THE DIAPASON JULY 2013

St. Malachy’s—The Actors’ Chapel New York City Cover feature on pages 26–27 'DYLG%DVNH\¿HOG James David Christie Peter Richard Conte Lynne Davis Isabelle Demers Clive Driskill-Smith Jeremy Filsell

S. Wayne Foster Christopher Houlihan David Hurd Paul Jacobs Martin Jean Huw Lewis Bruce Neswick

Raúl Prieto Ramírez Jean-Baptiste Robin John Rose Herndon Spillman Carole Terry Konstantin Volostnov Bradley Welch

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Due Solisti Duo MusArt Tin Pan Alley Alive Peter Fletcher Paul Bisaccia True North Brass THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 7, Transitions and music director at the Park Ridge Com- Whole No. 1244 Changes are in process for our staffi ng at The Diapason. munity Church. DePaul colleague Wesley JULY 2013 This marks my last issue as editor and publisher. After serv- Vos was then associate editor of The Established in 1909 ing for 30 years, I am moving to our family farm in rural Wis- Diapason and recommended me for the ISSN 0012-2378 consin. But I cannot give up my connection with this magazine open editorial post. Now, 30 years later, I that I love. So, I will continue in the role of sales manager, continue to take delight in assembling and An International Monthly Devoted to the Organ, responsible for advertising and subscriptions. And, I will assist producing each issue of The Diapason. the Harpsichord, Carillon, and Church Music with editorial and production as needed. But I would also like to pursue the next I began reading The Diapason as a teen-age organ student phase of my life. At our Wisconsin farm, of Arthur C. Becker in Chicago. If I had practiced well and had my wife and I have large vegetable beds, CONTENTS a really good lesson, Dr. Becker would let me read his copy of orchards, and chickens. We also have a The Diapason. I was amazed and enthralled with the world of house pipe organ, and I will be playing and FEATURES the pipe organ as related and refl ected in The Diapason. I was teaching, in addition to continuing with Continuo: The Art of Creative Collaboration A Westfi eld Center Conference soon hooked and took out my own subscription. I would devour Diapason advertising and subscriptions. April 4–6, 2013 each issue and eagerly look forward to the next. I have saved Effective July 1, Joyce Robinson will by Andrew Willis 20 every issue, and my collection extends back to the late 1960s. assume the role of managing editor. Joyce The British Invasion Lives On! Pipe Organs Then, while a student at DePaul University, I would visit The has a long history with The Diapason, hav- of Newfoundland and Labrador, Canada by Lester Goulding and William (Bill) Diapason offi ces, which were located on Wabash Avenue near ing served as associate editor for the last 13 Vineer 22 Congress Parkway in Chicago’s “Loop,” and drop in on then years, and having written reviews for several editor Robert Schuneman. He kindly and patiently answered years before that. A church organist for NEWS & DEPARTMENTS my questions about the magazine and the organ world, and many years, Joyce shares a passion for the Editor’s Notebook 3 encouraged me in my studies. I continued to read The Dia- pipe organ and for The Diapason, and will continue the mis- Letters to the Editor 3 sion of The Diapason, while expanding the magazine through Here & There 3 pason as a graduate student at the University of Michigan and Apppointments 8 the American Conservatory of Music, changing addresses over our website, digital products, and social media. And we will be Nunc Dimittis 11 the years and making room for the growing collection. bringing in additional editorial help—more on that later. On Teaching by Gavin Black 16 Imagine my delight and amazement when in 1983 I became Thank you to our readers, advertisers, and contributing edi- In the wind . . . by John Bishop 18 editor of the magazine that I had loved for many years. I had just tors for our many years together. I look forward to many more completed a DMA at the American Conservatory of Music and years in my new capacity. REVIEWS was teaching organ at DePaul University and serving as organist —Jerome Butera Music for Voices and Organ 12 Book Reviews 12 New Recordings 13 Letters to the Editor New Organ Music 15 New Handbell Music 16 May issue base for working on instruments such David Rumsey’s article on the “Secrets NEW ORGANS 28 The May 2013 issue of The Diapa- as that at St. Joseph. (George and I of Medieval Organs” was quite interest- SUMMER CARILLON CALENDAR 28 son is one of the most interesting I’ve fi rst met when we were both working at ing. Winold van der Putten and Jankees CALENDAR 30 seen for a long time. In particular, I Beckerath’s shop during my ‘Gesell- Braaksma, shown in photos on pages 22, ORGAN RECITALS 33 really liked reading about the recent ezeit’ in 1967–68.) 23, and 24, are good friends of mine. Next restoration of the great Beckerath I fi rst learned about the St. Joseph’s week, Winold and I will attend the yearly CLASSIFIED ADVERTISING 34 organ at St. Joseph’s Oratory in Mon- Oratory organ in The Diapason meeting of the Arp Schnitger Gesellschaft. treal. That my old partner and close when it was brand new; when I was an Later, they plan to show me the new Rims friend, George Taylor, was enlisted apprentice with Fritz Noack, several of organ shown on pages 20 and 22. as the advisor on what Juget-Sinclair us young organbuilders went to Mon- I have gone to visit the van der Put- Organbuilders would do was good treal for a week in 1965 to see all the ten ‘Rutland’ Theophilus organ several news. George had told me about the Canadian Beckerath organs and visit the times; it’s in the 12th-century church in work that his fi rm, Taylor & Boody (also Casavant shop with Karl Wilhelm and Marsum. Jankees was with me the last my former partner), did recently on Helmuth Wolff. time I saw a good demonstration on how the Pittsburgh Beckerath; this—along So, many thanks for the good article it works—really interesting! Thanks for with what George learned during his that Stephen Sinclair and the current the great articles in the May Diapason! full apprenticeship with ‘Der Chef’ in music director wrote and all the wonder- John Brombaugh Hamburg—gives him a solid knowledge ful photos. It is really special. Eugene, Oregon

COVER Here & There Peragallo Pipe Organ Company, Paterson, New Jersey; St. Malachy’s—The Actors’ Chapel, New York City 26 Events Lunchtime Organ Recital Series 2013 continues in Appleton, Kaukauna, Editor & Publisher JEROME BUTERA [email protected] Menasha, and Neenah, Wisconsin, 847/391-1045 organized by Frank Rippl, Wednesdays from 12:15–12:45 p.m.: July 3, Charles Associate Editor JOYCE ROBINSON [email protected] Barland, First United Methodist 847/391-1044 Church, Appleton; 7/4, Frank Rippl, All Saints Episcopal Church, Appleton; Designer DAN SOLTIS 7/10, Jeffrey Verkuilen, First Congre- Contributing Editors LARRY PALMER gational Church, U.C.C., Appleton; Sinsinawa Mound Chapel Harpsichord 7/17, Michael Stefanek, Holy Cross JAMES MCCRAY Catholic Church, Kaukauna; 7/24, The Sinsinawa Dominicans continue Choral Music Blake Doss & Frank Rippl, First their 2013 summer organ recital series on BRIAN SWAGER English Lutheran Church, Appleton; Wednesdays at 7 p.m. Recitals feature the Carillon 7/31, Paul Weber, All Saints Episcopal Casavant organ designed by Lawrence Church, Appleton; Methuen Memorial Music Hall Phelps and recently restored at Queen JOHN BISHOP In the wind . . . August 1, Naomi Rowley, Memorial of the Rosary Chapel, Sinsinawa Mound, Presbyterian Church, Appleton; 8/7, Methuen Memorial Music Hall, Sinsinawa, Wisconsin: July 3, Paul Pav- GAVIN BLACK On Teaching John Skidmore, St. Joseph Catholic Methuen, Massachusetts, continues its iour with tenor John Lander; 7/10, Sister Church, Appleton; 8/14, Thomas 2013 Wednesday evening organ recital Patricia Gallagher, OP; 7/17, Charles Reviewers John L. Speller Froehlich, First United Methodist series: July 3, C.S. Teardo; 7/10, Marga- Barland; 7/24, Michael Bottenhorn; Gene Bedient Church, Appleton; 8/21, Ralph & Maril- ret Irwin-Brandon; 7/17, Peter Latona; August 7, Gregory Peterson; 8/14, James M. Reed lyn Freeman, St. Paul Lutheran Church, 7/24 Harry Lyn Huff; 7/31, Jung-A Lee; Joan DeVee Dixon and Alice Fiedlerova; David Herman Neenah; 8/28, Daniel Schwandt, St. August 7, David Enlow; 8/14, Martin 8/21, Bruce Bengtson; 8/28, Stephen John Collins Joseph Catholic Church, Appleton. For Schmeding; 8/21, Yun Kyong Kim; 8/28, Steely. For information: 608/748-4411 Marjorie Ness information: 920/734-3762; Michael S. Murray. For information: x271; www.sinsinawa.org. Kenneth Udy www.lunchtimeorganrecital.org. www.mmmh.org. ³ page 4 Leon Nelson

