits, competition with fireworks, No. 3 in A. The tuning of the instru- and the final concert—not so fabulous. ment was so excellent that upon hear- Bach Week Festival Orchestra at Holy Family Catholic Church If you’ve made it this far, perhaps ing it, I made a note to personally thank you’ll read a bit further for more details the organ technicians for their good City and its people. With cool, sunny about which she is passionate, and her and highlights. work. After reading the back page of skies and the help of a city map, we all choice of program, “Music That Moves,” the program and hearing President made our way to the various worship allowed her to be just that. While one Chicago Swann’s announcement that the his- opportunities made available. The ser- could argue her choices of interpretation Chicago—it was my kind of town. toric Skinner organ was inoperable and vice at St. James Episcopal Cathedral of the two Bach trios on Allein Gott in The love affair began the moment I we were listening to a Rodgers Model was packed, and began with the prelude: der Höh sei Ehr—especially the added arrived in the Loop. Organists from all 957, I crossed out my note. We were The Joy of the Redeemed by Clarence zymbelstern on the final cantus firmus over the world met in Chicago, July 2–6, duped by those enviable acoustics. Dickinson, well suited for the instru- entrance in the pedal, which I actually to convene for the 48th time. And At the meeting, things went as ment. The voicing was typically Victori- liked—one could only admire her sense Chicago was an excellent choice of city. smoothly as possible. These are the an, a bit tubby, but the use of color stops of skill and bravura. It was wished, how- Visitors to Chicago experience a virtual types of events where our president and full organ brought the full import of ever, that the organ was up to the organ- explosion of cultural activity, civic pride really shines. Fred Swann graciously the piece to the fore. Guest organist ist’s task. Out in the sanctuary near the and multicultural expression. The first and humorously guided us through Jonathan Oblander’s playing of altar, the sound did not carry, which was thing that struck me was the greenery. what could have been an interminably Sowerby’s Prelude on “Deus tuorum mil- surprising. It seemed to be the fault of There were parks everywhere—not just long meeting. The need and pressure to itum” made judicious use of the the building and not the organ. After all, tennis courts and country clubs like Los keep the meeting on time is immense. chamade. And it was gratifying to hear the organ comprises 117 ranks! The Angeles—but real parks with ample President Swann asked Dan Miller to Sowerby’s music at the prelude and his building carried all the upperwork but areas of grass and 29 miles of Lake cut his playing of the Fanfare by John Toccata at the postlude because of not much foundation. Michigan lakeshore in the heart of the Cook. This is just the behavior we try to Sowerby’s connection to Chicago. (For a Midwest. Organists sampled everything teach our clergy colleagues to avoid. In complete discussion of this connection Fourth Presbyterian Church from stunning architecture and world- turn, Miller must have felt that pres- one simply had to attend Robert Par- The other stellar recital of the morn- famous museums, churches and concert sure. It was disappointing to hear ris’s afternoon session, “Leo Sowerby: A ing was that given by Stefan Engels at halls, to lakefront parks and vibrant eth- Miller’s carefully prepared pieces Chicago Legend.”) The service of Morn- the Fourth Presbyterian Church. Here nic neighborhoods. rushed and cut. The acoustic just did ing Prayer that followed the prelude was was the perfect marriage of organist and The almost 3 million residents of not allow a rushed performance of executed exceedingly well by the clergy instrument. Engels’ thorough knowl- Chicago and the city’s organists and Bach’s Toccata, BWV 538. and musicians of the cathedral, Bruce J. edge of the organ from his time as an enthusiasts were hosts to over 2,000 Awards were given and noteworthy to Barber, II, director. The Reverend Joy assistant organist there allowed him a organists in some of the best weather for mention among all the awards is mem- E. Rogers, homilist, spoke with passion full expression of the extremely difficult which one could have asked. Chicagoans bership. Memberships were up, especial- leavened with humor. Her support and and complex repertoire. In Karg-Elert’s were approachable and helpful. Tem- ly in Singapore by 47.5%. A higher per- respect of church musicians and her Partita Retrospettiva III, op. 151, peratures were pleasant, which made centage of young people in attendance feeling of a shared call was welcomed by Engels made good and thoughtful use making use of the buses a bit easier as was noted several times at this conven- all. The most memorable line of her of the instrument, including the attendees had the expected lines waiting tion. The future of our craft seems to be homily was that she never told her music required harp and celesta, while manag- their turn to board. So thank you, Windy ensured for another generation. director “no.” ing extremely wide contrasting dynamic City, for one spectacular week. The recitals that followed the wor- ranges that included an extended use of It is impossible to attend every event Monday workshop ship services were the type where a the antiphonal organ in the rear gallery. at a convention in a city such as this. All afternoon sessions were marked recitalist’s tires hit the road, so to speak. It was simply the right piece on the right The varied opportunities and schedul- by their variety and diversity, and Mon- With the services beginning the day organ played by the right person. ing options leave each attendee with a day afternoon was no exception. The and the recitals starting shortly there- The commissioned piece by Naji slightly different experience. All con- “Celebration of Black Saints in Hymns” after, a recitalist has little or no time to Hakim that followed was a pure delight. vention attendees had an early shock on given by Wallace M. Cheatham was warm up to reduce any performance The Capriccio for Organ and Violin is a Monday morning when they had to start an incredible excursion into the lives of anxiety. And yet the two recitals that fine work. The crowd loved this piece boarding the buses at 7:00 a.m. I think Absalom Jones, Richard Allen, Martin morning were among the most well and expressed their appreciation to no one but organists would be asked to Luther King, Jr., St. Monica, Augustine played of the convention. Engels, violinist Yuan-Qing Yu, and final- board a bus for their first weekday ses- of Hippo, Simon of Cyrene, Cyprian of ly the composer who was in attendance. sion the day before a national holiday Carthage, and Philip the Evangelist. Dr. The piece has a clear form, a carefree when most people are in a vacation Cheatham’s enthusiasm for this treasury theme in an abridged sonata form that frame of mind. The buses were prompt, of hymnody was contagious. He pos- developed and kept a good balance and passengers quickly boarded for sessed a thorough knowledge of and between solo violin and accompaniment, their transportation to Valparaiso, Indi- passion for his selected material and and also allows the organ a few shining ana. At the annual meeting, attendees painted the picture and circumstances moments. The beginning, based loosely applauded G. Ronald Vanderwest, in which these saints were born. As on a dominant seventh chord, set the convention coordinator, and the con- Cheatham pointed out, they were not expectation of things to come. The work vention committee’s decision to get the derived from theological differences but leans toward romanticism with wit in the early day over early in the week. Little from the atrocities of our history. He middle percussive section. did we realize that we would be asked was very generous in giving all atten- The program concluded with Max again on Thursday to board buses at dees of the session a copy of all the Reger’s little-known Fantasie über den 7:00 a.m. Some people simply gave up hymns with permission to copy one of Choral “Straf’ mich nicht in deinem at that point and rejoined the conven- his works to distribute as widely as pos- Zorn,” op. 40/2. The work is typically tion midday. sible. After the afternoon sessions, con- dense, but in Engels’ capable hands it vention-goers dispersed for dinner and unfolded in a wave of tumultuous Monday, Annual Meeting either evening fireworks on the Navy sound. It was again Engels’ experience Rockefeller Chapel Pier, the NCOI Finals, or other events with the instrument that allowed him to The annual meeting at Rockefeller of their choosing. take full and convincing advantage of Chapel began the Monday afternoon Janette Fishell at the Flentrop organ, the piece’s contrasting sections of solo sessions. We were greeted on the lawn Tuesday Holy Name Cathedral stops and organo pleno. It was nothing by the sounds of the carillon and the St. James Episcopal Cathedral short of thrilling. impressive grounds of the chapel. After In contrast to Monday’s beginning, Holy Name Cathedral the official welcome by President attendees had to walk to all of the Tues- Janette Fishell at Holy Name Cathe- Tuesday workshop Frederick Swann, organist Dan day events. This was welcomed by most dral was up to the task, and played a The Tuesday afternoon sessions Miller played Mendelssohn’s Sonata as a way of getting to know the Windy flawless recital. Fishell plays music offered again a great variety. Rollo Dil-
DECEMBER, 2006 23 St. Clement Choir at First United Methodist Church, Evanston Final concert, Moody Memorial Church worth undertook “Gospel Music and discomfort of the concert, some very refreshing change from the Cathedral pointing. I understood where the con- Spirituals for Your Choir.” His focus was loud fireworks were set off near the Singers’ all-Latin program the night vention committee wanted to go with on introducing the works of newer, less- church. One had the feeling that we before. Randall Swanson, conductor, this event. As the celebratory culmina- er-known artists as well as the tried and were near Beirut. was energetic, clearly understood, con- tion of a national convention, it missed true. Clearly apparent was this man’s Despite all of these obstacles, the nected and at all times sensitive to the the mark. The organ did not speak well talent as a leader and director. His musicians met the high mark for which music and text. The choir has 32 singers, in the room, and the acoustical tile on charisma and skill brought out his their reputations are known. The Bach eight of whom were sopranos who sang the ceiling didn’t help. To make matters desired results from the attendees as Week Festival Orchestra played with all in a warm straight tone; the repertoire worse, Mickey Thomas Terry’s mem- they sang the pieces so generously pro- the stylistic interpretation appropriate alternated between a cappella and orized solo performance on the worst vided by the publishers. If your choir for the music: Orchestral Suite No. 3 accompanied works. Marie Rubis organ of the convention was not to the needs a kick in the pants, Dr. Dilworth and Brandenburg Concerto No. 5. Bauer provided superb accompani- level one would have expected. It sim- is your man. He knows his repertoire, David Schrader’s performance of the ment—she followed every nuance given ply was not on par with the prior perfor- and he knows what to do with it. Mozart Concerto was played flawlessly, by Swanson. This was no small task as mances of the convention. With missed entirely from memory. His command of she had to see around that massive con- notes and inappropriate rushed sec- Bach Week Festival Orchestra the harpsichord (not a piano!) was stel- sole. The choir displayed their artistic tions, added to the boredom of the audi- The Cathedral Singers lar. The Cathedral Singers, despite the mettle in Colin Mawby’s Ave verum cor- ence in a dimly lit sanctuary after a long One of the two concerts on Tuesday distractions of the fireworks and heat, pus. The contrasting, lush and expressive week at the convention, we simply did- evening featured the Bach Week Festi- sang accurately and seemed at ease. The portions of the work were handled most n’t care at that point. Dupré’s Varia- val Orchestra, Richard Webster con- women sang in straight tone but the ably by the choir, with muscle for the tions sur un Noël, op. 20, called the ducting, and the Cathedral Singers, choir still had a full and warm sound. fortissimo sections and sensitivity and most life out of the Reuter organ, even Richard Proulx conducting. Both grace in the pianissimo sections. though most of the movements were groups made some spectacular music Wednesday played under tempo. but the program was simply too long. In St. Luke’s, Evanston Thursday workshop The concert was salvaged by the the very hot Holy Family Roman Wednesday morning was spent in The final event of particular note was Chicago Community Chorus. The sec- Catholic Church with its many statues Evanston, where Thomas Murray the workshop given by Sophie- ond half of the concert began with an and light bulbs tracing the antebellum played at St. Luke’s Episcopal Church. Véronique Cauchefer-Choplin on impressive procession by the chorus, an architecture, many people suffered The Skinner organ, Op. 327, a.k.a. Thursday afternoon, “Improvisation in unauditioned chorus reflective of the what one attendee called “fanny “Lucille,” was in capable hands. She the French Manner,” a packed event in diversity that is Chicago. The procession fatigue.” The first half of the concert, seemed best suited for the final work of St. James Cathedral. Cauchefer- resulted in a crescendo as each choir which consisted of two major Bach the recital, Elgar’s Severn Suite tran- Choplin outlined the French education member was added to the chancel. The works and the Concerto in C Major of scribed by Murray. The crescendi and system; since 1968 one could choose choir’s sound is dark and robust, not Mozart, would have sufficed as the decrescendi were seamless, suave and interpretation, improvisation or both. unlike a good cabernet, with sopranos entire concert. It lasted one hour and 20 his playing dry but poised. And he man- She then went on in her wonderful who have gusto and stamina for days. minutes—and then a 20-minute inter- aged all of this with only five generals. accent to outline the graduated steps of Their charismatic conductor, Keith mission—and then another 45-minute learning and teaching improvisation. Hampton, was entertaining to watch. program by the Cathedral Singers. St. Clement Choir The crowd ate every word. Other than His choice to include two movements of Because the concert ran longer than First United Methodist Church, her gift for improvisation, which she Mozart’s Mass in C Minor was a curious expected, even by the performers and Evanston demonstrated, she was zealous to share one. Although the chorus handled the convention programmers, people com- The St. Clement Choir (of Chicago) her knowledge and passion for the art. work well, the pacing of the Gloria was plained that their shopping time was cut sang at First United Methodist Church, a bit pedantic and unlike anything else short. I was told the first half of the con- Evanston. I enjoyed this choir the most, Final concert in the program. Moreover, it seemed to cert was cut for the repeat performance if only for their diversified, impressive The final concert held at Moody prove their spirit as a community chorus on Wednesday evening. To add to the and still useful repertoire. It was a Memorial Church was, in a word, disap- as well as a possible symphony chorus. Where the chorus really shone was in the published works of their conductor and Moses Hogan. At only three years old, this chorus will be interesting to Log On and take the tour! watch grow and prosper. Dr. Hampton played the world pre- miere of the AGO Celebration Suite for Organ. This memorized performance ANNUAL AND ONE-TIME COPYRIGHT proved him to be an able player and was refreshing to hear, especially after the PERMISSIONS WITH THE first half of the concert. This commis- sioned piece by Sharon Willis was well CLICK OF A MOUSE proportioned, useful and improvisation- al in style. Of all the commissioned works for this convention, I highly rec- ommend this work and the piece by Naji Hakim. Note to future convention committees: choose your performers carefully; they really do sell the piece. Closing reception The final reception was chaotic and unnecessarily so. The ballroom was packed with extremely long lines wait- ing for liquor and food; all the while Paul Bisaccia played the piano and was largely ignored by the crowd. He tried • EASY—online permission and reporting to play above the noise of the assembly • ECONOMICAL—based on average weekend attendance to no avail. With long lines and a • THOROUGH—your favorite songs grumpy crowd, the convention ended in a whimper instead of a grand Amen. I • CONVENIENT—includes a growing list of publishers —Edward Maki-Schramm
Edward Maki-Schramm is director of music at Central United Methodist Church in LOG ON TODAY! WWW.ONELICENSE.NET Detroit, Michigan. He received the MMus and DMA from the University of Michigan
24 THE DIAPASON Gala opening concert at Orchestra Hall James O’Donnell at Valparaiso University and BMus from the University of Cincinnati, feller Memorial Chapel for the AGO College-Conservatory of Music. While a stu- annual meeting. In the worship service, dent he was the first place winner two years consecutively, 1994 and 1995, at the Jean and music of Bach (including the motet Broadus Staley Organ Competition in Organ Lobet den Herrn, alle Heiden, BWV Improvisation, sponsored by the American 230), Mendelssohn, Richard Proulx (a Center for Church Music. convention commission), and Richard In 2005, Dr. Maki-Schramm was the Webster (another commission) was organist for the Grammy Award-winning sung interspersed with hymns, readings recording of William Bolcom’s Songs of Inno- and a sermon by Rev. Peter Gomes. cence and Experience. In September 2004, Martin Jean, the Valparaiso University Maki-Schramm made his European debut playing a recital at the Schlosskirche in Bach Choir, Guild Chaplain Rev. Gre- Altenburg, Germany (the church of Johann gory Norton, the Dean of the Chapel Ludwig Krebs). In 2003 he was the organist Rev. Joseph Cunningham, and guild for the Detroit Annual Conference of the dignitaries were part of this service that United Methodist Church and was the organ- used historical and new ideas. ist for Ann Arbor’s Annual New Music Festi- After this, James O’Donnell gave a val featuring the music of composer-in-resi- recital of music by Michael Berkeley, J. dence Richard Webster. He performed the S. Bach, Augusta Read Thomas (con- commissioned work for the AGO Region V Convention in 1999, and in 1995 was a fea- vention commissions Angel Tears and tured soloist of the OHS national convention. Earth Prayers), Alain, Ad Wammes, and His recordings have been featured on Patrick Gowers. The Schlicker organ Pipedreams. He is now beginning his sixth was refurbished in 1996 by the Dobson year as Dean of the Ann Arbor AGO Chapter. Pipe Organ Builders and gained stops in For information:
DECEMBER, 2006 25 Choir of Trinity Church, Wall Street, at St. Mary of the Angels Hymn festival at St. Raphael Catholic Church, Naperville
Monday night featured a dinner and Wednesday, July 5 more “bright,” and was radically differ- gary, Gerald Near, the Marilyn Mason fireworks spectacular at Navy Pier, and On Wednesday morning, buses trav- ent from other hearings. library, Virgil Fox, AGO exam prepara- the NCOI Finals. Unfortunately, it was eled to Evanston and got lost on return, An audience rehearsal followed of tion, improvisation, fundraising, teach- impossible to attend both. so that we went many miles north, hymns from A Song of David by William ing, medical aspects of performance, instead of south, and some were late for Albright, and after intermission, choir, computers, reading sessions, Indian Tuesday, July 4 future events. Afternoon workshops conductor, organist Robert Ridgell, pipe organs, worship questions, and Tuesday was Chicago day, beginning covered organ restoration, music of narrators, and audience performed this regional conventions. with worship services at St. James Epis- Buxtehude, women composers, Canadi- haunting, seemingly unending, highly The closing concert was in a totally copal Cathedral, Fourth Presbyterian an composers, handbells, Reger, repetitious, extremely melodious, and different style, with an African-Ameri- Church, and Holy Name Cathedral. psalms, African-American organ music, emotionally moving, even draining, 75- can volunteer choir that has only been in Hearing the liturgical music of Albert children’s choirs, anthems, counter- minute work. existence for three years, and was a very Alain in the liturgy of the Memorial of point, assertiveness training, the new enjoyable experience to finish the week. St. Elizabeth of Portugal at Holy Name ELCA hymnal, teaching styles, reading Thursday, July 6 Chicago is a stunning city. The con- Cathedral made the service one of great sessions, and improvisation, plus there On Thursday, the buses left for vention was stunning with its near-per- beauty. The service featured organists were two Rising Star recitals and the Naperville, Wheaton, Lincoln Park or fection in music. Other than the endless Matthew Walsh, Ricardo Ramirez, NYACOP winner’s recital. Fox Valley. My bus got lost in the city. bus rides, I would love to return and do and Sophie-Véronique Cauchefer- On Wednesday evening, the choir of Thierry Escaich’s concert at St. Pauls it all again. Congratulations to the com- Choplin, and the Cathedral Gallery, Trinity Church, Wall Street, gave a per- UCC (no, it doesn’t have an apostro- mittees and all the hard workers for a Chamber and Women’s Schola of Holy formance at St. Mary of the Angels phe, for it is a direct and proud transla- fine convention! I Name choirs, with the Most Reverend Roman Catholic Church. After an intro- tion from German) offered music of —Joy Schroeder Joseph N. Perry, Auxiliary Bishop of duction to the Marshall and Ogletree, Tournemire, Messiaen, Escaich and Chicago, participating. Opus 1, Epiphany Series III/85 organ, Duruflé in the mezzo-forte to fortissi- Joy Schroeder, FAGO, teaches at the Flint Afternoon workshops were offered which was situated in the front of the mo range, with the improvisation on Institute of Music and the Monroe County Community College. She worked in church on music of Sowerby, the Netherlands, sanctuary, Owen Burdick, conductor “Yankee Doodle” at the end serving to positions for 36 years, and is now a substitute Wilhelm Middelschulte, Calvin Hamp- and organist at Wall Street, played show the soft flutes and strings of the organist and choir director. In 1999, she was ton, Colonial Mexico, organ methods, Bach’s Pièce d’Orgue, BWV 572, on a Aeolian-Skinner organ. the convention coordinator for the Region V gospel and spirituals, the musician-pas- Werckmeister III tuning that had been Going from a loud performance to convention held in Ann Arbor, spent six years tor team, AGO chapter endeavors, the set to sound “sweet” in G major. This the next, that of a nine-voice a cappella as the District Convener for Michigan, and is life of Russell Saunders, teaching organ, was a startling experience for this group in the reverberant St. Clement now the Education Coordinator for Region V repertoire, and a composer’s forum. reviewer, for it was truly “sweeter” and Church, made the ears twitter, for the and serves on the AGO National Committee This reviewer attended the workshop on very different from the standard equal tuning, vowels, selections, and blend of on Seminary and Denominational Relations. She has a DMA from The University of Michi- improvising hymns in jazz style, by long- temperament tunings, or even Werck- this group was excellent; this was a con- gan in organ performance and a MM from time convention exhibitor Joe Utter- meister in a C major home key; and it cert to remember, truly, forever. The Wayne State University in choral conducting. back, who distributed examples of his certainly could be argued to be an accu- group, Chicago a cappella, chose a var- improvisations on hymn tunes and per- rate historical event, for harpsichordists ied repertoire, and actually started the formed at the piano. changed tunings frequently in the concert twice, due to a mix-up in start- Tuesday evening, half of the conven- Baroque period. Only such a complex ing times, and buses arriving at differ- Hymn Festival tioneers went to the Bach Week Festi- instrument of the 21st century as the ent times from other venues. But they The hymn festival was held at St. val Orchestra concert—in the middle of Marshall & Ogletree instrument can could have started 50 times—it was a Raphael RC Church in Naperville. The what sounded like a war, but were fire- now be programmed to apply these magic moment. organ is a Berghaus (III/60), completed works just outside the church door—the alternate tunings, and present such an Again, on Thursday, workshops were in 2005, which incorporates portions of other half to Trinity Church Wall alternate listening experience. The presented. Offerings included music of a previous Kimball. The venue was Street’s concert. piece actually seemed more “major,” France, Karg-Elert, Hakim, Liszt, Hun- superb for a hymn festival, incorporat- ing natural light from many windows and a clerestory. The theme of the fes- tival, “Light from a Fire Within,” was enhanced by the marvelous, sparkling room. The quarry tile floor and lack of /44/ (%533 /2'!. 0!243 fabric and carpeting (minimal para- ments and two small flags) created a 4RADITION AND 0ROGRESS resonant space for hymn singing. Aaron David Miller played the ser- vice with great expertise and was assist- &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN ed by brass (Concordia University fac- CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND ulty), handbells (The Agape Ringers) ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS and the Heritage Chorale. A good vari- ety of tunes was provided, including “Splendor of God’s Brightest Glory” by /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY Dr. Miller, “Ermuntre Dich,” “Delig MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR Er Den Himmel Blaa,” “The Glory of EXPERIMENTS n lNDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP Christ,” by K. Lee Scott, an Iona song, MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES “Take, Oh, Take Me as I Am” and a rousing closing hymn, “When the Morning Stars Together” sung to the 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING tune, Weisse Flaggen. 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS Commissioned pieces included an organ work, People Look East, by Emily Maxson Porter, and Lyric Piece for %VERYWHERE AND AROUND THE WORLD handbells by Carl Wiltse and Donald /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING Allured. Choral anthems included Angelus and Take My Life by Dr. Miller. The readings continued the theme of “Light” throughout the festival. Excellent hymn accompaniments, /44/ (%533 'MB( n 'ERMANY including alternate harmonizations and interludes, were provided, along with a 0HONE n s&AX n cappella SATB stanza treatment and E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE with nice, full accompaniments for female voices on selected hymn stanzas, instead of the usual and obligatory thin
26 THE DIAPASON treble textures. This festival was so well dent in pleasing proportion throughout done that its overall impact surely was the program, and the improvisation on “better than the sum of its parts.” A the tune “Chicago” demonstrated tech- verse from Susan Palo Cherwien’s Music nical mastery and structural coherence, from Crossings best summarizes the and brought the audience to its feet. event: San Diego Civic Organist Carol There is a noble sound of pipes and voice Williams played an unusual program at That marries the mind and the heart St. Vincent de Paul Church on Thurs- That transfigures the spirit. day, July 6. Beginning with a virtuosic performance of the Liszt Prelude and House of Hope Choir with Glen Fugue on B.A.C.H., in a syncretic ver- Ellyn Children’s Chorus sion by Jean Guillou, the artist then The concert was a partnership offered the Six Sketches on Children’s between The Motet Choir of the House Hymns, op. 481, by Barrie Cabena, win- of Hope Presbyterian Church and the ner of the Holtkamp-AGO Award in Glen Ellyn Children’s Chorus. The Organ Composition, The Brothers venue was Grace United Methodist Gershwin arranged by Howard Cable, Church, Naperville. The choirs were and Toccata “Store Gud, vi lover deg” by conducted by Thomas Lancaster and Iver Kleive. Emily Ellsworth. Nancy Lancaster A veteran of numerous performances served as the organist. The organ is a at the outdoor Spreckels Pavilion, as well Reuter III/41 with a few digital 16v and as recitals worldwide, Williams was right 32v sounds. Solos were provided by San- Tom Trenney Scott Montgomery (photo credit: Karen at home with the eclectic program, play- dra Schoenecker, mezzo-soprano. The McFarlane Artists) ing with brilliance in the Liszt, tender- adult and children’s choirs each num- all rounds, specifications of the ness in the Cabena, playfulness in the bered around 35 singers. The children’s Austin/Skinner organ at St. James Church in Champaign, Illinois, and a Gershwin, and sheer enjoyment in the group included approximately five boys. Cathedral, statements from the prize master’s student of Dana Robinson at Kleive toccata. The venerable 1901 Lyon Works presented included an organ donors, and lists of NCOI committees, the University of Illinois. Second place & Healy organ has been under the care piece by Stephen Paulus, As If the previous judges, and composers was ($2,000 provided by John-Paul Buzard of Alfred J. Butler of New York City. Whole Creation Cried, which is move- made available to those attending the Pipe Organ Builders): Bálint Karosi, ment three from Triptych, and the semi-final and/or final rounds. This a native of Budapest, Hungary, and a Wolfgang Seifen played an all- choral works There Is No Rose by booklet also included 14 pages of themes student of James David Christie at the improvisation concert on the Opus 2207 Stroope and Psalm-Cantata (2000) by used in past competitions. Oberlin Conservatory. Third place Reuter organ (III/64) at Trinity United Frank Ferko. ($1,000 provided by the Noack Organ Methodist Church in Wilmette on The Stroope selection was memorized National Young Artists Competition Co. Inc.): Robert Horton, assistant Wednesday, July 5. The program con- by the children’s choir and contained a in Organ Performance professor of music at Dordt College, sisted of an improvised Symphony in Six beautiful accompaniment for piano and On Sunday, July 2, three organists Sioux Center, Iowa. Audience Choice Movements based on submitted themes. oboe. This challenging piece was sung competed in the final round of the prize: Scott Montgomery ($500 pro- Seifen amazed the audience with his with clear diction and good expression. National Young Artists Competition in vided by Martin Ott Pipe Organ Com- phenomenal technique, even combining The composer’s program notes for the Organ Performance at St. Paul’s United pany Inc.). The Reger Prize: Robert the submitted themes with patriotic Psalm-Cantata indicated that the work’s Church of Christ: Robert Horton, Bálint Horton ($500 provided by Jim Zinkhan tunes in honor of the recent holiday. Lis- “performing forces” include a mixed Karosi, and Scott Montgomery. Each and Heather Holowka). teners praised his phenomenal tech- chorus representing the past and present performed Bach’s Fantasy and Fugue in Judges for the final round were nique, energy, and command of the and a children’s chorus representing the G Minor, BWV 542, Georg Böhm’s Christa Rakich, Charles Tompkins, and organ, showing the wide variety of color future. Sections of the work alternated Vater unser im Himmelreich, and Max Christopher Young. in the recent installation. He was given between the two choirs and combined Reger’s Fantaisie and Fugue on “Wie an enthusiastic standing ovation. singing. The organ accompaniment was schön leuchtet der Morgenstern,” op. 40, Recitals very well played, and it provided nice no. 1. Competitors were allowed to com- St. Ita’s RC Church was the site of the The Morrison Duo, Jeannine Morri- color and relevance to the work, as a plete their program with a contemporary recital by Sophie-Véronique Cau- son, piano, and Alan Morrison, organ, whole. The Psalm and hymn texts built work of their choice. These were Cinq chefer-Choplin on Wednesday, July 5. played a recital at College Church in intensity from “Lord Who May versets sur le “Victimae Paschali” by Cauchefer-Choplin is titular at St. Jean Wheaton (Schantz Opus 2012, III/54), Dwell” to “Praise God, Hallelujah!” The Thierry Escaich, performed by Horton; Baptiste de la Salle in Paris and co-titu- on Thursday, July 6. The program aural accompaniments to these texts Two Portraits for Organ: I. György lar at St. Sulpice, Paris. Her program included Flying Fingers, Johnny Costa; were enhanced by visual elements con- Ligeti, II. Béla Bartók by Bálint Karosi, included Suite pour Orgue, Bédard; Pre- Sinfonia, op. 42, Dupré; Newmark Vari- sisting