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 3 Here & There

First Parish Church, Brunswick, Maine

First Parish Church, Brunswick, Maine, announces its 28th annual sum- mer organ concert series, Tuesdays at 12:10 p.m.: July 9, Mathias Schmelmer; 7/16, Ann Hartzler; 7/23, Jacques Boucher, with Anne Robert, violin; 7/30, Stephen Brereton, Isabelle Demers, Simon Couture, James Mellichamp Harold Stover; August 6, Katelyn Emer- son, 8/13, Ray Cornils. The concerts On April 14, Piedmont College celebrated the tenth anniversary of the installa- feature the church’s 1883 Hutchings- tion of the Sewell Organ, opus 3799, built by Casavant Frères. The event was billed Plaisted organ, which was restored in as a celebration of all things Canadian and featured performer Isabelle Demers in 2003. For information: 207/729-7331. a program of Canadian organ repertoire. President James F. Mellichamp recognized special guests including Stephen Brereton, Consul General of the Consulate General of Canada in Atlanta, and Simon Couture, Vice President of Casavant Frères. They Tuesdays at 8 p.m. on the C. B. Fisk op. The choir of St. Aidan’s Episcopal joined Dr. Demers in greeting the large audience after the recital at the college’s 55 at Old West Church, Boston: July Church, Alpharetta, Georgia, Christian Mason-Scharfenstein Museum of Art. 9, Edward Landin; 7/16, Colin Lynch; Schoen, director, will tour the U.K. this 7/23, Jonathan Bezdegian; 7/30, Geoff summer: July 19, St. German’s Church, Wieting; August 6, Julie Huang; 8/13, Cardiff, Wales; 7/21, Bath Abbey, Eng- ³ page 3 All recitals are free of charge. For infor- Katelyn Emerson; 8/20, Erica Johnson; land, and St. David’s Church, Lland- The Basilica of the National mation: www.guadalupeshrine.org. 8/27, Jonathan Schakel. For information: dewi Rhydderch, Wales; 7/22, Christ Shrine of the Immaculate Concep- www.oldwestorgansociety.org. Church Cathedral, Oxford, England; tion announces its 2013 Summer Organ Sacred Heart Church, Palos Hills, 7/24, Usk Priory, Wales, and Hereford Recital Series: July 7, Michael Lodico; Illinois, continues its second annual Christ Episcopal Church, Roanoke, Cathedral, England; 7/25, Chester 7/14, Peter Latona; 7/21, Timothy Duhr; summer music series: July 7, music for Virginia, presents its Summer Festival Cathedral, England; 7/26, Liverpool 7/28, Benjamin Straley; August 4, Rus- brass and organ; 7/21, mezzo soprano of Organ Music, Tuesdays at 7:30 p.m.: Cathedral, England; 7/27–28, Dublin sell Weismann; 8/11, Josh Stattford; Amanda Thomas; August 14, Solemn July 9, Herbert Buffi ngton; 7/16, Virginia National Cathedral, Ireland. For infor- 8/18, Adam Detzner; 8/25, Benjamin Choral Evening Prayer. For information: Vance; 7/23, Thomas Baugh. For infor- mation: www.staidans.org. LaPrairie. All recitals take place at 6 p.m. 708/974-3336 x245. mation: www.christroanoke.org. on the Crypt Church’s Schudi organ and Shattinger Music’s new choral music are free of charge. For more informa- St. Mary’s Cathedral, San Francisco, Northfi eld Noontime Organ reading clinics take place July 31, with tion: www.nationalshrine.com. continues its Sunday afternoon organ Recitals presents their seventh season, Jerry Estes covering K–5/elementary recitals (3:30 p.m.): July 7, Jozef Koto- July 10–August 14, held on Wednes- and middle school works, and August wicz; 7/14, Christoph Tietze, 7/21, Paul days from 12:15 to 12:45 p.m.: July 10, 10, with Kevin McBeth covering adult Fejko. For information: 415/567-2020 Phyllis Milbrandt and Richard Collman church choir repertoire. For informa- x213, www.stmarycathedralsf.org. (private residence); 7/17, David Lim, tion: [email protected]. Carleton College; 7/24, Stephen May, Carleton College; 7/31, Rosalie Alcoser, Trinity Episcopal Church, Santa First Congregational Church; August Barbara, California, presents summer 7, Bob Henstein, Northfi eld United concerts: August 3, Old Spanish Days’ Methodist Church; 8/14, Katie Burk, St. Fiesta Concert; 8/11, Tony Baldwin. For Olaf College. For information, contact information: www.trinitysb.org. Richard Collman at 507/645-1357 or [email protected]. The eighth International Academy Dom Bedos–Merklin takes place Sep- Gloriae Dei Cantores announces tember 7–11 in Sainte-Croix and Saint- their 25th anniversary concert series, Michel, Bordeaux, France. The academy at the Church of the Transfi guration, program, dealing with de Grigny’s Livre Orleans, Massachusetts: July 12 and d’orgue and symphonic organ works, 13, Mozart, Mass in C Minor, Fauré, will be led by François Espinasse, on Requiem; August 2 and 3, Kodaly, Missa the Dom Bedos and Merklin organs in Brevis, and works by Janson, Berger, Bordeaux. For information: Shrine of Our Lady of Guadalupe and Finzi. For information: www.renaissance-orgue.fr. www.gdcchoir.org. The Shrine of Our Lady of Guada- Indiana University Jacobs School lupe, La Crosse, Wisconsin, continues Friends of the Kotzschmar Organ of Music announces “An Organ at its 2013 Summer Organ Recital Series, Old West Church, Boston presents summer organ recitals in Maine: the Crossroads: Fall Organ Confer- Sundays at 3 p.m.: July 7, Wyatt Smith; Felix Hell, July 16 (7:30 p.m.), Cathedral ence & Inaugural Festivities for C. 7/21, Jeffrey Verkuilen; August 4, Kraig The Old West Organ Society of St. Luke in Portland; Ray Cornils, 7/18, B. Fisk, Opus 91,” September 15–18. Windschitl; 8/18, John Chappell Stowe. announces its summer organ recitals, St. John’s Episcopal Church, Bangor The conference will include perfor- (7:30 p.m.); 7/24, Basilica of Saints Peter mances by Colin Andrews, James & Paul, Lewiston (12:15 p.m.); August David Christie (Oberlin Conservatory), 13, First Parish Church, Brunswick Janette Fishell, David Kazimir, Marilyn (12:10 p.m.); 8/16, St. Saviour’s Episcopal Keiser, Bruce Neswick, William Porter Church, Bar Harbor (12:15 p.m.); 8/20, (Eastman School of Music), Charles with the Kotzschmar Festival Brass, Webb, Christopher Young, and Jacobs Cathedral of St. Luke, Portland (7:30 School students. p.m.). For information: www.foko.org. ³ page 6