of bright red and black vests over performed by the composer; and Olivier lude (from Suite, op. 5), Duruflé; ations and Mountain Music, Harold white shirts worn by the children and by Messiaen’s “Les deux murailles d’eau” Mélodie Intérieure, Grunenwald; Résur- Stover; and Variations on a Theme by the organ grille/screen which was a and “Prière après la communion” from rection (from Symphonie-Passion), Paganini, Lutoslawski. One heard many flame motif beautifully executed in a Le Livre de Saint Sacrement, performed Dupré; and an improvisation on a sub- comments on Mrs. Morrison’s flawless reddish hardwood. by Montgomery. mitted theme (“Chicago”). piano technique and the overall polished —W. James Owen First place (The Lilian Murtagh The elegant French Gothic architec- performance of the duo in what proved (Reprinted from The American Memorial Prize: $2,000 cash award ture of the church was the perfect set- to be unfamiliar repertoire for most con- Organist with permission.) and career development assistance ting for Cauchefer-Choplin’s elegant vention-goers. from Karen McFarlane Artists, Inc., playing, and the Opus 2918 Wicks organ —Jerome Butera and a CD recording for the Pro (1949–50), rebuilt in 2002–03 by H. A. National Competition in Organ Organo recording label) went to Scott Howell, provided the necessary color Photos by Stephen Schnurr, with the Improvisation Montgomery, director of music and and brilliance for the program of French exception of those of Scott Montgomery The ninth National Competition in organist at Holy Cross Catholic works. Passion and delicacy were evi- and Tom Trenney. Organ Improvisation was held at St. James Episcopal Cathedral in Chicago. Five semi-finalists were chosen from 19 BALL STATE UNIVERSITY • MUNCIE, INDIANA preliminary round recordings. Judges for OPUS 45 • COMPLETED OCTOBER 2006 • 63 RANKS the preliminary round were Justin Bischof, Marianne Ploger, and Bruce Shultz. Five semi-finalists resulted from the recorded round: Steven Ball, Vin- cent Carr, John Karl Hirten, David J. Hughes, and Tom Trenney. Judges for the semi-final and final rounds were James Biery, Sophie-Véronique Cauchefer-Choplin, and Hans Davids- son. Richard Proulx composed original themes for the competition. The three finalists chosen to compete in the final round on Monday evening, July 3, were Vincent Carr, John Karl Hirten, and Tom Trenney. The first prize of $2,000, provided by the Holtkamp Organ Company, was award- ed to Tom Trenney, director of music and organist at First Presbyterian Church, Birmingham, Michigan. The second prize of $1,500, provided by Dobson Pipe Organ Builders, was awarded to Vincent Carr, a graduate organ student at Yale University’s Insti- tute of Sacred Music where he studies with Martin Jean. An audience prize of $1,000 provided by David and Robin Arcus and McNeil Robinson was award- ed to Tom Trenney. A 30-page souvenir booklet, which included a history of the NCOI competi- tion, competition criteria, semi-finalists’ 823 Massachusetts Avenue • Indianapolis, Indiana • 800.814.9690 • www.gouldingandwood.com biographies and photographs, judges for
DECEMBER, 2006 27 Westfield Center Conference Christ Church Cathedral, Victoria, British Columbia, Canada Herbert L. Huestis
Christ Church Cathedral, Victoria, British Columbia, Canada, and the Westfield Center, Orcas, Washington, presented an international conference entitled “Central/Southern European influences on Bach,” June 7–10, 2006. The conference celebrated the new cathedral organ by Hellmuth Wolff, Laval, Quebec, Canada, and honored organ virtuoso, historian and teacher, Harald Vogel, Osterholz-Scharm- beck, Germany. Edoardo Bellotti, “Frescobaldi–Pachel- bel–Bach” concert (Photo by Roger Sherman) The Westfield Center The Westfield Center is a national resource for the advancement of key- board music, serving professionals and the public since 1979. In pursuit of this goal, they host symposia to cele- brate major instruments of our day, and have sponsored more than 30 con- ferences. This year they met in Victo- ria to honor the career of Harald Vogel, noted organist and scholar, and a new organ built by Hellmuth Wolff for Christ Church Cathedral, Victoria, British Columbia. Wolff organ, Christ Church Cathedral, Victoria, British Columbia Erica Johnson and William Porter (Photo by Herb Huestis) The new Wolff organ I have dubbed this organ of 60 stops a “singing organ” because it stands nearly alone in its ability to bring to life the vocal effects and Italianate characteris- tics that infused the music of Bach and his predecessors. For Hellmuth Wolff, the creation of this organ was no small accomplishment. In fact, this master- piece caps a career that is filled with instruments of artistic merit. Delicate and well-balanced voicing is a hallmark of Wolff organs, and in this Ulrika Davidsson, performer on fortepi- case the organ matches the room per- ano, “From Father Bach to Papa fectly. Wolff has a reverence for histori- Haydn” (Photo by Roger Sherman) cal organs and is able to build in various styles for his clients and the contempo- rary buildings they offer. The musical requirements of Christ Church, Victo- ria, and inclinations of the builder came together when a design was chosen that followed the work of builders such as Holzhey and Riepp, who were linked to French, German, and Italian organ building practices in the 18th century. Michael Gormley, Hellmuth Wolff, Harald Vogel Hellmuth Wolff established his firm in 1968, after serving his apprenticeship The variety of stops is compelling, was outlined by Elizabeth Harrison, in Switzerland with Metzler and contin- both in flues and reeds. All are voiced assistant professor of music at Westmin- uing as a journeyman with Otto Hoff- with a sense of just the right volume so ster College in New Wilmington, Penn- man in Texas and Charles Fisk in Mass- that interplay between stops is remark- sylvania. She gave an inside look at the achusetts. In Canada, Wolff worked ably well balanced. Trumpets of all North German Organ Academy, the with Casavant Frères in the develop- national styles are available on each key- founding of which she described as his ment of their mechanical-action work- board and pedal, providing a tonal most pivotal accomplishment. Carole Terry, “Bach Influences on Cen- shop and subsequently worked in col- palette seen in few organs. Wolff has an tral and South Europe” concert (Photo laboration with Karl Wilhelm until he intuitive sense of proportion in the Recitals by Herb Huestis) started his own workshop in Laval, Que- placement of these reeds, so that vol- One should note that there are two bec. There, he heads an elite group of ume and stylistic variation work very audiences who have interest in an an improviser, which led him in this organbuilders who participated in the musically. He has taken great care in the event such as this, “those who were direction for the concert. He main- design and construction of this organ selection of pipework to amplify his seen and those who were unseen.” For tained that “since the repertoire of the over a period of several years. concept of the Holzhey organ style those who heard this amazing instru- 17th and 18th centuries has its roots in The organ comprises 61 stops, locat- found in southern Germany in the late ment and the recitalists who presented improvisational practice,” he could take ed in five divisions, including the pedal. 18th century. this organ literature in a vital way, this the opportunity to show off all the colors Three manual divisions begin with 16v report may serve to crystallize the of the organ. Italian influences were sub octaves, while the pedal has two The conference event itself. For those who were not immediately apparent, and Porter, like stops at 32v pitch. There is an abun- The conference topic, “South/Central able to attend, it is hoped that some all of the recitalists, concentrated on dance of unison tone on every level, and Influences on J. S. Bach,” grew out of idea of the freshness and originality of variation and ciacona forms. the harmonics of the pipework are advances in musical scholarship and these players will be communicated. Michael Gormley, Christ Church enhanced by both third- and fifth- organology that have increased the It is invigorating to see how a group Cathedral organist, and Erica Johnson, sounding mixtures spread over four key- understanding of influences of Pachel- of players could present varied aspects a student of Hans Davidsson, Eastman boards. Wolff was able to integrate bel, Frescobaldi, Kerll and others on the of this unusual organ in such a concert- School of Music, continued the concert character and variety into an extremely music of Bach. The celebration of the ed way. Harald Vogel praised the instru- series with an exploration of the breadth broad ensemble while at the same time work of Harald Vogel reaches to the ment as one of the finest of its type in of the instrument and a further presen- emulating vibrant examples of organ beginnings of the Westfield Center, the world, and each artist contributed a tation of Italianate aspects of the music style from times past. This sense of inte- founded by two of his early students, unique vision to the celebration of this and instrument. Johnson explored the gration is perhaps the strongest aspect Lynn Edwards Butler and Edward organ. One had the feeling that all concerto style and played with a light- of Wolff’s art. Pepe. This all culminates in the largest recitalists read from a similar script, ness and delicacy that characterized Spatial variety is a very strong charac- publication of the Westfield Center to with great attention paid to Southern subsequent recitals. Her theme for the teristic of this organ. The wide case with date: Orphei Organi Antiqui: Essays in influences on German music. recital was the dance—both in her play- Hauptwerk split on either side and Honor of Harald Vogel. This Festschrift William Porter, professor of organ ing style and aspects of the musical Oberwerk in the center provided brings together 21 articles and essays and harpsichord at the Eastman School styles of Italy and Germany. She charac- unique opportunities for registration at that delineate the Vogel personality as of Music, presented the inaugural con- terized this as a “pas de deux” where many volume levels by combining these well as performance practice, improvi- cert with a fresh idea that served the Italy led and Germany followed. two divisions into a large ensemble or sation, congregational singing, organ symposium very well. He designed his Indeed, Italian influences on German playing them separately. The Rückposi- restoration and organ culture. This work concert after the style that Bach himself music were the order of the day. tiv lies well forward of the rest of the was edited by Cleveland Johnson, used when he played, as described by Harald Vogel continued these ideas instrument and speaks directly to the professor of music history and dean of Forkel, his biographer. This showcases with toccatas, canzonas, a spectacular listener, creating a clear, three-dimen- the School of Music at DePauw Univer- the instrument rather than the reper- battaglia and the famous Capriccio sional sound. sity. Harald Vogel’s legacy as a teacher toire. Porter has a strong reputation as Cucu of Johann Kerll. His program
28 THE DIAPASON Clive Johnson presents Festschrift to Harald Vogel (Photo by Roger Sherman) Colin Tilney, performer on harpsichord (Photo by Roger Sherman)
that all of the recitalists had similar enchanted isle on the west coast of reed stops, such as Hautbois, goals: to show the full effect of this mag- North America. I suppose the only thing Krummhorn, Schalmey and Vox nificent new organ and to trace the that can be said is “You should have humana. The sound of the latter, a Voix beauty of the musical styles that made been there!” I Humaine after Dom Bédos, can easily their way from Italy to Germany in the be coloured by adding flutes at different 17th and 18th centuries and beyond. Herbert L. Huestis is a graduate of the pitches. Mr. Vogel’s improvisation was These musical influences were further Eastman School of Music, where he studied haute voltige—flying high, through all elaborated in noontime recitals by Colin organ with David Craighead 40 years ago. kinds of places unheard of—and con- After a stint as a full-time church organist, he Tilney, harpsichordist, and Ulrika studied psychology and education at the Uni- cluded his flight with the glorious roar Davidsson, fortepianist. Tilney explored versity of Idaho, where be obtained his Ph.D. of the trumpets! the Italianate forms and Davidsson fol- in 1971. He spent time as a school psycholo- A good number of the organ’s solo lowed J. S. Bach’s influence through C. gist, and was subsequently lured back into the possibilities where shown through P. E. Bach to Joseph Haydn. organ world and took up pipe organ mainte- William Porter’s delightful and poetic nance with his wife Marianne and son War- improvisations. The various flutes and Keynote addresses ren. Now retired, he spends more time tuning strings—typical for organs of Southern The academic side of the symposium pianos and reconditioning harpsichords. Germany and Austria—and the muta- centered on the presentation of a tions (there is a jeux de tierce in every Festschrift, Orphei Organi Antiqui by Improvisation jam session keyboard division, except for the Swell) Cleveland Johnson, to Harald Vogel on For many of us the culmination of were shown in a single piece, wonder- the occasion of his 65th birthday. The the symposium was the jam-session of fully constructed by a great player. publication (“Orpheus of the Historic the three improvisers by name of One could have thought that demon- Organ”) is a collection of 21 articles and Vogel, Porter and Bellotti. The demon- strating the mixtures might be a much essays. It features writings about Vogel stration was divided into three parts, more arduous task, but Edoardo Bellot- as teacher, performer and scholar, and first the reeds, second the solo possibil- ti brought us to new heights with his Gold leaf case decoration by Jacques deals with keyboard literature, perfor- ities and then the different organo magnificent demonstration. L’Italien (Photo supplied by Hellmuth Wolff) mance practice, improvisation, congre- pleno possibilities. Each organist was an inspired gational singing, organ restoration and Harold Vogel demonstrated the many Orpheus, playing with great power and reached a zenith with intense colors organ culture. different reed stops—there are six imagination—and each of them should found in his interpretation of the second Harald Vogel took the opportunity in trumpets at 8v pitch, four reed stops at have received an Olympic trophy! Biblical Sonata of Johann Kuhnau. In his keynote address to open up some 16v, and one 32v Posaune, besides softer —Hellmuth Wolff this organ he found a tonal palette with very interesting concepts regarding which to characterize the depression organ culture. He examined “organ tra- and madness of Saul as Kuhnau envi- dition” and outlined some rather subjec- A Gift Subscription to sioned it. Beauty was everywhere, but tive but important considerations. The more than that, the organ could com- most notable of these seemed to be the municate real emotion, passion and idea that somehow “traditions” were feeling, even fear and anxiety. carried from Bach through the 19th and THE DIAPASON Edoardo Bellotti, who teaches 20th centuries unbroken, when in fact, organ, harpsichord, and continuo play- they are deeply flawed in terms of play- The perfect holiday gift for ing in Trossingen, Germany, and Berg- ing style, registration and type of instru- amo, Italy, brought these recitals to a ment. He appealed to his listeners to + Organist colleagues climax with a presentation of Frescobal- look toward historical evidence to make di, Pachelbel and Bach. By limiting his decisions regarding playing style, rather + Students repertoire to three composers, he was than rely on old traditions that have + Teachers able to explore the styles of variation, been passed through many teachers and toccata and ciacona, building in the lis- students, with all the attendant changes + Choir Directors tener an expectation of both floridity in organ culture, of each period of time + Organbuilders and drive culminating in a rendition of and style of instrument. Bach’s Passacaglia and Fugue full tilt, Lynn Edwards Butler also presented with no resorting to the usual registra- a keynote address on the general topic Each month your gift will keep on giving by tional variation in the Passacaglia. His of organ examinations, which harkened performance was so musically varied, back to the celebration of the Paul Fritts providing the important news of the organ and and the organ so clear and delicate in its organ at Arizona State University and church music field. Send in the form below along ensemble that he could play the whole the topic of “The Historical Organ” pre- piece in a continuous, driving plenum. sented in 1993. with your check and know that your gift will be He was so convincing in this perfor- In a third keynote address, Keith just right. 847/391-1045; [email protected]. mance that he gave immediate credence Hill, the noted harpsichord maker, took to statements that Harald Vogel had a look at the psychological aspects of made, that organists are often the vic- artistic performance in a topic called $35 One Year tims of “bad traditions,” which they “The Craft of Musical Communication.” must rethink in order to fully appreciate This is a difficult subject, and he was (Foreign $45) this music. able to create the imagery to help his The final concert was a mix of vocal audience grasp important concepts and organ works in which Michael involved in music making. He outlined ------Gormley, director of the CapriCCio various building blocks of artistic per- Vocal Ensemble (of Christ Church formance so that some analysis could be THE DIAPASON Cathedral, Victoria) and Carole Terry, made of performers and their art. A cer- 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025 professor of organ at University of tain objectivity was welcome in an area Washington, Seattle, stood the confer- that is almost always purely subjective! FOR: ence topic on its head and presented a Masterclasses were provided by the Name concert entitled “Bach influences on artists, and of course there was the joy Central/South Europe.” These included of discovering all the various aspects of vocal works of Mozart, Bruckner, and the organ and its construction. Michael Street Reger, among others. Dr. Terry made a Gormley and the cathedral staff were final and climactic statement of what most gracious, and the setting in the City the organ could do with masterful ren- provincial capital of British Columbia ditions of the works of Max Reger. was magnificent. From a meeting in the State Zip Reger’s music gave a final contrapuntal parliament buildings on the first day to and harmonic lushness to the sound of high tea on the last, there was the con- From: this organ, whose 60 stops exhibited a stant infusion of Canadian culture and monumental heroism. Again, it seemed magnificent weather, found only on this
DECEMBER, 2006 29 Cover feature
J.H. & C.S. Odell Opus 645 United Methodist Church of Westport and Weston, Westport, Connecticut
From the builder I first looked over the 1968 Angell pipe organ at the United Methodist Church of Westport and Weston in the winter of 2005, having been recom- mended to the church by our friend K. Bryan Kirk. What we found in Westport was an organ with many pipes that were well made, but in some cases unusually constructed and, by our standards, only roughly voiced. The flue pipes were made mostly with a high content of tin. We suspect Tim Koelewijn was the orig- inal pipemaker. Just about everything else in the organ had been made by domestic and foreign supply houses. Overall, quality varied widely. Some things were very neatly done. Façade Great pipework Swell pipework Though by our standards not alto- gether under-scaled, the organ did suf- in our historic Opus 178 at St. Charles described our console at Westport as the wind reservoirs and organ case ele- fer in just about every other way from Borromeo in Brooklyn) was constructed “elegant and comfortable.” ments. In addition to overall mechanical the prevailing trends of the era when it and voiced. Over the course of the pro- My design of the façade was in part design and layout, I milled, built and was built. Wind pressures were low: less ject nearly every zinc pipe in the organ born of necessity. Since both the manu- finished the console and casework as than two inches in the Great and three made its way through our pipe shop: al and pedal principal stops were being well as handling most other finishing in the Swell. Looking at the original frozen metal caps were freed, tuning rescaled, new bass pipes would be duties. Working out of our pipe shop, stoplist, we noted that none of the cho- inserts and toes replaced, seams and required. We naturally needed to make Stewart Skates handled all pipe repairs. ruses in the organ were complete, scrolls repaired. Being left in a raw the most of the existing chamber space, Luc Ladurantaye of Lac Saguay, Que- though the organ did boast two Célestes state, many of the zinc pipes had an and one of the simplest ways to do that bec, built the new metal pipes to our and a triple-overblowing Zauberflöte. unsightly powdery white oxidation. We was by moving the basses of these stops specifications. Gordon Auchincloss The reed complement for the organ removed this, and gave all zinc basses a out into a façade. assisted in the wiring and final assembly consisted of a double-blocked French sealing coat of varnish to protect them. Every pipe in the façade is functional. of the console, and Thomas White style 8v Trompette (extended to 16v in The wind pressure of all manual The bass notes of the Great and Pedal assisted in windchest construction and the Pedal) and a 4v Rohr Shalmei. divisions was raised to a more moder- principals are polished aluminum, made wiring. John Williams, Thomas White, The windchest mechanism was a ate four inches. Holly, then pregnant to our specifications by Matters, Inc. of and myself handled the installation. problematic plunger-type solenoid sys- with our son Caleb, did her usual Hermosa, South Dakota. The pipes are Tonal finishing duties were divided tem that had been giving trouble for superb job of revoicing all the other arranged in three towers and two flats between Holly and myself, with occa- years. The console was a veneered ply- existing and new flue pipework, man- and the overall height of the case tops sional assistance from Richard Hamar wood supply house unit already years aging to do so before reaching her final out at 15 feet, mounted roughly 10 feet and Fred Heffner. beyond its life expectancy. The open trimester. During this past winter we above the sanctuary floor. The style of —Edward Odell contact switching system was dispersed joked more than once: which would be the casework is deliberately simple, so throughout the organ; some of its com- given birth first, our son Caleb or the as to be in harmony with the appoint- From the music director ponents had already failed. The wind organ for Westport? ments of the church sanctuary. In my third year as choir director and supply for the entire Great division was Where, before, the Great division of The façade performs a very important first year as organist of the United provided by a single 18w by 24w reservoir the organ had seven ranks, it had now function in giving one a visual focal Methodist Church of Westport and whose internal volume was largely dedi- eleven. To provide for this expanded point. It declares the organ present, and Weston, I was introduced to Edward cated to its curtain valve. division adequately, we built a new, urges one to consider it rather than Odell by K. Bryan Kirk, as we were in After an initial tuning of the organ, larger reservoir. The rest of the organ’s wonder from where behind the grille search of someone local to assume the the church’s new music director and wind system was rebuilt and reengi- cloth the organ might be. Its cruciform maintenance of our Angell pipe organ. organist, Todd Simmons, pressed me as neered as the new design required. arrangement also reflects elements of While I was not dissatisfied with the to what could be done to make the organ In dealing with the Swell division, sacred numerology: three towers with firm maintaining our organ at that time, better. I pointed out that the organ had again certain decisions seemed obvious. three pipes each for the Trinity, ten I knew it was only a matter of time mechanical and tonal issues, to be sure, The 4v Rohr Shalmei, only marginally pipes located within the inner flats for before a major overhaul was needed, but there was something to work with useful, was replaced with an 8v Oboe, the Commandments. and no one had ever made a complete here, some raw material, which with expertly voiced by Sam Hughes. Pro- The sanctuary space in Westport inspection and report on our instru- proper attention could be the basis for a ceeding as she did in the Great, Holly could be described as a postwar-mod- ment. Given the current condition of good pipe organ. In my wife Holly’s revoiced all of the existing Swell flues ernist take on the “Akron Plan,” less the our organ, I felt comforted in knowing words, the existing pipework possessed and voiced the new pipework for the adjoining Fellowship Hall. Four sets of someone local could resuscitate it at a “unrealized potential.” Swell flute chorus, which was complet- pews radiate from the altar and pulpit moment’s notice. 3 Weeks later we met with the trustees ed to 1 ⁄5v pitch. The existing Trompette up front, with organ and choir off to the After a thorough tuning and evalua- to present our findings, expecting that at was kept, though carefully cleaned up left. The space over the altar is open tion of the organ, I was encouraged by some point in the future funds could be and regulated in a cooperative effort with a ceiling height of approximately Mr. Odell’s report that although there raised to finance the organ project. One between Sam and Holly. 35 feet. This intersects with a lower A- were serious electrical and tonal issues can imagine my surprise when Mr. Sim- In our recently expanded East frame suspended transversely over the present, the pipes themselves were well mons called me a few weeks later to say Hampton shop I concentrated on the pews. From there the ceiling slopes made and could be repaired and voiced that a single anonymous donor had construction of the console, while our downward to the rear of the pews to (apparently for the first time ever) if we stepped forward. How soon could we shop foreman John Williams construct- meet a northeasterly facing wall that is had the means to fund an organ project. start? Thus we found ourselves sweating ed new windchests whose design was mostly glass. The floor is a simple con- Having just completed a fund-raising in the summer heat on a stretch of days first developed for our organ at St. crete aggregate. Thankfully, carpet was campaign for a new grand piano, our the following July, packing and remov- Ann’s in Bridgehampton. The unusual- absent. More simply described, it is a church did not have extra money to start ing the pipes that would become the ly short feet of the 8v old flute basses space with a great deal of cubic volume, an organ building fund-raiser, and we basis for our Opus 645. made for some interesting pipesetting. but not overly reverberant. felt uncomfortable asking the congrega- In the design process we developed a New offset chests were provided for Throughout the process we gave a tion to dig into their wallets again so new specification with input from K. everything save the original Pedal Sub- great deal of thought to what levels of soon. This was discouraging as we knew Bryan Kirk. We instinctively sought first bass, a mammoth mahogany affair that power would be appropriate for the var- that time was close at hand; in recent to meet the essential requirements of a only needed rebuilding. ious tonal resources of the organ. Our years our organ had become increasing- liturgical instrument, something we The new console was based on our concerns about sufficient tonal egress ly undependable. believe to be utterly crucial, especially current terrace-jamb design with several from the chambers were put to rest Not long after we began exploring in the case of smaller pipe organs. Given embellishments. Improvements on the when we experienced how well the these issues, it happened one Sunday the limited space for the organ, we felt a existing design include a slightly deeper organ spoke into the room. In the tonal morning that the entire organ pedal- two-manual scheme with few frills cabinet with an added horizontal stile, finishing process we were pleased to board suddenly made itself unusable. would be best. We resisted a request for raised panel work, additional applied discover how our scaling and voicing Having little alternative, I decided to digital augmentation, instead focusing moldings, hand-carved brackets, a two- decisions suited the space. With a well- play that morning’s service on the piano. on a design that would be pipe only. piece knee panel and solid walnut music balanced variety of 8v tone available, the This coming just a few weeks after Mr. Certain early decisions seemed obvi- desk, the latter being picture-framed organ easily leads congregational Odell’s presentation to our trustees, ous. Given the dry acoustic of the with the same quarter-sawn white oak singing in a variety of settings. there was (understandably) a certain church, the baseline scale of the Great used for the carcass and façade. Overall, we are very happy with what degree of panic, since we were totally chorus needed to be increased. This The console features an integrated we have achieved in Westport. I would unprepared financially to fund an organ chorus was also completed with the solid-state capture and control system be remiss not to mention others who project this soon. Even though our addition of appropriately scaled new with fully programmable features, have contributed to this project: my organ was one of the longest surviving 2 pipework from 2 ⁄3v pitch upward. The MIDI interface, and our standard com- wife and business partner Holly Odell Angell pipe organs in the area, we had cutup schedule of the existing Great plement of rear-fulcrum keyboards was responsible for revoicing all existing hoped (and expected) it to last longer. It capped flute was raised, arched, and the with basswood levers. The oblique pipework and voicing of new pipework. was more and more apparent that some- stop entirely revoiced. A new indepen- drawknob heads are a reproduction of John Williams built nearly all the wind- thing had to be done soon. Before we dent 4v Harmonic Flute (based on the our 19th-century design. Respected chests and was responsible for all even had a chance to strategize, I unique and very successful scale found organists who have played it have pipesetting. John and I collaborated on received a call the next day from the
30 THE DIAPASON J.H. & C.S. Odell Opus 645 United Methodist Church of Westport and Weston, Westport, Connecticut