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4 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Michael's, Boise, ID Battipaglia, Italy Paris, France Ann Arbor, Michigan

Paul Cienniwa Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Concert Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Organist Boston, Massachusetts Dijon, France Milwaukee, Wisconsin Bloomington, MN University of Florida Birmingham, England

Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer University of Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Christopher Marks Katherine Meloan Scott Montgomery Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist/Professor of Music Organist Organist/Presenter Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stahlman Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Organist/Pianist Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Lebanon Valley College University of Kansas Atlanta, Georgia Southern Methodist University Luther College William Jewell College

Brennan Szafron Timothy Tikker Michael Unger Beth Zucchino Rodland Duo Vinaccesi Ensemble Organist/Harpsichordist Organist/Composer/Improviser Organist/Harpsichordist Organist/Harpsichordist/Pianist Organ and Viola Voice and Continuo Spartanburg, S. Carolina Kalamazoo College, MI Rochester, New York Sebastopol, California St.Olaf College/ San Francisco, CA Eastman School of Music www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Associate Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 26th year of operation Here & There

On April 13, the Young Organ- ist Collaborative of Portsmouth, New Hampshire sponsored a group class for fi rst-year organ students, and a masterclass for continuing organ students, 8th to 12th grade, who participate in the collaborative. The classes were held at St. John’s Episcopal Church, Portsmouth, on the Létourneau organ. The group class was taught by Abbey Hallberg Siegfried, and pictured are (l–r) Ben Blumenscheid, Iara Manchester, Ms. Siegfried, Seamus Gethicker, and Jacob Golas. The masterclass was taught by John Skelton and pictured Young Organist Collaborative group class are (l–r) Mr. Skelton, Clayton Jacques, Philip Pampreen, Joseph Stevens, Richie Gress, Christopher Thompson, Christopher Shek, and Nathan Pace. Not pictured: Ben Taylor. More than 90 young people from Maine, New Hampshire, and Massachusetts have taken pipe organ lessons with the fi nancial help of YOC. This year 13 students supported by the Young Organist Collaborative performed in the year-end recital on Young Organist Collaborative masterclass May 11 at Christ Episcopal Church in Exeter, New Hampshire.

³ page 4 For more information, visit www.East- also a monthly (October–April) lun- Presenters at the conference include TexasPipeOrganFestival.com or contact cheon and 30-minute organ concert Steven Dieck and members of the C. B. Lorenz Maycher at EastTexasPipeOr- featuring members of the Harrisburg Fisk team, Distinguished Alumnus Jesse [email protected] or by mail at AGO chapter. Eschbach (University of North Texas), East Texas Pipe Organ Festival, P.O. Box An active member of the American and student scholars under the direc- 2069, Kilgore, TX 75663. On Facebook: Guild of Organists and the Presbyterian tion of musicologist Daniel Melamed. East Texas Pipe Organ Festival. Association of Musicians, Binkley has Workshops and master classes will also played organ recitals and presented be offered. For information and registra- People church music workshops throughout tion: music.indiana.edu/departments/ the central Pennsylvania area. An honor academic/organ. graduate of Lebanon Valley College, he received the Master of Sacred Music William Teague degree from Union Theological Semi- nary School of Sacred Music. His pri- tonally fi nished by Perry and installed by mary organ teachers have been Robert the Williams Family of New Orleans. As Clippinger, Karl Moyer, Pierce Getz, and Perry wrote in a 1952 promotional bro- Robert Baker. chure, “None of these organs is extreme In 1996 Binkley was awarded Certi- in any direction. They are alike only by fi ed Church Musician status by the Pres- way of family resemblance, but each in its byterian Association of Musicians, and way is a work of art. They provide a gen- he holds the Colleague certifi cate from erous education in contemporary organ the American Guild of Organists. building, and are happily concentrated in a small geographical area.” This year’s guest recitalists will include Joby Bell, Charles Callahan, Ken Cowan, Isabelle Demers, Nathan Laube, Lorenz Maycher, Jason Roberts, Tom Trenney, Thomas Trotter, Brett Valliant, and Bradley Welch. In addition to fi ve organ Trompette-en-Chamade, 1949 Aeolian- recitals on Roy Perry’s masterpiece at Skinner Opus 1173, First Presbyterian First Presbyterian Church, Kilgore, Church, Kilgore, Texas there will be two full-length recitals on the 1959 Aeolian-Skinner at St. Mark’s David H. Binkley First Presbyterian Church of Kilgore, Episcopal Cathedral in Shreveport, Lou- Texas has announced the third annual isiana. Other highlights of the festival will David H. Binkley was recently hon- East Texas Pipe Organ Festival honor- include special concerts, presentations, ored at Camp Hill (Pennsylvania) Pres- ing the life and work of Roy Perry (1906– and exhibits honoring the life and career byterian Church on his 40th anniversary 1978). This year’s festival will take place of concert organist William Teague and as the church’s organist/choirmaster. November 10–14, and will feature fi ve the world premiere performance of a The celebration included a program and landmark Aeolian-Skinner pipe organs newly commissioned work for organ solo luncheon following worship on April 7. in the East Texas area designed and by Charles Callahan. Binkley’s primary responsibilities at Philip Crozier the church include music teaching in the Sunday church school for children (Kin- Philip Crozier makes his annual dergarten–Grade 5), direction of three concert tour of Europe this summer: singing choirs—Middle School (grades July 12, Speyer Dom, Germany; 7/14, Follow us on 5–8), Kirk (grades 6–12 and adults), and Barockkirche St. Franziskus, Zwill- Sanctuary (adults), coordination of the brock, Germany; 7/17, Friedenskirche, Photo: Michael Timms Facebook church’s Music, Art & Drama Series, and Potsdam, Germany; 7/20, Le Musée staff support with Pastor David Roque- Suisse de l’Orgue, Roche, Switzerland; RGUES ÉTOURNEAU TÉE more for the church’s Worship & Fine 7/26, Collégiale de Neuchâtel, Swit- O L L Arts Ministry of Session. zerland; 7/28, Eglise Saint-Just, Arbois A new 39-rank Schantz organ was (Jura), France; August 3, Vor Frelsers CANADA UNITED STATES installed in the church in 2008 after a Kirke, Horsens, Denmark; 8/4, Malmö 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 major renovation of the building. The Museum, Sweden; 8/7, Sofi a Albertina St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 church regularly presents organ recit- Kyrka, Landskrona, Sweden. Tel: 450-774-2698 Tel: 800-625-PIPE [email protected] [email protected] als featuring concert artists. There is ³ page 8