Great (Wind pressure 4w) 8v Principal CC–AA en façade, otherwise 70% tin 61 pipes 8v Second Principal 1–12 from Principal 8v, 13–49 from Octave 4v 8v Bourdon 70% tin, arched cutup 61 pipes 8v Harmonic Flute 1–12 from Bourdon 8v, 13–61 from Harmonic Flute 4v 8v Gemshorn 70% tin, 2/3 taper 61 pipes 8v Gemshorn Céleste 70% tin, 2/3 taper 49 pipes 4v Octave 70% tin 61 pipes 4v Harmonic Flute 55% spotted metal, special Odell scale, harmonic at middle C 61 pipes 2 2 ⁄3v Quint 55% spotted metal 61 pipes 2v Super Octave 55% spotted metal 61 pipes III Mixture 55% spotted metal, 19-22-26 183 pipes Chimes 25 tubes Setting pipes in one of the two new Swell (Expressive, in existing chamber, wind pressure 4w) Swell windchests 16v Rohr Gedeckt wood, 13–61 from Rohr Flute 8v 12 pipes 8v Rohr Flute 70% tin, chimneyed 61 pipes 8v Gamba 70% tin, bearded 61 pipes 8v Gamba Céleste 70% tin, bearded 49 pipes Console 4v Spitz Principal 70% tin, 2/3 taper 61 pipes 4v Flute 55% spotted metal, 2/3 taper 61 pipes 2 was a bit dry for organ and choral music 2 ⁄3v Nazard 70% tin, capped and chimneyed to middle C 61 pipes 2v Block Flute 70% tin 61 pipes and congregational singing. Having 3 1 ⁄5v Tierce 55% spotted metal, 2/3 taper 61 pipes noted the difference in the acoustic 8v Trompette double blocked, French shallots, 56 reeds 61 pipes when the room was more fully occu- 8v Oboe dual taper resonators, English shallots, 49 reeds 61 pipes pied, I knew the challenge of filling the Tremulant room efficiently would be a mandate for the builder. Pedal Our task began to take shape. Meet- 16v Subbass wood 32 pipes ings were held and candidate builders 16v Rohr Gedeckt from Swell 8v Octave CC–GG# en façade, otherwise 70% tin 32 pipes were vetted. As work continued, a stop- 8v Bourdon extension, Subbass 12 pipes list began to emerge, while we kept in Shop foreman John Williams installing 8v Rohr Flute from Swell mind budget and space limitations. One gussets on the new Great reservoir 4v Choralbass extension, Octave 8v 12 pipes of my thoughts was to ask for a façade, 4v Flute from Swell as the previous organ had nothing visi- The Great also contains the 16v Trompette extension to Swell Trompette 12 pipes ble but for a console in a lowered pit in revoiced 8v Bourdon, now sounding 8v Trompette from Swell the choir area. I reasoned that a façade more like a continuo stop, suitable in 8v Oboe from Swell would reinforce the impression that the choral music or to accompany the 4v Clarion from Swell church was getting something new, bet- Swell’s cornet decomposée. The Composition: Great Mixture Couplers/Accessories ter and different. We agreed from the Gemshorn and its Celeste were 1 to 24 19 - 22 - 26 Great/Pedal 8-4, Swell/Pedal 8-4 beginning that the organ should remain retained for flexibility in accompany- 25 to 36 15 - 19 - 22 Great/Great 16-UO-4, Swell/Great 16-8-4, an all-pipe instrument. ing and providing more soft colors. 37 to 48 12 - 15 - 19 Swell/Swell 16-UO-4 After naming a few candidates, one The Swell received “the Odell treat- 49 to 61 8 - 12 - 15 12 generals, 6 divisionals per, 3 reversibles, tutti firm was clearly the most interested, ment,” in that all the pipework was 32 levels of memory, 12-step transposer experienced and willing to work with us revoiced. The flues, strings and muta- and on this organ. Having known the tions were all transformed by voicer Odells and their fine lineage of historic Holly Odell, and the reeds were pastor informing me that a donor wish- I was naturally curious about local pipe instruments as well as their excellent reworked to make a dramatic differ- ing to remain anonymous had left a very organs. Over the years, I became more work on new organs and various pro- ence. The strings and 8v Rohrflute now large check on his desk with the inten- familiar with the organ at a nearby jects over many years, I was happy to have more presence and can fully sup- tion of funding the organ project. church: the United Methodist Church welcome their presence. port the choir, as well as contribute to As has been elsewhere stated, our of Westport and Weston. The instru- The church had Edward and Holly the ensemble. The Swell cornet decom- previous instrument suffered from a ment was in poor mechanical condi- Odell give the organ a full tuning and posée is now nicely balanced, and the lack of tonal finishing and the pipes tion: it exhibited a failing combination submit a proposal for either rebuilding flutes have a more piquant character. themselves had never been voiced action, frequent ciphers, tuning insta- or a new organ. As the Odells looked The new 8v Oboe offers a nice color properly. The pipes being of relatively bility and other frustrations, even through the organ, they determined for softer choral accompaniment and small scale, we were used to a thin, though periodic maintenance was that a new console, chassis and electri- foundation combinations, as well as pro- shallow sound that did not possess given. Being a product of its time, it cal system would be required, and that viding a new solo stop. The existing 8v enough power to adequately fill our was very thin in sound, had little bass it would be possible to rebuild one Trompette, originally extended to 16v worship space, even when I registered response (as did the room) and few solo small windchest, but otherwise new for the Pedal, was also cleaned, revoiced full organ. At the start of the project, I colors. Most importantly, there was no windchests would be required through- and regulated into a stop that now had doubts as to whether any new sense of real ensemble, even when the out. By adding a façade for visual inter- serves a dual-purpose chorus/solo reed. organ would be strong enough, given tutti was drawn. The instrument was est, some new pipework and retaining The 16v octave, now reconditioned, the room’s difficult acoustics and the also limited in its dynamic range for about half the existing pipework adds more gravitas to the Pedal and the location of the organ chambers. Mr. choral accompaniment and congrega- (though carefully rescaled and full ensemble. Odell assured us that once the new tional singing, and was weak when try- revoiced), the organ could take on a The full ensemble now fills the organ was installed, we would be ing to blend with other instruments. new character that would be far more church worship space with a richer, amazed at the difference. Overall, the organ did not make a flexible and of greater quality than its warmer and well-blended tone. The One of the most impressive enhance- strong impact. predecessor. This concept, coupled softer sounds are more usable and ments with the new organ, aside from A few years later a new organist and with their thorough proposal, helped to possess a wider dynamic range, so the the exquisite façade, is the quality of choir director was hired, Todd Sim- land them the contract. possibilities for choral, vocal and sound as well as the power behind it. mons, one of my teaching colleagues As the new organ design was devel- instrumental accompaniment are We now have an instrument that ade- from the music school. As the organ oped, the specification was refined. greatly enhanced. quately leads our congregation in continued to deteriorate, he and the Among the ideas we discussed was the As a concerned observer, I paid close singing, as well as providing full, but church became even more disappointed clever suggestion to borrow the Great attention to the project throughout the subtle, accompaniment for the choir with the organ’s unreliability and mar- 4v Octave as an 8v Second Principal stop building process. The Odells always anthems. I can honestly say that at ginal tonal resources. Knowing I had on the Great, creating a secondary 8v welcomed my inquiries and kept all par- every step of the way, Mr. Odell and his done other consulting work, Todd asked Principal for smaller combinations. The ties informed with frequent pho- firm have not only met but exceeded me to work with him and the church stop could also be used to fill out foun- tographs from their shop. Once the my expectations with our new organ regarding the organ. Realizing the dation tone when needed. As we con- installation commenced, it was exciting and have gone above and beyond the inherent problems, both musical and tinued to explore various tonal issues, it to see how beautifully designed and well call of duty to deliver an instrument mechanical, we began an in-depth study was noted that the old organ had no soft made all components of the organ were, that is even better than the original pro- of what could be done to either rebuild reed color or solo flute color. Among both inside and out. During the tonal posal stated. or replace the organ with something other things, Odell suggested adding an finishing, it was gratifying to witness the It is a testament to his excellent work that would not only offer more tonal 8v Oboe and building a new Harmonic attention to detail in balancing each that not only do the trained musicians in possibilities but also fill the room and Flute, patterned after historic Odell stop and the various ensembles. Fur- the congregation appreciate this new excite the strong congregational singing examples, but carefully adapted for the ther, it was refreshing to hear from the pipe organ, even the untrained listeners potential we knew was there. flute scales at Westport. builder that materials and workmanship have noticed a huge improvement over As we talked, it was apparent that My early recommendations had were never an issue; they simply insist- 2 the previous instrument. One member virtually a new organ would be the included new 2 ⁄3v and 2v principal stops ed that in every aspect things be done (who at one time happened to be unsup- best option, although much of the to replace the existing flute-scaled 2v in thoroughly, with the highest level of portive of the project) admits that now existing pipework could be retained if the Great. The Odells suggested going attention to detail. she could not imagine our service with- it were rescaled, revoiced and placed further to install a new Mixture to cre- The organ is now in regular use and a out a pipe organ. The church is well on a new, reliable chassis. The organ ate a full Principal chorus, giving the series of dedication concerts have been pleased, as am I, and we celebrate at needed to be reliable and have a wider organ a sense of ensemble, a true planned. My thanks go to Edward and every Sunday service this work of art dynamic range, more tonal colors and plenum, something it never had. Holly Odell, their associates, to Todd courtesy of the firm of J.H. & C.S. Odell. a strong sense of presence in the Having listened to the result, I can Simmons and the United Methodist —Todd Simmons, organist and room. It had to strongly lead and state these stops create a truly full- Church of Westport and Weston, Con- music director, United Methodist accompany congregational singing and sounding principal chorus, finally inte- necticut, and the donor for having me Church of Westport and Weston sensitively render choral, solo and grating the instrument into the room. work with them in a collaborative effort instrumental accompaniment. The organ as conceived by the Odells to complete this important project to From the consultant From the outset, one of my pervad- has made a huge difference for hymn enrich the worship and outreach of this When I began teaching in 1988 at a ing concerns was the church’s acoustic, and repertoire playing and can now vibrant congregation. music school in Westport, Connecticut, which, while fine for chamber music, “ring the room” more effectively. —K. Bryan Kirk, advisor/consultant
DECEMBER, 2006 31 New Organs
bone; sharps are ebony. Levsen Organ Company, The organ is located in front of the Buffalo, Iowa stained glass window, where the sound St. Peter Lutheran Church, projects along the central axis of the Denver, Iowa church. The casework is made of solid In 1902, Carl Schmidt donated a white oak, compatible to this modern piece of land in the center of Denver, church. The pipe shades above the Iowa, to what is now St. Peter Lutheran pipes are motifs taken from the stained Church. Denver is a little town of about glass window, thus providing an acousti- 1700 residents north of Waterloo, Iowa, cal function as well as enhancing the where the church now stands. By 1912, visual appearance of the organ. the predominantly Swedish congrega- In order to achieve a satisfying tion recognized the need for a pipe tonal ensemble, various stops have organ to enhance their musical worship. been chosen from different schools of They purchased a 5-rank Hinners track- organ building. The St. Thomas Epis- er organ from Pekin, Illinois. This infor- copal Church organ mainly represents mation was disclosed by the Hinners the classic German and French orien- Opus List created by E. A. Broadway in tation with its principal choruses, 1962. The organ was rebuilt with new flutes, strings, and reed stops. The electric action in 1954 by the Wicks brilliant sound of the instrument can Company of Highland, Illinois, and be attributed in part to the tempera- three ranks were added at that time. By ment after Vallotti, which yields six the late 1980s, the organ developed pure fifths. The metal façade pipes serious problems with the relay; there- are 75% pure polished tin. Other fore, an organ committee was formed to metal pipes in the organ are an alloy explore their options. of 40% tin and 60% lead. This instru- Church member Marvin Schumach- ment has one wedge-shaped bellows er, although not on the committee, and a winding configuration that cre- made an important suggestion when the ates a flexible wind effect. decision to go ahead and rebuild the — Karl Wilhelm Inc. organ had been made. As the owner of Facteurs d’Orgues-Organbuilders the Schumacher Elevator Company and builder of passenger, freight, and other Karl Wilhelm Opus 155 elevators, he understood the need for St. Thomas Episcopal Church safety and reliability. He proposed that Berea, Ohio a digital relay would be most appropri- GREAT (C–gvvv 56 notes) ate. As his company’s website says, 16v Bourdon “Schumacher components are built to 8v Principal last,” and with that idea, the Levsen 8v Rohrflöte Organ Company of Buffalo, Iowa, 4v Octave which had serviced the instrument since 2 2 ⁄3v Quinte around 1970, was awarded the contract 2v Superoktave 3/ to rebuild and enlarge the organ using a 1 5v Terz 1/ digital relay system. 1 3v Mixtur IV 8v Trompete Levsen Organ Company expanded the romantic instrument to include a 2v SWELL (C–gvvv 56 notes) Fifteenth, III Mixture, 8v Trompette, 4v 2 8v Salicional Gemshorn in the Swell and a 2 ⁄3v 8v Celeste TC Nazard in order to provide more color- 8v Hohlflöte ful ensembles. The church opted to 4v Spitzflöte keep all the organ pipes in the chamber 2v Doublette 1/ rather than expose them. The entire 15 1 3v Larigot 8v Oboe ranks are now under expression and are Tremolo successful in leading the congregation in hymn singing and worship. Karl Wilhelm Inc., Mont St. Hilaire, divisions: the Great, above the impost, PEDAL (C–fv 30 notes) Organist August Knoll of Wheatland, Québec, Canada, Opus 155 the Swell, enclosed in its own case 16v Subbass Iowa had served as a consultant with St. Thomas Episcopal Church, behind the main organ, and the Pedal, 8v Offenflöte proposals for enlarging and making Berea, Ohio 4v Choralbass with the Great except for the Subbass 16v Posaune these changes, and performed the dedi- The new organ at St. Thomas Episco- 16v and Posaune 16v, which are of poplar 8v Trompete (Great) cation service. pal Church is built according to classical wood and are on both sides behind. —Tamara Fudge, D.Mus. principles. Key and stop action are There are 21 stops and a total of 1156 One manual coupler and two pedal couplers Moline, Illinois mechanical. The organ consists of three pipes. Natural keys are plated with cow Zimbelstern with 8 bronze bells GREAT 8v Open Diapason 8v Melodia 8v Dulciana 4v Octave 4v Concert Flute (12 pipes) 2v Fifteenth III Mixture 8v Trompette (Sw) SWELL 8v Stopped Diapason 8v Salicional 8v Vox Angelica (TC) 4v Gemshorn 2 2 ⁄3v Nazard 2v Gemshorn (12 pipes) 16v Fagott (TC, ext) 8v Trompette 4v Oboe Tremolo PEDAL 32v Resultant (32 notes) 16v Bourdon 16v Lieblich Gedeckt (12 pipes) 8v Open Diapason (Gt) 8v Bassflöte (12 pipes) 4v Choralbass (Gt) 16v Trompette (12 pipes) 8v Trompette (Sw) 4v Oboe (Sw)
For information on sponsoring a color cover of THE DIAPASON, con- tact Jerome Butera, Editor, THE DIAPASON, phone: 847/391-1045; e-mail: [email protected]
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Pickle Piano & Church Organs David Lamb; Central Presbyterian, Louisville, Bloomingdale, IL This calendar runs from the 15th of the month KY 7 pm of issue through the following month. The deadline is the first of the preceding month (Jan. 1 for 20 DECEMBER Feb. issue). All events are assumed to be organ John Scott; St. Thomas Church Fifth recitals unless otherwise indicated and are grouped Avenue, New York, NY 6:15 pm Christopher Babcock within each date north-south and east-west. •=AGO Matthew Glandorf; St. Mark’s, Philadelphia, chapter event, • •=RCCO centre event, +=new PA 12:45 pm organ dedication, ++= OHS event. St. Andrew’s by the Sea, Information cannot be accepted unless it spec- 21 DECEMBER Hyannis Port ifies artist name, date, location, and hour in writ- William Atwood; Church of the Holy Family, ing. Multiple listings should be in chronological New York, NY 12:45 pm Christ the King, Mashpee order; please do not send duplicate listings. THE Todd Wilson, with Burning River Brass and DIAPASON regrets that it cannot assume responsi- Cleveland Orchestra Youth Chorus; Severance bility for the accuracy of calendar entries. Hall, Cleveland, OH 8 pm
22 DECEMBER Wesley Hall; Trinity Church, Boston, MA UNITED STATES 12:15 pm East of the Mississippi Paul Bisaccia, piano; Chatfield, West Hart- ford, CT 7:45 pm 15 DECEMBER Michael Kleinschmidt & Richard Webster; 23 DECEMBER Trinity Church, Boston, MA 12:15 pm Ronald Stolk; Franciscan Monastery, Wash- Adventori; St. Bartholomew’s, New York, NY ington, DC 12 noon 7:30 pm Christmas choral concert; First Presbyterian, 24 DECEMBER Birmingham, MI 7:30 pm Lessons & Carols; Camp Hill Presbyterian, Atlanta Boy Choir; Peachtree Road United Camp Hill, PA 5 pm, 7 pm, 9 pm Methodist, Atlanta, GA 7:30 pm, also 12/16 Lessons & Carols; St. John United Methodist, Sursum Corda; Cathedral Church of the Augusta, GA 10:30 pm Advent, Birmingham, AL 12:30 pm Lessons & Carols; Rockefeller Memorial Chapel, Chicago, IL 4 pm 16 DECEMBER Choral concert; Cathedral of St. Paul, St. Adventori; St. Bartholomew’s, New York, NY Paul, MN 10:45 pm 7:30 pm 29 DECEMBER 17 DECEMBER Ray Nagem; Trinity Church, Boston, MA The Chorus of Westerly; Kent Hall, Westerly, 12:15 pm RI 4 pm, 6 pm, 8 pm Lessons & Carols; South Church, New 30 DECEMBER Britain, CT 4 pm ARTEK; St. Bartholomew’s, New York, NY Bach, Christmas Oratorio; St. Bartholomew’s, 7:30 pm New York, NY 3 pm Handel, Messiah; Trinity Church, New York, 31 DECEMBER NY 3 pm Lessons & Carols; Church of the Advent, Lessons & Carols; The Presbyterian Church, Boston, MA 5 pm Irvington-on-Hudson, NY 4 pm Scott Lamlein; Wesley United Methodist, Lessons & Carols; The Church of the Holy Worcester, MA 5 pm Trinity (Episcopal), New York, NY 4 pm Bach, Brandenburg Concerti; St. Bach, Magnificat; Holy Trinity Lutheran, New Bartholomew’s, New York, NY 8 pm York, NY 5 pm William Trafka; St. Bartholomew’s, New David Arcus; St. Thomas Church Fifth York, NY 11 pm Avenue, New York, NY 5:15 pm Choral Evening Prayer; Church of the Immac- Lessons & Carols; St. Peter’s Episcopal, Mor- ulate Conception, Montclair, NJ 8:30 pm ristown, NJ 11:15 am Sumner Jenkins; Washington National Advent Lessons & Carols; Christ Church, Cathedral, Washington, DC 5 pm New Brunswick, NJ 6 pm Thomas DeWitt; Morrison United Methodist, Andrew Scanlon, with choir; Heinz Memorial Leesburg, FL 8 & 10 pm Chapel, University of Pittsburgh, Pittsburgh, PA •Mary Vessels, Keith Norrington, Linda 3 pm DeRungs, David Lamb, Judith Miller, Gary Singing Boys of Pennsylvania; St. John Union Pope, Theresa Bauer; St. Mary’s RC Church, Church, Lehighton, PA 4 pm New Albany, IN 7 pm Choral concert, with orchestra; St. Paul’s Episcopal, Doylestown, PA 4 pm 5 JANUARY Advent Lessons & Carols; St. John’s Episco- Amanda Mole; Trinity Church, Boston, MA pal, Hagerstown, MD 10:15 am 12:15 pm Mozart, Vesperae Solennes de Confessore; Epiphany Evensong; Emmanuel Church, First Presbyterian, Lynchburg, VA 5 pm Chestertown, MD 6 pm Lessons & Carols; Grace Episcopal, The Plains, VA 5 pm 7 JANUARY Lessons & Carols; Cathedral Church of St. Amanda Mole; Wesley United Methodist, Paul, Detroit, MI 4 pm Worcester, MA 12:15 pm James Metzler, with choir; Park Congrega- Choral Evensong; Trinity Church, Hartford, tional, Grand Rapids, MI 4 pm CT 5 pm Holiday brass concert; First Presbyterian, Jack Grebb; Christ Church, New Brunswick, Birmingham, MI 7:30 pm NJ 6:30 pm, following 6 pm choral vespers Alvin Blount, with brass and choir; St. John Singing Boys of Pennsylvania; Gate of Heav- United Methodist, Augusta, GA 3 pm Choral concert; Cathedral of St. Philip, en Catholic Church, Dallas, PA 4 pm Atlanta, GA 3:15 pm Menotti, Amahl and the Night Visitors; Grace David Lamb; St. Meinrad ArchAbbey Church, Episcopal, The Plaines, VA 5 pm St. Meinrad, IN 3 pm Choral Festival; St. John the Evangelist, Sev- South Bend Chamber Singers; Church of Our erna Park, MD 7 pm Lady of Loretto, Notre Dame, IN 7:30 pm Choral concert; St. Paul’s Episcopal, Win- Christmas concert; First Presbyterian, Arling- ston-Salem, NC 5:30 pm ton Heights, IL 4 pm Guy Bovet; Cathedral of St. John the Evan- OBERT LASGOW Anonymous 4; St. James Episcopal Cathe- gelist, Cleveland, OH 2:30 pm RAntoneG Godding Antone Godding dral, Chicago, IL 4 pm Karel Paukert, Messiaen, La nativité du PROFESSOR EMERITUS Bach, Cantata 91; St. Luke Church, Chicago, Seigneur; St. Paul’s Episcopal, Cleveland Nichols Hills Nichols Hills IL 4 pm Heights, OH 3:45 pm TheUnited University Methodist of Michigan Church United Methodist Church Jim Fackenthal, carillon; Rockefeller Chapel, Choral Evensong; St. James Episcopal OklahomaAnn Arbor City Oklahoma City Chicago, IL 5 pm Cathedral, Chicago, IL 4 pm Choral concert; Cathedral of St. Paul, St. Paul, MN 3 pm 8 JANUARY Paul Bisaccia, piano; Avery Heights, Hart- LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. 18 DECEMBER ford, CT 7:30 pm Paul Bisaccia, piano; The Gables, Farming- A two-inch ton, CT 2 pm 9 JANUARY Associate Professor Christmas carol sing; St. Bartholomew’s, New Kirby Koriath; Ball State University, Muncie, Professional Card York, NY 6 pm IN 7:30 pm University Organist Norma Stevlingson; Church of St. Louis, in THE DIAPASON 19 DECEMBER King of France, St. Paul, MN 12:35 pm Valparaiso University For information on rates and Ray Cornils, with choir and brass; Portland Valparaiso, IN specifications, contact: City Hall, Portland, ME 7:30 pm 10 JANUARY Handel, Messiah; Trinity Church, New York, Stephen Tharp; St. Ignatius Loyola, New www.valpo.edu NY 6 pm York, NY 7:30 pm Jerome Butera Christmas concert; St. Bartholomew’s, New [email protected] 219-464-5084 York, NY 7:30 pm 12 JANUARY 847/391-1045 Choralaires; Park Congregational, Grand Isabelle Demers; Trinity Church, Boston, MA [email protected] Rapids, MI 12:15 pm 12:15 pm
DECEMBER, 2006 33 13 JANUARY 27 JANUARY The Chorus of Westerly; Kent Hall, Westerly, Samuel Carabetta; Franciscan Monastery, RI 1 pm, 4 pm, 8 pm Washington, DC 12 noon Eric Plutz; Franciscan Monastery, Washing- Scott Montgomery, masterclass; Opperman ton, DC 12 noon Music Hall, Florida State University, Tallahas- see, FL 10:30 am 14 JANUARY Andrew Scanlon; Cathedral of St. Philip, Emanuele Cardi; St. Thomas Church Fifth Atlanta, GA 3:15 pm Avenue, New York, NY 5:15 pm •Choral Festival; St. Mark’s United Church of Grant Moss; Christ Church, New Brunswick, Christ, New Albany, IN 3 pm NJ 6:30 pm, following 6 pm choral vespers Susan Jane Matthews; Washington National 28 JANUARY Brian Jones Cathedral, Washington, DC 5 pm John Scott; St. Thomas Church Fifth Director of Music Emeritus Gillian Weir; First Baptist, Fort Lauderdale, Avenue, New York, NY 5:15 pm FL 4 pm Leon Couch III; Christ Church, New TRINITY CHURCH An Epiphany Procession; Cathedral Church Brunswick, NJ 6:30 pm, following 6 pm choral of St. Paul, Detroit, MI 4 pm vespers BOSTON John Behnke; Concordia University Wiscon- Carol Williams; Covenant Presbyterian, Fort sin, Mequon, WI 3:30 pm Myers, FL 4 pm Choral concert, with orchestra; Evangelical Hilliard Ensemble; Harkness Chapel, Case Lutheran Church of St. Luke, Chicago, IL 4 pm Western Reserve University, Cleveland, OH 3 pm Samuel Melson; John Wesley United Brian Jones 16 JANUARY Methodist, Cincinnati, OH 4 pm Cj Sambach; Highland Presbyterian, Lan- Martin Jean; Hyde Park Community United Director of Music Emeritus caster, PA 9 am, 10:30 am, 1 pm School INfor- Methodist, Cincinnati, OH 4 pm TRINITY CHURCH mances Atlanta Baroque Orchestra; Peachtree Road Melanie Ohstad; Church of St. Louis, King of United Methodist, Atlanta, GA 3 pm BOSTON France, St. Paul, MN 12:35 pm Paul Jacobs; Nardin Park United Methodist, Farmington Hills, MI 2 pm 17 JANUARY Marilyn Mason; St. Paul’s United Methodist, Jessica French; Woolsey Hall, Yale Univer- Rochester, MI 4:30 pm DAVID K. LAMB, D.MUS. AVID AMB D.MUS. sity, New Haven, CT 12:30 pm Todd Wilson; St. Mark’s Episcopal Cathe- DDAVID K.K. LLAMB,, D.MUS. Cj Sambach; Highland Presbyterian, Lan- dral, Shreveport, LA 4 pm Director of Music/Organist Director of Music/Organist caster, PA 7 pm Director of Music/Organist Craig Cramer; Reyes Organ Hall, University 30 JANUARY First United Methodist Church FirstFirst UnitedUnited MethodistMethodist ChurchChurch of Notre Dame, South Bend, IN 8 pm Huw Lewis; Dimnent Memorial Chapel, Hol- Columbus, Indiana Columbus,Columbus, IndianaIndiana land, MI 7:30 pm 812/372-2851 812/372-2851 18 JANUARY Sumner Jenkins; Church of St. Louis, King 812/372-2851 Schola Cantorum; Sprague Memorial Hall, of France, St. Paul, MN 12:35 pm Yale University, New Haven, CT 8 pm Christopher Babcock; Church of the Holy 31 JANUARY Family, New York, NY 12:45 pm Ryan Jackson; Woolsey Hall, Yale Universi- Nancianne Parrella, with violin and cello; St. ty, New Haven, CT 12:30 pm JAMES R. METZLER Ignatius Loyola, New York, NY 7:30 pm Paolo Bordignon; St. Bartholomew’s, New Presidio Saxophone Quartet; St. Paul’s Epis- York, NY 7:30 pm TRINITY CATHEDRAL copal, Chattanooga, TN 7 pm LITTLE ROCK 19 JANUARY UNITED STATES Heinrich Christensen; Trinity Church, West of the Mississippi Boston, MA 12:15 pm Schola Cantorum; Sprague Memorial Hall, 15 DECEMBER Yale University, New Haven, CT 8 pm Frederick Grimes; All Saints’ Episcopal, Fort Paul Jacobs; St. Petersburg College, St. Worth, TX 7:30 pm JJAMES R. METZLER Petersburg, FL 7:30 pm Britten, A Ceremony of Carols; Cathedral Josh Perschbacher; St. Luke’s Episcopal, Church of St. John, Albuquerque, NM 7 pm PARKTCRINITYONGREGATIONALCATHEDRALCHURCH Atlanta, GA 7:30 pm Christmas carol sing-along; Trinity Episcopal, Santa Barbara, CA 7:30 pm GRAND RAPIDS, MICHIGAN Ken Cowan; St. James Episcopal, Fairhope, LITTLE ROCK AL 7:30 pm 17 DECEMBER 20 JANUARY Choral Service of Shelter; Episcopal Church of the Resurrection, Eugene, OR 5 pm Schola Cantorum; Woolsey Hall, Yale Univer- Mark Bruce; Cathedral of St. Mary of the sity, New Haven, CT 8 pm Assumption, San Francisco, CA 3:30 pm Nathaniel Dett Chorale; St. Bartholomew’s, David Higgs; Davies Symphony Hall, San New York, NY 3 pm Francisco, CA 7 pm Daniel Sullivan; St. Norbert Abbey, De Pere, Alison Luedecke, with Millennia Consort and WI 2 pm the St. James Choir; St. James-by-the-Sea John Behnke, handbell workshop; Concordia Episcopal, La Jolla, CA 4 pm University Wisconsin, Mequon, WI 9 am 18 DECEMBER 21 JANUARY Christmas carol service; Cathedral of the William Ness, with harp and flute; First Bap- Madeleine, Salt Lake City, UT 8 pm, also 12/19 tist, Lexington, MA 4 pm Peter Togni, with bass clarinet and cello; St. 20 DECEMBER Bartholomew’s, New York, NY 3 pm Christmas Lessons & Carols; Cathedral Kent Tritle, with trombone; St. Ignatius Loy- Church of St. John, Albuquerque, NM 7 pm ola, New York, NY 4 pm Gail Archer; St. Thomas Church Fifth 24 DECEMBER Avenue, New York, NY 5:15 pm Christmas carol service; Cathedral of the David Shuler; Christ Church, New Madeleine, Salt Lake City, UT 4 pm Brunswick, NJ 6:30 pm, following 6 pm choral Christoph Tietze; Cathedral of St. Mary of vespers the Assumption, San Francisco, CA 3:30 pm Cathedral Church of St. John David Higgs; Duke University Chapel, q q x Durham, NC 5 pm 27 DECEMBER Mary Mozelle Albu uer ue, New Me ico Paul Jacobs; Our Lady of Hope, Port www.stjohnsabq.org Messiah Sing-Through; Episcopal Church of Associate Organist 505-247-1581 Orange, FL 3:30 pm the Resurrection, Eugene, OR 7 pm David Hurd; Christ Church Cathedral, Nashville, TN 4 pm The National 31 DECEMBER Jonathan Dimmock; St. James Episcopal Christmas Lessons & Carols; St. Stephen’s Presbyterian Church Cathedral, Chicago, IL 4 pm Presbyterian, Fort Worth, TX 10 am Wa shington, D C Christoph Tietze; Cathedral of St. Mary of 23 JANUARY the Assumption, San Francisco, CA 3:30 pm 703.898.9609 Kirsten Uhlenberg; Church of St. Louis, King James Welch; St. Mark’s Episcopal, Palo of France, St. Paul, MN 12:35 pm www.PipeOrganPro.com Alto, CA 8 pm
“The Sights and Sounds 24 JANUARY 5 JANUARY Iain Quinn Maxine Thevenot William Trafka, with orchestra; St. Bruce Neswick, hymn festival; First United of the Pipe Organ” O - Director of Associate rganist Bartholomew’s, New York, NY 7:30 pm Methodist, Dallas, TX 7 pm Cathedral Music Choir Director Mark Robson, organ and harpsichord; Trinity 25 JANUARY Lutheran, Manhattan Beach, CA 12:15 pm Choral concert, with violin; Church of St. Luke Epiphany Evensong; All Saints’ Church, Bev- in the Fields, New York, NY 8 pm erly Hills, CA 7:30 pm Cathedral Church of StA. John four-inch Albuquerque, New Mexico A two-inch 26 JANUARY 7 JANUARY www.stjohnsabq.org Michael Smith; Trinity Church, Boston, MA Charles Callahan; Cathedral Basilica of St. 505-247-1581Professional Card 12:15 pm Louis, St. Louis, MO 2:30 pm Professional Card Judith Hancock; Emmanuel Church, Bach Vespers; Christ the King Lutheran, in THE DIAPASON Chestertown, MD 8 pm Houston, TX 5 pm in THE DIAPASON Todd Wilson; Christ United Methodist, Choral Evensong; Cathedral Church of St. For information on rates and Greensboro, NC 7:30 pm John, Albuquerque, NM 4 pm No additional charge for photos Scott Montgomery; Opperman Music Hall, David Hatt; Cathedral of St. Mary of the specifications, contact: Florida State University, Tallahassee, FL 8 pm Assumption, San Francisco, CA 3:30 pm Tom Trenney, silent film accompaniment; Epiphany Lessons & Carols; Cathedral of St. For information on rates and specifications,Jerome Butera contact University of Louisville, KY 8 pm Mary of the Assumption, San Francisco, CA [email protected] The Magic City Concert Choir; Cathedral 5:30 pm Iain Quinn JeromeMaxine Thevenot Butera, 847/391-1045 Church of the Advent, Birmingham, AL Director of Associate Organist- 847/391-1045 12:30 pm 12 JANUARY Cathedral Music [email protected] Director Hilliard Ensemble; Rockefeller Chapel, Chica- Missouri Collegiate Choirs; Cathedral Basilica go, IL 8 pm of St. Louis, St. Louis, MO 8 pm
34 THE DIAPASON 13 JANUARY 16 DECEMBER •Mark Brombaugh, masterclass; Episcopal Robert Crowley; St. George’s Cathedral, Church of the Resurrection, Eugene, OR 10 am Southwark, London, UK 1:05 pm RICHARD M. PEEK 14 JANUARY 17 DECEMBER IN MEMORIAM Magnus Kjellson; Christ the King Lutheran, Handel, Messiah; St. Katharinen, Oppen- Houston, TX 5 pm heim, Germany 6 pm May 17, 1927–November 28, 2005 The Chenaults; Pinnacle Presbyterian, Roger Sayer; Rochester Cathedral, Scottsdale, AZ 4 pm Rochester, Kent, UK 4:30 pm Paul Jacobs; Our Lady of Lourdes Church, Robert Sharpe; Truro Cathedral, Truro, UK Sun City West, AZ 3 pm 5:15 pm Sharon Shull; Grace Lutheran, Tacoma, WA Robert Quinney; Westminster Abbey, Lon- 3 pm don, UK 5:45 pm •Mark Brombaugh; Episcopal Church of the Huw Williams; St. Paul’s Cathedral, London, Resurrection, Eugene, OR 5 pm UK 6 pm Epiphany concert; Trinity Episcopal, Santa Barbara, CA 7:30 pm 18 DECEMBER Carol Williams; Balboa Park, San Diego, CA Scott Farrell; Newcastle Cathedral, Newcas- 2 pm tle, UK 1 pm
19 JANUARY 19 DECEMBER VocalEssence; Trinity Lutheran, Stillwater, David Boarder; Marlborough Road MN 8 pm Methodist, St Albans, UK 12:30 pm Joe Utterback Douglas Cleveland; St. Barnabas Episcopal, Catherine Ennis; St. Lawrence Jewry, Lon- Bainbridge Island, WA 7:30 pm don, UK 1 pm COMMISSIONS & CONCERTS Richard Hobson; Grosvenor Chapel, May- 20 JANUARY fair, London, UK 1:10 pm 732 . 747 . 5227 VocalEssence; Ted Mann Concert Hall, Min- neapolis, MN 8 pm 20 DECEMBER Carolyn Shuster Fournier; La Trinité 21 JANUARY Church, Paris, France 3 pm Stephen Tharp; Cathedral Church of St. John, Albuquerque, NM 4 pm 21 DECEMBER Tamara Still; First Presbyterian, Portland, Andrew Sampson; St. Matthew’s, Westmin- OR 3 pm ster, London, UK 1:05 pm John Dillistone; Cathedral of St. Mary of the Assumption, San Francisco, CA 3:30 pm 23 DECEMBER David Lamb; Knox Presbyterian, Santa Michael Sands; St. Wulfram’s, Swinegate, Rosa, CA 5 pm Grantham, UK 11:30 am John Weaver; First Congregational, Los Angeles, CA 4 pm 28 DECEMBER Carol Williams; Balboa Park, San Diego, CA Roger Fisher; Chester Cathedral, Chester, 2 pm Cheshire, UK 1:10 pm DONALD W. WILLIAMS
23 JANUARY 30 DECEMBER Steinbach and Helvey Piano Duo; Bishop Michael Sands; St. Wulfram’s, Swinegate, IN MEMORIAM Union High School, Bishop, CA 7:30 pm Grantham, UK 11:30 am August 5, 1939–September 22, 2005 26 JANUARY 31 DECEMBER Cj Sambach; Good Shepherd Lutheran, Felix Hell; St. Laurentiuskirche, Dirmstein Downey, CA 9:30 am, 11 am, 1 pm School (Pfalz), Germany 6:30 pm INformances Ralf Bibiella; St. Katharinen, Oppenheim, Germany 10:30 pm Davis Wortman RONALD WYATT 28 JANUARY Kalevi Kiviniemi; St. Joseph, Bonn-Beuel, John Romeri, with tenor; Cathedral Basilica Germany 10:30 pm St. James’ Church Trinity Church of St. Louis, St. Louis, MO 2:30 pm Ken Cowan; Northminster Presbyterian, Tuc- 1 JANUARY New York Galveston son, AZ 3 pm Felix Hell; Abteikirche, Otterberg (Pfalz), Roger Sherman, with English horn; St. Germany 7:30 pm Mark’s Cathedral, Seattle, WA 2 pm 5 JANUARY Cj Sambach; St. Gregory’s Episcopal, Long David Leeke; St. Peter and St. Paul, Godalm- Beach, CA 4 pm ing, Surrey, UK 1 pm Richard Gehrke, with Concordia Wind Andrew Fletcher; St. Thomas, Stourbridge, Ensemble; Cathedral of St. Mary of the Marcia van Oyen mvanoyen..com UK 1 pm Marcia van Oyen Assumption, San Francisco, CA 6 pm 6 JANUARY 30 JANUARY Felix Hell; Heilig-Geist-Kirche, Mannheim, Plymouth First United Methodist Church,,Plymouth,,Michigan Daniel Fenn; Provine Chapel, Mississippi Germany 5 pm College, Clinton, MS 7:30 pm 8 JANUARY David Houlder; Leeds Town Hall, Leeds, UK INTERNATIONAL 1:05 pm
15 DECEMBER 9 JANUARY Martin Stacey; St. Dominic’s Priory, London, Felix Hell; Zwölf-Apostel-Kirche, Frankenthal UK 7:30 pm (Pfalz), Germany 7:30 pm
Cathedral Church of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581
D Advent Anticipation - #0649. . . composers old and new create E music of awe and expectation to prelude the Christmas season. C E Christmas International - #0650. . . performers and composers M from many lands celebrate the Nativity Festival. Iain Quinn Maxine Thevenot B Director of Associate Organist- ' Cathedral Music Choir Director E An American Organist s Christmas - #0651. . . our own creative R artists know how to bring a unique and special flavor to the holidays.