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³ page 6 SIU Wind Ensemble and cellist Richard Davis, conducted by Susan Davenport. Appointments The concert also included Ferko’s organ work, “Places of Purifi cation” from The Hildegard Organ Cycle, performed by the composer, who also gave a perfor- mance of “Adoro te” from Livre du Saint Sacrement by Olivier Messiaen. Flutist Zoe Lethbridge and organist Julian Collings presented the European premiere of Ferko’s Te lucis ante termi- num: Introduction and Variations on a Medieval Chant in a concert at St. Pan- cras Parish Church, London, on April Isabelle Demers 18. Commissioned by American fl utist Teresa Bowers, the work has been pub- Vincent Dubois (photo Daniel Roth (photo credit Karl Schrock Isabelle Demers is featured on lished by Augsburg Fortress in Pipings, credit Elie Galey) Sjaak Verboom) a new recording, Bach, Bull & Bom- a collection of new works for fl ute and bardes, on the Pro Organo label (CD organ. Ferko’s work was included in the The University of Michigan has announced the appointment of three 7259). Recorded on the Patrick J. collection by special arrangement with visiting faculty members in organ for the 2013–14 academic year. Vincent Murphy & Associates Opus 53 organ at his exclusive publisher, ECS Publish- Dubois, General Director of the Strasbourg National and Superior Conser- St. Patrick’s Church, New Orleans, the ing. Augsburg Fortress has also issued vatory and Titular Organist of the Cathedral of Soissons, France, will serve program includes Chromatic Fantasy a recording of all of the works in the as Visiting Artist during the fall term. Daniel Roth, Titular Organist of the and Fugue, BWV 903, Bach, transcribed collection, performed by Teresa Bowers Church of St. Sulpice in Paris, will serve as Visiting Artist during the winter by Reger; four selections from Reger’s and organist Bruce Neswick. term. Karl Schrock, University Organist of Western Michigan University, Twelve Pieces for Organ, op. 80; Bull’s has been appointed Visiting Faculty Member in Organ for the academic year. Good-night by John Bull; Allegro from M. Dubois and M. Roth will each teach private lessons to all organ students and Symphony No. 6, Widor; Scherzo from present a public masterclass and recital. Dr. Schrock will teach studio organ. Symphony No. 5, Mendelssohn, tran- They join continuing organ department faculty members Michele Johns, James scribed by Demers; Prélude-Carillon Kibbie, and Marilyn Mason (on retirement furlough). Q from Suite for Organ, Amédée Trem- blay; Elegy, Thalben-Ball; and Toccata from Sixth Organ Sonata, Daveluy. For Quebec City (one manual, ten stops). in composition from the University of information: www.proorgano.com. The program includes works by March- California at Riverside and the Diplome and, Balbastre, Dandrieu, Lebègue, Superieure d’Orgue from the Schola Clérambault, Couperin, and others. Cantorum in Paris, France, where he Orguément Vôtre . . . Highlights was studied with Jean Langlais. Other teach- recorded on the 1922 Casavant organ at ers have included Jean Guillou and the Cathedral of St. François-Xavier in Clarence Mader. Many of Guinaldo’s Chicoutimi, Quebec, and includes works compositions have been performed in by Widor, Gounod, Clarke, Bach, Saint- regional and national AGO conventions. Saëns, and Guilmant. Mozart . . . If You Please features the brothers Claude and Robert Patrick playing the Guilbault-Thérien Opus Richard Garven 7 organ at St. Geneviève, Quebec, in Frank Ferko adaptations by Robert Girard of Mozart Richard Garven, AAGO, organist- works for two organists. For information: The Seasons (for mixed chorus and choirmaster of St. Clement’s Church, 418/524-8352; www.robertgirard.com. string quartet), a new, larger-scale choral El Paso, Texas, was presented in recital work by Frank Ferko, commissioned on May 19, in celebration of his 30 years by the South Bend Chamber Singers, of service to St. Clement’s Church and received its world premiere on March 3 the anniversary of the installation of the in a concert at the South Bend Reformed church’s Visser-Rowland organ. Gar- Church by the South Bend Chamber ven is a past dean of the El Paso AGO Singers and the Euclid Quartet under chapter and has been active in promot- the baton of Nancy Menk. ing local POE events as well as serving In April, Frank Ferko appeared as as organist for the El Paso Symphony guest composer at the annual new music Orchestra. The program included works festival, “Outside the Box,” at Southern by Bruhns, J. S. Bach, Gerre Hancock, Illinois University, Carbondale. The fes- Franklin Ashdown, and Simon Preston. Rachel Laurin tival featured Ferko in two presentations of his works, one of which was devoted Robert Patrick Girard is featured Rachel Laurin is featured on a new to his music for organ. Ferko’s works on three new recordings. Victoire sur . . . Norberto Guinaldo recording, Music by Rachel Laurin, were featured April 10 in a concert that le temps: L’Orgue 1753, with Ensemble on the Raven label (OAR-943), which included fi ve of his choral works, per- Nouvelle-France, features a modern Norberto Guinaldo celebrated 50 includes her music for organ and harp, formed by the SIU Choral Union and replica of the 1753 Robert Richard organ years as organist of Temple Ner Tamid of organ and French horn, as well as four- SIU Concert Choir, with members of the at the Musée de l’Amerique française, Downey, California, in October 2012. A teen solo organ works. gala dinner celebration for the congrega- Laurin plays all of the solo organ works tion took place, with the participation of on the CD, and is joined by harpist Caro- founder members of the congregation, line Léonardelli for the three-movement MANDER ORGANS the present and a former rabbi, the pres- Fantasia for Organ and Harp, op. ent and a former cantor, four members 52, commissioned for the 2010 AGO New Mechanical of the Junior Choir from 1962–65, mem- national convention in Washington, D.C. Action Organs bers of the professional quartet, former The Sonata for Organ and Horn, op. 60, piano students, and many friends and is played by organist Karen Holmes and well-wishers. hornist Damian Rivers-Moore. Karen Guinaldo, who was born in Buenos Holmes commissioned the work for Aires, Argentina and immigrated to performance at the 2011 RCCO national the USA in 1959, is also organist at the convention in Hamilton, Ontario. United Methodist Church of Garden Solo organ works include Epilogue, Grove, California, a position he has held op. 50 (fi rst-prize winner of the Marilyn for 47 years. He holds a master’s degree ³ page 10

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8 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM The New Opus Classic pipe organ experience in your own home.