2 An Organist's Yearbook - #0652. . . we ring out the old and ring in 0 the new with reflections on happenings in 2006 and some Carol Williams 0 projections for the future in 2007. 6 San Diego Civic Organist
Website: www.melcot.com E-mail: [email protected]
DECEMBER, 2006 35 Catherine Ennis; St. Lawrence Jewry, Lon- Thomas Trotter; St. Lawrence’s, Alton, UK 8 Lemmens; Starlight, op. 108, no. 2, Karg- G-Dur, BWV 550, Bach; A Festive Voluntary don, UK 1 pm pm Elert; Wachet Auf, op. 68, no. 5, Concert (Variations on Good King Wenceslas), Eben. Piece, op. 52a, Peeters; Postlude in D, 11 JANUARY 25 JANUARY Smart; Solemn Melody, Davies; Will o’ the ISABELLE DEMERS, St. James United Carolyn Shuster Fournier, with mezzo- Steven Grahl; St. Marylebone, London, UK 7 Wisp, Toccata in d, Nevin; Capriccio on the Church, Montreal, QC, Canada, August 15: soprano; La Trinité Church, Paris, France pm Notes of the Cuckoo, Purvis; Aria, Fanfares Pièce d’orgue, BWV 579, Bach; Six Trios, op. 12:45 pm and Riffs, Callahan. 37, Reger; Variations sur Est-ce Mars?, Henry Fairs; St. John’s, Smith Square, Lon- 26 JANUARY Sweelinck; Sonata No. 4 in B-flat, don, UK 1 pm Denis Bedard; Holy Rosary Cathedral, Van- DAVID CARLE, St. James United Mendelssohn. couver, BC, Canada 8 pm Church, Montreal, QC, Canada, July 4: 12 JANUARY Voluntary and Fugue in C (Twelve Volun- EUGENIO MARIA FAGIANA, St. James John Belcher; St. Stephen’s, Walbrook, Lon- 27 JANUARY taries and Fugues for Organ or Harpsi- United Church, Montreal, QC, Canada, don, UK 12:30 pm Carlo Curley; Gillingham Methodist, Gilling- chord, with rules for tuning), Handel; The August 8: Improvisations on given themes. ham, Dorset, UK 7:30 pm Good Shepherd (Wood Works on Original Jamie McVinnie; St. Katharine’s, Knockholt, 13 JANUARY Themes), Wood; Psalm Prelude (Set Two, Kent, UK 12 noon KURT-LUDWIG FORG, St. James Unit- Paul Carr; The Victoria Hall, Hanley, UK 12 No. 2), Howells; Introduction, Aria ed Church, Montreal, QC, Canada, July 11: noon (Farewell to Arms), Finzi; Finzi’s Rest 28 JANUARY Three Fantasias, Telemann; Thema mit Vari- (Howells’s Clavichord), Howells; Cortège ationen, op. 26, Köhler; Präludium, op. 89, Rupert Jeffcoat; St. John’s Anglican Cathe- Académique, Macmillan. 14 JANUARY dral, Brisbane, Australia 3 pm no. 2, Legende, op. 89, no. 3, Kirchner; Con- Miko Giedroyc; All Saints’, Blackheath, Lon- certango, Guzzini; Rhapsody in Blue, Gersh- MARGARET CHEN, The Presbyterian don, UK 5:30 pm 30 JANUARY win, transcr. Crawford/Forg. Herndon Spillman; St. Paul’s Church, Paget, Homes, Evanston, IL, September 25: Simon Lindley; Leeds Town Hall, Leeds, Sketches for Pedal Piano, op. 58, Schumann; Bermuda 7:30 pm Yorkshire, UK 5 pm PATRICIA GALLAGHER, O.P., Queen Capriol Suite, Warlock, transcr. Teague; of the Rosary Chapel, Sinsinawa, WI, July 12: 16 JANUARY Larghetto (Quintet for Clarinet and String Prelude in F (Wedding Processional), David Herman; St. Lawrence Jewry, London, Quartet, K. 581), Mozart, transcr. Boyd; Hensel; Prelude, Improvisation, Boulanger; UK 1 pm Fugue à 5 con pedale pro Organo Pleno, Trio Sonata, Richardson; Maestoso, Stirling; Organ Recitals BWV 552/2, Bach. Chorale Preludes on Gregorian Themes, 17 JANUARY Demessieux; Prelude on an Old Folk Tune, Huw Jones; Reading Town Hall, Reading, PAUL CIENNIWA, Temple de Mens, The Fair Hills of Eire, O, Beach; Wie schön UK 1 pm FEDERICO ANDREONI, St. James Mens, France, August 5: Prélude et fugue leuchtet der Morgenstern, Sonne der United Church, Montreal, QC, Canada, en sol mineur, BWV 535, Bach; Two Medi- Gerechtigkeit (Chorale Preludes in Jazz August 1: Concerto No. 1 in D, BWV 972, 18 JANUARY tations, Adler; Partita on Spanish Hymn, Style), Kunkel. Stephen Disley; St. Martin’s, Dorking, UK 1 Bach; Toccata per l’Elevatione (Fiori Musi- Woodman; Mein junges Leben hat ein pm cali), Aria detta Balletto (Second Book of End’, Sweelinck; Triptych for Organ, DAVID A. GELL, with James Tinsley, Daniel Moult; St. Matthew’s, Westminster, Toccatas), Frescobaldi; Étude Symphonique, Bohn; Paduana Lachrimae, Sweelinck; trumpet, Trinity Episcopal Church, Santa London, UK 1:05 pm op. 78, Chant du soir, op. 92, no. 1, Bossi; Dance No. 4, Glass. Barbara, CA, August 27: O Mensch, bewein Variations sur un thème de Clement dein Sünde gross, Jesu, joy of man’s desir- 20 JANUARY Janequin, JA 118, Alain; Prélude et danse RAY CORNILS, Sinsinawa Mound, ing, Bach; V’adoro (Julius Caesar), Largo Matthew Owens; Huddersfield Town Hall, fuguée, Litaize. Sinsinawa, WI, August 9: Festival Toccata, (Xerxes), Trumpet Voluntary in C, Handel; Huddersfield, UK 1 pm Fletcher; Ballo del Granduca, Sweelinck; Concerto in E-flat for trumpet, Neruda; Thomas Trotter; St. Albans Cathedral and STEPHANIE BURGOYNE, Cathedral Les Fifres, Dandrieu; Prelude and Fugue in Trumpet Tune and Ayre, Telemann, arr. Abbey, St. Albans, UK 5:30 pm Church of St. Paul, London, ON, Canada, E-flat, BWV 552, Bach; Simple Gifts, Fox; Wolff; Heroic Music, Telemann; Trumpet Nicholas O’Neill; St. George’s Cathedral, August 15: Variations sur Old Hundredth, Concert Variations on the Austrian Hymn, Voluntary in C, Purcell; Trumpet Voluntary Southwark, London, UK 1:05 pm Bédard; Chant de Mai, Jongen; Dialogue sur op. 3, Paine; Be Thou My Vision, Gárdonyi; in D, Clarke. les mixtures (Suite Brève), Langlais; Andante Praise to the Lord, The Almighty, 22 JANUARY sostenuto (Symphonique Gothique, op. 70), Göttsche; Thanks in Blue (Now Thank We WILLIAM D. GUDGER, Medical Uni- Widor; Allegro (Sonatine for Organ), Hill. All Our God), Penkuhn; Hornpipe versity of South Carolina, Charleston, SC, Matthew Owens; Huddersfield Town Hall, Humoresque, Rawsthorne. Huddersfield, Yorkshire, UK 1 pm September 26: Prelude and Fugue in C, op. Arnfinn Tobiassen; Leeds Town Hall, Leeds, CHARLES CALLAHAN, First Presby- 87, no. 1, Shostakovich; Largo (Symphony Yorkshire, UK 1:05 pm terian Church, Hastings, NE, September KEN COWAN, First United Methodist No. 5, op. 47), Shostakovich, transcr. Gudger; 10: Fanfare Fugue in C, Lord God, Now Church, Oak Park, IL, July 1: Overture to Children’s Notebook, op. 69, Shostakovich. 23 JANUARY Open Wide Thy Heavens, These Are the Oberon, Weber, arr. Cowan; Elegy, Still; Catherine Ennis; St. Lawrence Jewry, Lon- Holy Ten Commands, In Thee Is Gladness, Salamanca, Bovet; Introduction, Passacaglia, WILLIAM C. HENDRICKSON, with don, UK 1 pm Bach; Solo de Flute, Grand Choeur in D, and Fugue, Willan; Sonata No. 1 in f, Diana Lee Lucker, Wayzata Community Mendelssohn; Clair de Lune, Karg-Elert; Church, Wayzata, MN, August 9: Elegy, Giga, Bossi; Prelude to Die Meistersinger, Biery; Rondo–Scherzo, Nosetti; Praise to the Wagner, arr. Lemare/Warren. Lord, Burkhardt; Sonata, Near. martin ott pipe organ PHILIP CROZIER, Christ Church MARY H. HOLLEY, First Congregation- Cathedral, Montreal, QC, Canada, June 23: al Church of Orwell, Orwell, VT, August 6: M. L. BIGELOW & Co. company Voluntary en ré mineur, Boyce; Christ, der Praise the Lord with Drums and Cymbals, ORGAN BUILDERS inc. du bist der helle Tag, BWV 766, Bach; op. 101, no. 5, Karg-Elert; Ein feste Burg ist Postlude per l’office de Complies, Alain; (801) 756-5777 1353 Baur Boulevard unser Gott, Werde munter, mein Gemute, St. Louis, Missouri 63132 Sonate en trio no. 5 en do majeur, BWV 529, Herr Gott, dich loben alle wir, Freu dich 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 Bach; Warum betrübst du dich, mein Herz, sehr, Pachelbel; Prelude in G, BWV 568, Pachelbel; Toccate en ré mineur, BuxWV Erbarm’ dich mein, o Herre Gott, Bach; Ada- 155, Buxtehude. gio, Allegro and Adagio, K. 594, Mozart; St. Parkey The Church of St. Andrew and St. Paul, Clement, McKinley; Ar hyd y nos, Lemare; Montreal, QC, Canada, July 6: Finale (Sun- Tallis Canon, Purvis; Song of the Skylark, day Music), Eben; Chant de mai, op. 53, no. Tchaikovsky; Summer Night on the Water, OrganBuilders 1, Jongen; Deux danses à Agni Yavishta, JA Delius; Capriccio, Lemaigre; Sicilienne, Par- Distinguished Pipe Organs 77, 78, Petite pièce, JA 33, Alain; Impromptu, adis, transcr. Callahan; Lied, Carillon (24 3870 Peachtree Ind. Blvd. Voice 770-368-3216 op. 54, no. 2, Vierne; Praeludium und Fuge Pièces en Style Libre), Vierne. Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com
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36 THE DIAPASON DAVID HURD, Third Baptist Church, (A Study in Accents), Lemare; Carol Rhap- DEREK E. NICKELS, Cathedral of St. die Stimme, Fugue in C, Krebs. San Francisco, CA, August 13: March on a sody, Purvis; Final (Symphonie III), Mary of the Assumption, San Francisco, theme of Handel, op. 15, no. 2, Guilmant; Vierne; The Star-Spangled Banner. CA, July 23: Pièce d’Orgue, BWV 572, Bach; NAOMI ROWLEY, First United Liebster Jesu, wir sind hier, BWV 730, 731, Fugue, Tierce en Taille, Basse de Methodist Church, Appleton, WI, June 28: Fugue in G, BWV 577, Bach; Miniature, ANGELA KRAFT-CROSS, Basilique Trompette (Premier Livre d’Orgue), Voluntary, Smith; Largo (Lute Concerto in Langlais; Prélude (Symphonie I, op. 14), Notre-Dame du Cap, Trois-Rivières, QC, DuMage; Fantasia in f, K. 608, Mozart; D), Vivaldi; Praeambulum in F, Lübeck; An Vierne; Somber Music on Psalm 103 verse 8, Canada, July 9: Prélude et fugue en Do Cantabile, op. 37, no. 1, Jongen; Prelude American Tribute, Powell; Chant elegiaque, Zwart; Four Spiritual Preludes, Toccata, majeur, BWV 547, Bach; Canon en La and Fugue in B, op. 7, no. 1, Dupré. Sortie (Liturgical Suite), Bédard. Hurd; improvisation on submitted themes. bémol majeur, Schumann; Fantaisie en Fa mineur, K. 608, Mozart; Allegro, Finale ANDREW PETERS, Sinsinawa Mound, WILLIAM TINKER, with Margaret TIMOTHY HUTH, with Jonathon Sills, (Symphonie No. 8, op. 42, no. 8), Widor; Sinsinawa, WI, August 16: Bring a Torch, Cornils, flute, Queen of the Rosary Chapel, flute, St. Francis of Assisi Catholic Church, Chant de paix, Langlais; Symphony of Jeanette Isabella, Chapman; Praeludium in Sinsinawa, WI, July 26: Prelude in g, Buxte- Ann Arbor, MI, August 7: Organ solo Peace, Kraft-Cross. e, BuxWV 142, Buxtehude; Is It Mars?, hude; Sonata in D, Sonata in G, Scarlatti; (Glagolithic Mass), Janácek; Sonata da Sweelinck; Sketchbook Four for Organ, Sonata in F for Flute and Keyboard, Handel; chiesa, Locklair; Praeludium und Fuga, GARY LEWIS, with John Moskwa, trum- Gawthrop; Lively (Second Symphony), Variations on O God, Thou Faithful God, BuxWV 146, Buxtehude; Prelude on Iam sol pet, Sinsinawa Mound, Sinsinawa, WI, Fleury; In You Is Gladness, Bach; Espuelita, Bach; Rhosymedre, Bryn Calfaria (Preludes recedit igneus, Simonds; Final (Symphony August 2: Fantasia in G, BWV 572, Wer nur Albarda (Desert Flowers), Decker; Horn- on Welsh Hymn Tunes), Vaughan Williams; Romane, op. 73), Widor. den lieben Gott lässt walten, BWV 647, pipe Humoresque, Rawsthorne; Fantasy on Toccata in e, Foote. Schmücke dich, o liebe Seele, BWV 654, Pre- an Irish Ballad, Clarke. lude and Fugue in e, BWV 548, Bach; Trum- PAUL JACOBS, St. Andrew’s Cathedral, THOMAS TROTTER, Overture Hall, pet Tune in D, Johnson; Wer nur den lieben SYLVIE POIRIER & PHILIP CROZI- Honolulu, HI, June 9: Toccata for Organ, Madison, WI, July 7: Allegro vivace (Sym- Gott lässt walten, op. 14, Schmücke dich, o ER, St. James United Church, Montreal, phony No. 5), Widor; La Shy Myze, Belle et Weaver; O wie selig seid ihr doch, Es ist ein liebe Seele, op. 9, Manz; Apres un rêve, QC, Canada, June 22: Fantasia in f/F, K. Ros’ entsprungen, op. 122, Brahms; Prelude jeune fleur de quinze ans, Upon La Mi Re, Fauré; Fanfare, Cook. 594, Fugue in g, K. 401, Fantasia in f, K. Saltarelle, anonymous 16th century; Adagio and Fugue in a, BWV 543, Bach; Berceuse, 608, Mozart. op. 31, no. 19, Vierne; Variations on Ameri- and Allegro, K. 594, Mozart; Le Tombeau de ARDYTH LOHUIS, with Robert Murray, Christ Church Cathedral, Montreal, QC, ca, Ives; Allegro vivace (Symphony No. 5, op. Georges Rouault, Macmillan; Miroir, violin, Grace Covenant Presbyterian Church, Canada, June 23: Prélude et fugue en do 42, no. 1), Widor; Sicilienne, Toccata (Suite, Wammes; Pomp and Circumstance March Richmond, VA, August 23: Sonatille in E, op. majeur, Albrechtsberger; Fugue à six parties No. 1, Elgar. op. 5), Duruflé. 19, no. 5, Corrette; Adagio, K. 261, Mozart; et deux sujets à 4 mains, Loret; Introduction et Makawao Union Church, Wailuku, HI, Sonata XII, “La Folia,” op. 1, no. 12, Corelli, fugue en ré mineur, op. 62, Lachner; Fugue en PATRICK WEDD, with Matt Haimovitz, June 12: Sinfonia from Cantata No. 29, Ich arr. Kreisler; Sehr rasche Bewegung (Violin- mi mineur, op. posth. 152, Schubert; Vorspiel cello, Christ Church Cathedral, Montreal, ruf zu dir, Herr Jesu Christ, BWV 639, Trio Orgelkonzert, op. 40), Springer; Adagio, op. et fugue, Schönfelder; A Fancy for Two to QC, Canada, August 18: Recercar Cromati- Sonata in C, BWV 529, Prelude and Fugue in 51, Merkel; Summer Nights, Jansson; A Play, Tomkins; A Verse, Carleton; Sonate en cho post il Credo, Frescobaldi; Ricercare a, BWV 543, Bach; Concerto No. 1 in g, op. Sonata for Virginia, op. 94, Healey; Stars ré mineur, op. 30, Merkel. (Homage to Frescobaldi), Harmonies, 4, Handel; O wie selig seid ihr doch, Es ist ein and Stripes in the Virtuoso Style of Wieni- Coulée, Volumina, Ligeti. Ros’ entsprungen, op. 122, Brahms; Varia- awski, Sousa, arr. Dukov. CHRISTA RAKICH, with Thom Freas, tions on America, Ives. clarino, First Lutheran Church, Boston, JOANNE WRIGHT, with Kestrel Wright, ROBERT SUTHERLAND LORD, Uni- MA, September 4: Prelude in C, Wachet French horn, Gabriel Renteria, oboe, and St. JARED JACOBSEN, Balboa Park, San versity of Pittsburgh, Pittsburgh, PA, Sep- auf, ruft uns die Stimme, Fugue on B-A-C- Matthew’s Lutheran Church Choir, Queen Diego, CA, September 10: Introduction tember 24: Chant de Paix (Neuf Pièces), H, Herzlich lieb hab ich dich, O Herr, Freu of the Rosary Chapel, Sinsinawa, WI, July 19: and Passacaglia in d, op. 56, Reger; Langlais; Fantasia and Fugue in G, Parry; dich sehr, o meine Seele, In allen meinen The Balboa Park Organ Suite, Burkhardt; Marche en Rondeau, Charpentier, transcr. St. Francis expresses his unworthiness Taten, Ach Herr, mich armen Sünder, Gott Concerto for French Horn and Organ, Hitchcock; The Syncopated Clock, Ander- before God, An angel appeared to me with der Vater, wohn uns bei, Wachet auf, ruft Forster; Jesus, Priceless Treasure, Blessed son, transcr. Thomas; The Voice of the a viol and a bow in his hand (Sei Fioretti), uns die Stimme, Vom Himmel hoch, da Jesus, at Thy Word, Dear Christians, One Chimes, Luigini, transcr. Stewart; Fuga Tournemire; Suite Médiévale en forme de komm ich her, Wachet auf, ruft uns die and All, Rejoice!, Aria, Manz; O God, Our Vulgaris (Toot Suite for Calliope), P.D.Q. Messe Basse, Langlais; improvisation on a Stimme, Wie schön leuchtet der Morgen- Help in Ages Past, Ore; Prelude and Fugue in Bach, transcr. Jacobsen; Rondo Capriccio liturgical theme. stern, Fantasia in C, Wachet auf, ruft uns E-flat, BWV 552, Bach.
Advertise in THE DIAPASON For information on rates and digital specifications contact Jerome Butera 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
Visit The Diapason website: www.TheDiapason.com
CLASSIFIED • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 ADVERTISING THE DIAPASON RATES 847/391-1044 • [email protected] Insert the advertisement shown below or enclosed in the Classified Advertising section of THE DIAPASON for the following issue(s): Regular classified advertising is single para- J January J February J March J April J May J June J July J August J September J October J November J December graph “want ad” style. First line only of each ad in bold face type. Category ______J Regular J Boldface PAYMENT MUST ACCOMPANY ORDER Display classified advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the adver- Ad Copy ______tisement. ______Regular Classified, per word $ .90 Regular Classified minimum 18.00 ______Display Classified, per word 1.25 Display Classified minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classified advertising must be accompanied by payment in full ______for the month(s) specified. Orders will be accepted for one, two, three, four, five, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to desig- Name ______Phone ______nate appropriate classification to advertise- ments, and to reject the insertion of advertis- Address ______Total Enclosed ______ing deemed inappropriate to this magazine. City/State ______Zip ______Date Sent ______
DECEMBER, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ REED ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
Experienced voicers needed for expanded Fats Waller played the church organ! And Historic Organ Surveys on CD: recorded dur- Mason and Hamlin reed organ, 10 stops plus voicing department. Excellent compensation how! He recorded his famous jazz arrangement ing national conventions of the Organ Historical forte stop and octave coupler, with bench. package includes paid vacation, comprehen- of St. Louis Blues on RCA Victor in 1926 and Society. Each set includes photographs, stop- Excellent condition. Best offer. Nelson, 847/367- sive health insurance and company-matched published an arrangement in 1928. lists, and histories. As many organists as organs 5102 or 312/304-5287. IRA. Send résumé or contact Allison Gateley at We have restored it and included the full and repertoire from the usual to the unknown, Berghaus Organ Company; 2151 Madison St., story of how it came to be. (You can hear his Arne to Zundel, often in exceptional perfor- Bellwood, IL 60104 (708/544-4052). recording on our website!) Fats loved church mances on beautiful organs. Each set includes PIPE ORGANS Respond by e-mail to Brian Berghaus: pipe organs and Hammonds and played them many hymns sung by 200-400 musicians. His- FOR SALE [email protected]. both. Give yourself a unique present this toric Organs of Louisville (western year! Christmas CDs available. Kentucky/eastern Indiana) 32 organs on 4 CDs, www.michaelsmusicservice.com; $29.95. Historic Organs of Maine 39 organs on Bedient Positiv tracker #5, 1976, one manual, Berghaus Organ Company has an immedi- 704/567-1066. 4 CDs, $29.95. Historic Organs of Baltimore 30 one rank metal Gedeckt, 56 notes, CC–g'''. ate opening for an experienced Technical organs on 4 CDs, $29.95. Historic Organs of Unenclosed pipes rest on oak case. Height with Designer. The successful applicant will have Milwaukee 25 organs in Wisconsin on 2 CDs, tallest pipes is 7v4w width 3v4w. Home or studio, an architectural degree and be proficient in Reflections: 1947-1997, The Organ Depart- $19.98. Historic Organs of New Orleans 17 early music repertory. For more information and AutoCAD use and application. Experience ment, School of Music, The University of Michi- organs in the Bayous to Natchez on 2 CDs, photos, e-mail [email protected]; phone with console/façade design a plus. This is a gan, edited by Marilyn Mason & Margarete $19.98. Historic Organs of San Francisco 20 734/546-0932. SE Michigan. key position that provides a significant oppor- Thomsen; dedicated to the memory of Albert organs on 2 CDs, $19.98. Add $2.50 shipping in tunity for advancement. Berghaus offers an Stanley, Earl V. Moore, and Palmer Christian. U S. per entire order from OHS, Box 26811, Moller “Artiste” 2-manual pipe organ. 11 excellent compensation package that Includes an informal history-memoir of the organ Richmond, VA 23261, by telephone with Visa or stops, 2-1/2 ranks, fits under 8v ceiling, excellent includes paid vacation, comprehensive health department with papers by 12 current and former MasterCard 804/353-9226; FAX 804/353-9266. condition, walnut case, asking $5000. Contact insurance and company-matched IRA. Send faculty and students; 11 scholarly articles; remi- [email protected] or 330/697-3169. résumé or contact Allison Gateley at niscences and testimonials by graduates of the department; 12 appendices, and a CD recording, Berghaus Organ Company; 2151 Madison HARPSICHORDS/ 1959 Fouser pipe organ. Two manuals, nine St., Bellwood, IL 60104 (708/544-4052). “Marilyn Mason in Recital,” recorded at the National Shrine of the Immaculate Conception in CLAVICHORDS ranks, twelve stops, 32 pedals. Great for small Respond by e-mail to Brian Berghaus: sanctuary, chapel or residence. Casework is [email protected]. Washington, DC. $50 from The University of Michigan, Prof. Marilyn Mason, School of Music, 2003 built by Yves Beaupre/Flemish muselar nice and compact. Remove by Easter 2007. Ann Arbor, MI 48109-2085. after Couchet. 47 notes C/E–c''' with split keys Asking $8,000. Call Tim Sircy at 248/879-8207 Rapidly growing service organization has for the short octave and arpicordum. Keyboard: or e-mail at [email protected]. immediate openings for experienced service Bone natural, ebony sharps. Pear wood jacks. technicians. Excellent compensation package CD Recording, “In memoriam Mark Buxton Case in poplar. Stand: 4 turned legs in Flemish 1935 7-rank Moller. 6-rank unit chest. Two 3- includes paid vacation, comprehensive health (1961-1996).” Recorded at Église Notre-Dame style. Soundboard painting, case painting and rank sections with tremulants. Diapason, String, insurance and company-matched IRA. Send de France in Leicester Square, London, Flemish papers in the style of Couchet. Price Celeste, Lieblich Gedeckt, Vox Humana, Clar- $16,000. [email protected]. résumé or contact Allison Gateley between 1987 and 1996. Works of Callahan, inet. 56-note pedal Bourdon with chests. at Berghaus Organ Company; 2151 Madison Widor, Grunewald, Salome, Ropartz, and Boëll- Chimes. 2 HP kinetic blower. Located in New St., Bellwood, IL 60104 (708/544-4052). mann, along with Buxton’s improvisations. $15 Harpsichords from the workshop of Knight Jersey. Best offer. Wendell Rotter, 315/469- Respond by e-mail to Brian Berghaus: postpaid: Sandy Buxton, 10 Beachview Vernon. Authentic replicas of historic instru- 1229. ments carefully made and elegantly decorated. [email protected]. Crescent, Toronto ON M4E 2L3 Canada. 416/699-5387, FAX 416/964-2492; e-mail 8201 Keystone, Skokie, IL 60076. Telephone [email protected]. 847/679-2809. Web site: Excellent-sounding organ in excellent condi- www.vernonharpsichords.mykeyboard.com. tion. Two manuals, seven ranks, 24 stops. Attention organbuilders: for information on Pipes by Casavant (1978) and others. Peterson sponsoring a color cover in THE DIAPASON, con- Request a free sample issue of The Diapason controls and combination action. Ideal for tact Jerome Butera, Editor, THE DIAPASON, 3030 for a student, friend, or colleague. Write to the church or home. $9,500 or best offer. Hover- W. Salt Creek Lane, Suite 201, Arlington Editor, The Diapason, 3030 W. Salt Creek Classified Ads must be prepaid and may land, 710 Waukegan Rd., Apt. 2, Glenview, IL Heights, IL 60005; phone 847/391-1045; FAX Lane, Suite 201, Arlington Heights, IL 60005; or be ordered for 1, 2, 3, 4, 5, or 6 months. 60025. Phone 847/724-5237 evenings/week- 847/390-0408; e-mail: [email protected]. e-mail: [email protected]. end.
ATOS ExperienceAmerican Theatre Organ Society Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838
Attention Organbuilders For information on sponsoring a color cover for THE DIAPASON, contact editor Jerome Butera, 847/391-1045 [email protected]
3030 Salt Creek Lane ph 847/391-1045 Suite 201 fax 847/390-0408 THE DIAPASON e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1952 Wicks organ. Three manuals, 18 ranks, Atlantic City Pipe Organ—1940 E.M. Skinner & The Whistle Shop repairs and rebuilds pipe Top Quality Releathering. Pouch rails, pri- 36 stops. Playing in Cleveland area. $10,000 Son: 3-manual drawknob console, Pedal Bour- organs. Southwestern U.S. Also, maintenance maries, reservoirs and any other pneumatic minus blower. Greg Sparks, 216/252-8264. don with chest, Gt/Sw 8v & 4v Principals, Trumpet, and tonal work. Finest materials, expert work- action. Removal and installation service avail- Vox, Cor D’amour, straight chests, tremolo, regu- manship. K.E.M. Pipe Organ Builders, Austin, able. Full warranty. Skinner, Casavant and 1925 Moller 2/10, $8,000—still in place, buyer lator; Moller 3-rank “Sputnik,” Moller 3-manual TX. 800/792-8180. Kimball specialty. Spencer Organ Company, to remove; 195? Reuter 2/9, $7,200—still in drawknob console shell & Harp (1952), more. Inc. Call, Fax or visit our website for quotation place, buyer to remove; 1976 Berghaus 2/11, Visit http://mywebpages.comcast.net/acorgan. and information. 781/893-7624 Voice/Fax, $8,800—still in place, buyer to remove; 1962 E-mail: [email protected]. Phone www.spencerorgan.com. 609/641-9422. Highest quality organ control systems since Schantz 3/33, $26,400—still in place, buyer to 1989. Whether just a pipe relay, combination remove; 1969 Moller 2/3, $4000—Finished action or complete control system, all parts are Moller Artiste in climate controlled storage. Part- RELEATHERING: also Pipe Organ Rebuild- Two Moller shade actions (six engines compatible. Intelligent design, competitive pric- ing, Repair and Maintenance Service in New ed out: 1966 Moller 2/10—some pipework still each), $150 each, also pipes, consoles, ing, custom software to meet all of your require- available, contact for details; Sold! 1949 Moller England area. Years of experience, fine work- relays, and miscellaneous parts. Let us know ments. For more information call Westacott manship. Reading Organ Works, A. Richard 3/30; Sold! 1962 Wicks 2/4; Just reduced! 1964 what you are looking for. E-mail Organ Systems, 215/353-0286, or e-mail Wicks 2/6, all new Peterson relay, new DC Hunter, P.O. Box 267, 1324 Vermont Route [email protected] (not comcast), phone [email protected]. 106, Reading, VT 05062. 802/484-1275. wiring, ready to ship now! $20,000! Fabry, Inc. 215/353-0286 or 215/788-3423. offers removal services and shipping F.O.B. E-mail [email protected]. Antioch, IL. Large used pipe inventory available Columbia Organ Leathers sells the finest and ready for use. Contact for available ranks Organ windchest for sale by Herb Huestis, Austin actions recovered. Over 30 years and specifications. Fabry, Inc. 974 Autumn #1502—1574 Gulf Road, Point Roberts, WA leathers available for organ use. We sell pre- experience. Units thoroughly tested and fully Drive, Antioch, IL 60002, tel: 847/395-1919, fax: 98281, phone 604/946-3952, e-mail: punched pouches and pre-assembled pouches, guaranteed. Please call or e-mail for quotes. 847/395-1991, e-mail: [email protected]. [email protected]. Shipping extra to U.S. or and we specialize in custom releathering ser- Technical assistance available. Foley-Baker, Canada—no overseas. Casavant offset pedal vices. Call today for a catalogue. 800/423-7003 Inc., 42 N. River Road, Tolland, CT 06084. chest 48w x 9.5w x 9w, 8 notes only, no rackboard. or e-mail: [email protected]. 2002 portativ/Dutch builder. Compass: C–f'''. Phone 1-800/621-2624. FAX 860/870-7571. 6-1/2w spacing for 16v pedal reed. Price $275, [email protected]. Transposable keyboard: A=415/440/465 Hz. includes shipping. Case in Cherry-wood, dimensions: 113x84x57 cm. Fundamental keys: Ebony. Accidentals: Need help with your re-leathering Plum-wood. Disposition: Flute 8v, Regal 16v, Laptops and Software for programmable tem- project? All pneumatics including Regal 8v, Regal 4v. All stops split in Bass/Treble. Flue pipes in metal and wood–Mixtures peraments—tune harpsichords and pianos—from Austin. Over 45 years experience and upperwork are available from stock or Each reed-stop their own character. Sale at Herb Huestis, 1502–1574 Gulf Road, Point (on the job assistance available). 2002 price $28,000. [email protected]. specify custom orders to meet your exact Roberts, WA 98281. Phone 604/946-3952, Fax 615/274-6400. requirements. Tuning Sleeves with 604/946-5739, e-mail [email protected]. Laptop flare–Order complete sets ready to install Flentrop two-manual and pedal three-rank screen-based tuning program that is sensitive to or bulk quantities in each diameter. These organ. Solid mahogany throughout. Beautiful 1/10 cent, much greater than dial tuners. Over 100 sleeves are guaranteed to fit and will not carvings and façade. Fits 8v ceiling. Phone programmable temperaments for harpsichord, tarnish or corrode. For excellent quality, 434/977-6796; e-mail: [email protected]. clavichord and pianos. Check it out on the web: ALL REPLIES great pricing and timely delivery contact: www.tunelab-world.com. 8x10x2 small Toshiba International Organ Supply, P.O. Box 401, laptop used for shop tuning: $285 with shipping. 1860 Wm. A. Johnson 1/8, including 12-note TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX Send your old laptop for reconditioning and instal- 708/447-0702. 16v Subbass. Meticulously restored, $39,500; lation of tuning software to make it one of the best that appear Pedal extension optional. Details: Andrew Smith musical tools in your kit! I will load Tunelab97 soft- without an address Pipe Organs, 522 East Rd., Cornish, NH 03745. ware, road test it, and return your laptop for $135 603/542-8316; [email protected]. including shipping, plus any parts. Any repairs or should be sent to: Postal regulations require that mail replacements, hard drive, etc are extra. Options: to THE DIAPASON include a suite num- Register your software, $35; spreadsheets of his- THE DIAPASON ber to assure delivery. Please send Send recital programs to THE DIAPASON, torical tunings, no charge; manual, no charge. 3030 W. Salt Creek Lane, Suite 201 all correspondence to: THE DIAPA- 3030 W. Salt Creek Lane, Suite 201, Send your old laptop for evaluation only: $85 (with return shipping). Install registered software: $50; Arlington Heights, IL 60005 SON, 3030 W. Salt Creek Lane, Suite Arlington Heights, IL 60005. Nylon case: $20; Mouse: $1; 56k Modem: $35; 201, Arlington Heights, IL 60005. Network Card: $35; Sensitive stem mike: $45.
DECEMBER, 2006 39 KKararenen McFMcFarlanearlane ArArtististsts 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRS AVAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director Available 2008
The Choir of St. John’s College Cambridge, UK David Hill, Director West Coast USA Tour Spring 2009
*=European artists available 2006-2007 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland
WEB SITE: www.concertorganists.com
Thomas Trotter* John Weaver Gillian Weir* Todd Wilson Christopher Young