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³ page 8 president of the Wagner Society of Ohio, Mason New Organ Music Competition and an organist and retired Presbyterian 2009), Prelude and Fugue in F Minor, minister himself, introduced Welch to op. 45 (winner of the Holtkamp-AGO the large audience. Composition Award 2008), and Twelve Short Pieces, Volume 2. Publishers The organ heard on the CD at St. Bärenreiter announces new pub- Anne’s Church, Ottawa, was built in lications for organ. An Easy Bach 1917 by Casavant Frères, using most of Organ Album, edited by Daniel Moult the organ built in 1914 by La Compag- (BA 11212, €12.95), presents easy to nie Canadienne d’Orgues, a fi rm that medium-diffi culty Bach works (original coexisted 1910–1930 with Casavant in and arranged) that can be played on St. Hyacinthe, Quebec. It was rebuilt by small instruments. Chorale preludes, Casavant in 1988 and revoiced in 2011 works from the Well-Tempered Clavier, by Alain Gagnon Pipe Organs, Kings- the Schemelli Gesangbuch, and others ton, Ontario. Eric Plutz Stephen Tharp are included. Volume V of the Complete Rachel Laurin was born in Quebec, Organ Works of Theodore Dubois, edited studied at the Montreal Conservatory, Eric Plutz is featured on a new In 2009, his Aeolus Recordings release, by Helga Schauerte-Maubouet (BA and was associate organist of St. Joseph’s recording, French Trilogy, on the Pro the Complete Organ Works of Jeanne 9208, approx. €46.50), includes the Dix Oratory, Montreal (1986–2002), and tit- Organo label (CD 7255). Recorded on Demessieux, received Germany’s Pièces and the Fantasietta. This Urtext ular organist of Notre Dame Cathedral, the Aeolian-Skinner Opus 1257 organ at premier critic’s award, the Preis der edition includes a detailed foreword, Ottawa (2002–2006). She now devotes Winthrop University, Rock Hill, South Deutschen Schallplattenkritik, alongside critical commentary in German, French, her time to composing, recitals, master Carolina, the program includes Pierné, recipients Cecilia Bartoli and the Phila- and English, and facsimile pages. The classes, and lectures. For information: Trois Pièces; Saint-Saëns, Three Preludes delphia Orchestra. Frescobaldi Urtext edition continues with www.ravencd.com. and Fugues, op. 99; and Vierne, Deux- Upcoming concerts include fi ve fur- Volume III, containing Il Secondo Libro ième Symphonie, op. 20. For informa- ther solo European tours, a program with di Toccate. Edited by Christopher Stem- tion: www.proorgano.com. organ and orchestra as part of the dedi- bridge (BA 8414, €39.90), the volume cation events for the new Eule organ at includes Frescobaldi’s foreword on the the Konstantinbasilika in Trier, Germany, performance of his keyboard music, along and the “St. Cecilia Recital,” the closing with critical commentary, and an index concert for the 2014 AGO national con- of sources (in German and English). For vention at The Mother Church, Boston. information: www.baerenreiter.com. For information: www.stephentharp.com. The Church Music Association of Jonathan Vaughn is featured on a America announces the publication of new recording, Wagner at the Organ— the second edition of The Parish Book The Transcriptions of Edwin Lemare, of Chant. The book presents an expan- on the Regent label (REGCD394). sion of the core repertoire of chant for Recorded on the Harrison & Harrison congregations. This edition includes the Daryl Robinson organ at St. Mary Redcliffe, Bristol, Eng- Order of Mass for both Ordinary and land, the program includes Overture to Extraordinary Forms of the Roman Rite, Daryl Robinson is featured on a Die Meistersinger, Pilgrim’s Chorus from with their musical settings. new recording, Sempre Organo, on the Tannhäuser, and selections from Tristan A collection of 70 chants of vari- Pro Organo label (CD 7261). Recorded und Isolde, Lohengrin, Götterdammer- ous styles follows, arranged by genre on the Fisk-Rosales organ at Rice Uni- ung, and Die Walküre. For information: and liturgical season, and includes all Alan Morrison versity, Houston, Texas, the program www.regentrecords.com. Sequences, fully notated verses to all includes Cochereau, Scherzo sympho- chant hymns, the ad libitum communios Alan Morrison recently made his nique; Karg-Elert, Harmonies du soir, for the ordinary form, and the complete Russian debut, performing a solo recital op. 72, no. 1; Heiller, Tanz-Toccata; Requiem Mass. As with the fi rst edition, to a capacity audience in Glazunov Franck, Deuxième Choral; White, Come, it includes a chant tutorial, a pronuncia- Auditorium at the St. Petersburg Con- Pure Hearts; Dandrieu, Offertoire pour tion guide, and chants for Benediction, servatory in St. Petersburg, Russia. The le Jour de Pâques: O fi lii et fi liae; Bach, plus several litanies; 350 pages, hardback invitation came from both the Conserva- Allein Gott in der Höh’ sei Ehr’, BWV with matte fi nished cover, two gold rib- tory and the U.S. Consulate, to promote 676, Wir glauben all’ an einen Gott, bons, and Smythe binding. For informa- cultural exchange. He also taught an BWV 680; and Liszt, Präludium und tion: musicasacra.com. extended masterclass to six of the twenty Füge über den Namen BACH. For infor- organ students at the conservatory. A mation: www.proorgano.com. Colne Edition announces the release television interview was also conducted of new works by Alan Bullard: Fanfare on and can be seen on YouTube through a Stephen Tharp recently concluded ‘York’ for organ (CE50); and the anthem link on www.alanmorrison.com. his 42nd world tour, playing concerts James Welch Love on my heart from heaven fell Morrison also recently performed in Germany and Switzerland. Program- (SSAA, CE51; SATB, CE52). The music an all-Bach-Family recital on the Fritts ming continued to feature composers of On April 12, James Welch performed is available from Spartan Press (www. organ at Princeton Theological Seminary, our time, including George Baker, Jean a recital on the four-manual Schantz spartanpress.co.uk) and elsewhere. For appeared in Overture Hall in Madison, Guillou, and Anthony Newman, all of organ at Christ Presbyterian Church information: www.colneedition.co.uk. Wisconsin, and played the piano score whom have dedicated music to Tharp. in Canton, Ohio. The recital was co- of Rossini’s Petite Messe Solennelle with The New York City AGO chapter sponsored by the Wagner Society of Michael’s Music Service announces Choral Arts Philadelphia. For informa- awarded Tharp their International Ohio as part of their Wagner bicenten- new organ music publications. Reginald tion: www.concertorganists.com. Performer of the Year award in 2011. nial celebration. Welch performed fi ve Barrett’s not-too-diffi cult arrangement Wagner transcriptions: “Entry of the of Wedding March by Victor Nessler Guests” and “To the Evening Star” from (1841–1890) features bouncy rhythms Tannhäuser; the Overture from Die followed by a contrasting quiet section, Meistersinger; “Prayer,” from Rienzi; and a big fi nish. Edwin H. Lemare’s 1931 and the Dickinson-Lockwood four-hand transcription of Verdi’s March from Aida A. E. Schlueter Pipe Organ Company arrangement of “Ride of the Valkyrs,” is not as diffi cult as many of his transcrip- is pleased to announce the contract assisted by David Kienzle, resident tions. Michael’s Music Service’s website to build a new 50-rank pipe organ for organist of Christ Church. contains a video performance by Thomas Also on the program were the Dorian Heywood. For information: Iglesia ni Cristo, Central Temple, Toccata by Bach; Toccatina by Ramón michaelsmusicservice.com. in Quezon City, Philippines. The Noble, Procesión y Saeta by José Jesús resources of this instrument will Estrada, Tico-Tico by Abreu, Melody Oxford University Press announces be controllable from a IV-manual in Mauve by Richard Purvis, and three the release of The Oxford Book of Lent drawknob console. Several divisions movements (1, 2, and 5) from Widor’s and Easter Organ Music: Music for of the organ will have chamber Symphony No. 5. Fred Gibbs, current Lent, Palm Sunday, Holy Week, Easter, openings into side chapels which can be closed off from the main Fruhauff Mussiic Publliicattiionss Temple to allow the organ to also Compositions, Historical Transcriptions, Hymn Tune Settings & Liturgical Music be playable as two separate two-  Scores for Organ, Voices, Carillon & Ensembles  manual instruments. www.frumuspub.net D P.O. Box 22043 E Santa Barbara, CA 93121-2043

10 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Here & There

Ascension, and Pentecost, edited by Rob- launched on Bach’s birthday (March 21), ert Gower (128 pages, $28.49). The vol- Nunc Dimittis incorporates video of conductor Helmuth ume brings together a broad repertoire Eugene Hoyne Clark, known to his friends as Gene, died suddenly on Rilling’s complete St. Matthew lecture- for use from Ash Wednesday through March 2. Born December 12, 1929, in La Crosse, Wisconsin, he graduated concerts (recorded at the 2012 Oregon Pentecost, providing a comprehensive from La Crosse Central High School in 1947; he went on to Northwestern Bach Festival), plus poetry, artwork, pho- volume for this extended liturgical University in Evanston, Illinois, where he earned his bachelor of music degree tography, and scholarship, and a line-by- period. The pieces—largely based on in 1951 and his master’s in 1952. In October of that year he was inducted into line animation of the libretto, available in well-known hymn tunes—vary in style the U.S. Army and was sent to Korea, where he directed prize-winning choral 15 languages, set to Rilling’s 1999 record- and length, from processionals and inter- groups. He was honorably discharged in 1954. ing. The “Cuepoints” section shows a ludes to voluntaries and recital works, Upon release from the military, he relocated to San Francisco and taught visual representation of the 1681 Bible covering a range of technical diffi culty. choral music for the San Francisco Unifi ed School District. He also held organ- edited and annotated by Abraham Calov, For information: ukcatalogue.oup.com. ist/choir director positions in several Bay Area churches, including St. Francis a leading theologian of that time; viewers Lutheran Church and Lakeside Presbyterian Church in San Francisco, St. can study Bach’s libretto matched against Trumph Music Publishing House Paul’s Lutheran Church in Oakdale, and Woodside Village Church in Woodside. pages of the Calov Bible while hearing announces new releases; Four Romantic In later years he was substitute organist/director in many Bay Area churches. the corresponding passage of music. Transcriptions (Serge Ollive, T072001); Other features include virtual tours of Four Classical Transcriptions (Serge Ronald Cross died February 21 in Staten Island, New York, at the age of 84. St. Nicholas and St. Thomas churches in Ollive, T072002); Two Mahler Transcrip- A native of Fort Worth, Texas, he earned a B.A. degree from Centenary College Leipzig, interactive music notation and tions (Kiyo Watanabe, T074001); Roy and M.A. and Ph.D. degrees from New York University. A Fulbright fellow- text of the eight different Lutheran cho- Perry: Christos Patterakis (Kiyo Wata- ship supported his studies at the Venice Conservatory, Chigi Academy, and the rales Bach incorporated into the score, nabe, T074002); Erik Satie: Je te veux universities of Siena, Vienna, and Florence. Cross taught at Notre Dame Col- and Rilling’s complete Hänssler CD (Kiyo Watanabe, T074003); Two Hymn lege, Staten Island, from 1958–68, and at Wagner College, Staten Island, from recording. The Digital Bach Project has Settings in Jazz Style (Kiyo Watanabe, 1968 until his retirement. A member of the New York City AGO chapter, he also explored the Mass in B Minor, and T074004); Claude Debussy: Clair de had previously served as dean of the Staten Island chapter. He had served St. the Goldberg Variations. Partners in the Lune (Kiyo Watanabe, T074007); Henry Paul’s-St. Luke’s Evangelical Church in Staten Island as organist-choirmaster. Digital Bach Project include the Oregon Walford Davies: Solemn Melody (Kiyo Bach Festival, University of Oregon, Watanabe, T074008). For information: Arlene Heywood Howes, age 77, died February 28 in Longmeadow, Mas- Hänssler Classic, and Northern Arizona www.trumph.se. sachusetts. Born in St. Paul, Minnesota, she graduated from the University of University, where music theorist Tim Minnesota in 1956. Howes served for 38 years as organist-choir director at Calvary Smith, the site’s chief programmer and Edition Walhall announces the Presbyterian Church, Enfi eld, Connecticut, directed the handbell choir of the editor, is on the faculty. release of the fi rst facsimile edition of Second Baptist Church in Suffi eld, and performed with the Springfi eld Symphony the Stabat Mater autograph by Giovanni Chorus in Massachusetts for more than 40 years. She was a longtime member Venue designers Battista Pergolesi (1710–1736). The and former treasurer of the Springfi eld AGO chapter. Arlene Heywood Howes is Arup and Artec announce the inte- manuscript is preserved in the Benedic- survived by three daughters, three grandchildren, and four stepchildren. Q gration of their acoustics, audio-visual, tine Abbey of Monte Cassino in Italy. and theater consulting practices. This Editor Tineke Steenbrink, harpsichord- combines the two companies that spe- ist and founder of the Holland Baroque Recordings Purcell, Ireland, Bach, Sanders, Durufl é, cialize in the planning, design, and engi- Society, wrote in her introduction: “The Regent Records announces the and Bruckner, including fi ve spirituals neering of venues for performing arts, great differences in the modern printed release of Deep River: Music for Lent, arranged by Tippett. For information: contemporary entertainment, education, editions raise many questions that can Passiontide and Holy Week, by the www.regentrecords.com. conference, convention, sports, and possibly be answered through the study Winchester College Chapel Choir; worship. For information: www.arup. of the facsimile.” Musikverlag Edition Jarnal Sutton, organ; Malcolm Archer, The Digital Bach Project presents com/Home/News/2013_03_March/04_ Walhall, EW 880, 88 pages, €49.80. For director (REGCD405). The program its St. Matthew Passion material. The March_Arup_integrates_Artec_Consul- information: www.edition-walhall.de. features works by Lotti, Byrd, Greene, website www.digitalbach.com, offi cially tants_Inc.aspx.

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 11 Reviews

Music for Voices and Organ posted in the choir room to remind sing- service. In many churches the hand- Collections by various by James McCray ers of this appreciation when they return bells play once a month; adding these composers/arrangers in late summer. simple introits to the service will give Choral music collections, Directors should fi nd ways to create a stronger identity and responsibility Easy Settings 2, compiled and edited and early and late summer a sense of anticipation about the new to handbell choirs. Inexpensive and by Joel Raney. SAB and piano, Hope responsibilities season. Newsletters during the summer highly recommended. Publishing Co., 8534, $8.95 (M). with personal information about vacation SAB collections are popular with For unto whomsoever much is given, of him shall be much required. activities and news regarding the upcom- Classic Hymns for Two Voices, small choirs, and Hope Publishing lists Luke 12:48 ing season will be welcomed by everyone. Lloyd Larson. Medium voices and ten different SAB publications at the Planning for fall is the other portion of a piano, Hope Publishing Co., 8533, end of this book, most by Jack Schrader. For church and school choir direc- director’s summer responsibility. Deci- $16.95 (M-). Raney’s collection offers works, in a tors, summer is a time to refl ect on the sions regarding new repertoire, special Although most of these settings could great variety of musical styles, which past year and plan for the future. Often musical events (cantata, choir exchanges, be sung by multiple voices, these duets were originally published by publishers ensembles limp exhausted into the sum- etc.) need to be made in the fi rst half were designed for two single voices. The other than Hope. These arrangements mer hiatus, so that some of what has of summer, and building enthusiasm texts are somewhat generic, so the set- have texts such as “Surely the Lord Is been accomplished is lost, or forgotten. through communication of those events tings are appropriate for most Sundays. in This Place,” “Amazing Grace,” and Church choirs who have faithfully pro- should dominate the last half. The vocal and keyboard music are not “Calypso Lullaby.” The accompaniments vided music for weekly services and spe- The music reviewed this month keeps diffi cult; the alto line sometimes has a are busier than the choral parts, which cial occasions deserve to end their season budgets in mind. Choral music collec- low tessitura. These settings would be have many unison passages. on a high note. Their contributions to tions are less expensive than individual very useful for offertories, or to fi ll the the church during the past nine months settings, although some works in a col- anthem slot during the summer when Children Sing in Worship (Volume deserve more than just a few brief lection might not be used for various the choir is on vacation. Two), Carol Carver and Mark Wei- remarks from church leaders and polite reasons. Nevertheless, having collections ler, editors. Augsburg Fortress, 978- applause from the congregation during of choral anthems in the church music In Beauty We Walk, Ian Callanan. 1-4514-2412-6, $29.95 (M-). their fi nal performance. It is vital that library will be a pragmatic and cost- SATB and guitar, GIA Publications, These nine anthems are for singers the singers feel their work has important saving strategy. G-8230, $22.00 (M). 8–12 years of age. The collection includes value to the church and the congrega- As you refl ect on the accomplishments This unusual collection is not a book both the complete score with accompani- tion. This cannot be over-emphasized! of the past year, also give a fi rm and hon- of music but rather a front/back cover to ment and a reproducible melody line Choirs develop a sense of family. est appraisal of how the year concluded. hold 14 separately published works, all version for the singers. The composers/ Conversations at weekly rehearsals and Then while enjoying your summer break under the same title. Some works require arrangers are Cynthia Anderson, Shari services bring singers together; good spend some time on preparing for Rally additional instruments (C instrument, Anderson, Thomas Keesecker, Nancy directors who foster togetherness usually Sunday and a year of church choir work string quartet, etc.), and all have music Raabe, and Julia Simon. Texts include have choirs that not only have a stronger fi lled with brio! for the assembly, which is at the back for “A Calypso Lord’s Prayer” and “While commitment, but also possibly perform duplication. The texts are varied (“Come Shepherds Watched Their Flocks.” Hav- better. The end of the season often is a Collections by a single Eat This Bread,” “What Must We Do?”), ing music for duplication is very practical time of dwindling attendance due to a composer/arranger so they are appropriate throughout the for children’s choirs; this reduces the cost myriad of reasons that extend beyond the church year. considerably since often many singers church. After Easter, members of both Jack Schrader’s Collected Cho- are just learning to read music and sing the choir and the congregation seem to ral Works, Vol. 1, Jack Schrader, Sacred Land, Liam Lawton. SATB, mostly by rote. Highly recommended. quietly disappear. Shrinking attendance arranger. SATB and keyboard, Hope keyboard, and guitar, GIA Publica- also results in less income from the col- Publishing Co., 8430, $8.95 (M). tions, G-6847, $16.95 (M). The Oxford Book of Descants, Julian lection plates. There are ten anthems, with texts As with the previous collection, this Elloway, editor. Mostly unison/two- Church leaders recognize the value for various times during the church has a cover for individually published part with keyboard, Oxford Uni- and necessity of the choir’s summer year. One anthem is scored for a trio of works by the same composer (Liam versity Press, 978-0-19-3365598-8, break, but know that the choir’s absence trumpets; the parts are included. The Lawton). Here the works have been $25.50 (M-). usually has a negative impact on the ser- choral and keyboard music are each arranged by two different people, Gary Oxford’s full music edition has a key- vices during those summer months. The on two staves; most of the keyboard Frye or Paul Tate; all have been pub- board setting of 102 hymns that includes choir adds a level of excitement to most accompaniment is for piano. Composers lished by GIA over a period of time. the melody; the descants are above. services, and without them there is a include Sydney H. Nicholson and Glenn Many require additional instruments, Hymns are identifi ed by both their tune feeling of loss to worship, the emotional Burleigh. (All works are published sepa- and all feature congregational singing, name and more common name (Slane drama achieved, and especially the effec- rately.) The strong keyboard writing and with a reproducible part for them. The = “Be Thou My Vision”) and cover a tiveness of congregational singing. Those relatively easy choral parts make this a music is not diffi cult, with the cho- wide range of 19th- and 20th-century who lead the service would like the choir very useful collection. rus usually on two staves. Titles vary, composers. This collection focuses on to sing every week, but they know that is such as “Kyrie,” “Fan the Flame,” and descants used in ordinary worship ser- not possible with volunteer choirs. Choral Introits with Bells, Hal Hop- “Far Beyond.” vices throughout the church year. Some Directors who end the season with a son, arranger. SATB and handbells, are presented in different keys with positive feeling of accomplishment usu- MorningStar Music Publishers, God Is Love, Paul Melley. SATB and alternative words to match most popular ally will be rewarded with many return- MSM-50-2540, $5.00 (E). keyboard, GIA Publications, G-8229, hymnals. Useful and effective. ing singers come fall. One small token of This collection should be owned by $17.00 (M). appreciation might be a picnic or party every church that has a set of hand- This collection of 11 separately to thank the choir for their months of bells. Each of the 17 settings for the published works is arranged by the Book Reviews dedication. Pastors should be encour- church year is brief (1–2 pages), and composer. One work uses string quartet The Compenius Organ: Compenius aged to attend and offer additional uses 4–8 handbells. Separate handbell and another calls for fl ute and violin. Orglet, edited by Claus Røllum- thanks. As a part of that celebration parts are included. The choral music, There also is a separate edition for guitar Larsen, Thomas Lyngby, Sven- there should be a few special internal on two staves, is quite simple, with accompaniment. With love as the con- Ingart Mikkelsen, and Henrik awards to members for serious and texts for Sundays from Advent through necting theme, titles include “Fill Us Fibiger Nørfelt; English transla- funny things that happened throughout Christ the King; these settings will be a With Your Love,” “Set Me As A Seal,” tion by Gwyn Hodgson. Text in the year. Pictures should be taken and very pragmatic addition to any worship and “Who Is Your Neighbor?”. English and Danish. Published by

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12 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Reviews the Museum of National History at usual principals and fl utes, and the organ the Compenius organ, Mads Kjersgaard, The DVD may be obtained separately Frederiksborg, 2012; hardback, 213 can perhaps in some ways be considered is entitled “The Compenius Organ over for purchase or download at Gateway pp. ISBN: 9788787237734. Avail- a seventeenth-century precursor of the 400 Years,” which contains a wealth of Music gatewaymusic.omega.oitudv.dk/ able from the Museum Store or twentieth-century theatre organ. information about other Compenius kunstner/18919. from [email protected]. This book consists of a number of organs as well as the Frederiksborg one. Engellischer Mascharader, Johan In 1610 the organbuilder Esaias Com- scholarly articles by several experts who Thus, for example, we learn (p. 131) Rudolf Radeck; King of Denmark’s penius built a 2-manual-and-pedal organ have been involved with the Compenius that the only other known extant pipe- Galliard, John Dowland; Praeludium, with 27 stops—9 on each division—for organ in one way or another. Following work by Compenius consists of a few Johann Lorentz; Ciacona, BuxWV 160, Duke Heinrich Julius of Brunswick- a Foreword by Mette Skougaard, the Gemshorn pipes recycled by Reubke Buxtehude; Kunigin haff tantz, Hans Wolfenbüttel and his wife, the Duchess director of the Museum of National in the nineteenth century when he Neusiedler; Aria sopra la “Bergamasca,” Elisabeth, for their home at Hessen History at Frederiksborg Castle, there replaced Compenius’s Croppenstadt Marco Uccelini; Ein Feste Burg ist unser Castle in Wolfenbüttel, Lower Saxony. is a general essay on “The Compenius organ. Pages 141 to 176 are taken up Gott, Christian Flor; Ciaccona, Andrea Seven years later, accompanied by the Organ in Denmark,” by Thomas Lyn- with a magnifi cent collection of color Falconieri; Canario, Michael Praetorius. organbuilder, the Duke sent the organ as gby, the curator. Lyngby notes, among photographs of the restoration. This is a lavish and well-produced a gift to his brother-in-law, King Chris- other things, that the Compenius organ By way of a slight excursus, but nev- volume through and through. It is an tian IV of Denmark, who installed it in was played by British Prime Minister ertheless a very interesting one, there erudite work containing a massive the chapel of his castle at Frederiksborg. Edward Heath in 1972. Lyngby’s article comes next an essay by Kai Ole Bøggild amount of scholarship. Indeed, a skill- His grandson, Christian V, moved the is followed by one by Dorothea Schröder on “Finn Viderø and the Compenius ful organbuilder might pretty well organ to the Great Hall, but in 1790 on “Where the Compenius Organ was Organ,” which chronicles the close produce a replica of the instrument it was moved again to Frederiksberg Built: Cultural Life at the Court of relationship between the great Danish using this book alone. It is nonetheless Castle (Frederiksberg with an “e”—not Wolfenbüttel around 1600.” The origi- organist Finn Viderø and the Frederiks- eminently readable so far as the general to be confused with Frederiksborg!). It is nal owner of the organ, Duke Heinrich borg organ, including Viderø’s landmark reader is concerned. It is also, with its just as well it was no longer in Frederiks- Julius, was a cultured and learned man, set of six 78-rpm discs recorded on the many color illustrations, a most elegant borg, since the castle there mostly burnt who was a fi ne keyboard player among Compenius organ for the Gramophone book fi t to grace the noblest of coffee down in 1859. Following rebuilding of many other accomplishments, and so Company. The fi nal essay, by the organ- tables. Together with the DVD it gives the castle, it was thought fi tting for the would have enjoyed playing the Compe- ist of Frederiksborg Castle, Sven-Ingvart a wonderful impression of a unique Compenius organ to be moved back to nius organ himself. Around 1593 or 1594 Mikkelsen, “The Musician and the and interesting organ, and I thoroughly its earlier home, and it was returned he had employed Michael Praetorius, Compenius Organ,” discusses the tonal recommend it. to the chapel of Frederiksborg Castle fi rst as chamber organist and then as concept of the instrument and the type —John L. Speller in 1869. By this time it was pretty well Kapellmeister, and it seems that Praeto- of music that may most effectively be St. Louis, Missouri unplayable, and it is most fortunate that rius acted as a consultant to the Duke at performed on it. This is not an organ the organbuilder chosen to restore it in the time the Compenius organ was built. on which you can play Buxtehude or 1895 was Aristide Cavaillé-Coll, whose Schröder also has an interesting study of Bach—its principals are very light, and New Recordings only changes to the instrument were the iconography of the decoration of the the mixtures are so quiet and silvery that The Genius of Cavaillé-Coll. Fugue to add metal tuning fl aps to the open organ case. they can be used with very soft combina- State Films, www.fuguestatefi lms. wooden pipes and a small concussion This is followed by an article by Ger- tions. Chorale-based church works and co.uk/cavaille-coll/. bellows to steady the wind. [The reader hard Aumüller on “Esaias Compenius small dance music do come off exceed- Available from the Organ Histori- may wonder how open wood pipes were and his Family.” Then comes “Concern- ingly well on the instrument, however, cal Society, FSF-DVD-004, $160.00, tuned before the invention of the tun- ing the Survey of the Compenius Organ and a number of works have also been www.ohscatalog.org. ing fl ap. The pipes were cut to length. in 1940,” by Svend Prip, including specially written for the instrument by Congratulations to Will Fraser of If the pipe needed to be shortened to detailed plans of the windchests on pp. modern composers such as Aksel Ander- Fugue State Films for undertaking the bring it into tune a knife was used to 98–107. The survey included a meticu- sen and Leif Thybo. monumental project of documenting trim a little wood from the inside top lous description of the pipework by Syb- The book concludes with a discogra- 19th-century French organbuilder Aris- edge of the pipe, and if the pipe needed rand Zachariassen of the Marcussen fi rm. phy and an index of names. tide Cavaillé-Coll and his works. This to be lengthened a little candle wax was After this there is a fascinating essay by In illustration of the sort of repertoire effort produced a set that includes a dripped onto the top of the pipe. It may Christian Gorm Tortzen on “Compenius that comes off well on the instrument, 76-page full-color booklet, two CDs, and be imagined that before the invention of as a Butcher of Books,” which discusses the book is accompanied by a DVD, the fi ve DVDs. Video subtitles are available the mechanical reproduction of music the medieval vellum manuscripts found details of which are as follows: in English, French, or German. The most people were not used to music lining the bellows, etc. These include quality of this work is outstanding and I being in tune and had a rather higher 450 fragments of a late twelfth- or early The Compenius Organ, 1610: Musica fi nd that it succeeds on many levels. tolerance for out-of-tuneness than most thirteenth-century folio of the Psalms, Autentia Society. Sven-Ingvart Mik- France is a country that lends itself people do today!] Old and New Testament Canticles, and kelsen, organ, with the Ensemble to being painted, photographed, and The organ was in need of more work Offi ce for the Dead, thought to have Autentia—Lene Langballe, cornetto fi lmed. If the documentary had not suc- by 1940, when the organbuilders Marcus- originated in Brunswick, which has been and recorder; Roberto Falcone, ceeded at its main goal, it would remain sen and Frobenius both sent in reports, named the Psalterium Compenianum. baroque violin; and Hans Andersen, a testament to beautiful cinematography but could not agree on whether or not to The article by the organbuilder respon- percussion. Commentary in Danish and editing. The images are splendid, remove the tuning fl aps and concussion sible for the most recent restoration of with English subtitles. ³ page 14 bellows that had been added by Cavaillé- Coll. It was therefore the 1990s before the PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS organ was fi nally given a museum-quality restoration by Danish organbuilder Mads Kjersgaard, partly in consultation with Before Peace Lutheran Church Jürgen Ahrend. This time it was generally renovated its sanctuary, its small agreed that the tuning fl aps and concus- sion bellows should go. The only change pipe organ was in the balcony. was to make a new frame for the four During the renovation, Peggy three-fold wedge bellows, the old frame Bartunek of Rodgers Classic being beyond practicable to repair. The new frame has been placed near the Organs of North Dakota filled organ, so that the public can watch the the need to lead all music organ being pumped. For the benefi t from the front of the church by of tourists, there is a short recital on the instrument every Thursday at 1:30 p.m. installing a new three-manual The Compenius organ was an extraor- Rodgers console, which was dinary instrument at the time it was built interfaced with pipes relocated in 1610 and remains so today. All 1,001 of its pipes are made of wood, of a plethora to a chamber in the chancel. This of different types, many rare and pre- enabled Peace Lutheran to keep cious. These include juniper, ash, maple, plum, boxwood, and ebony. The façade its pipe organ while benefiting pipes are covered with a thick plate of from the much larger stoplist of the fi nest ivory, which has remained the digital organ. white even after 400 years. The oak casework is richly carved and covered with marquetry in rowan, ash, pear, and ebony. The drawknobs are shaped like Rodgers invites you to call for details lion’s heads and made of solid silver. The about new hybrid organ solutions. instrument is not, however, a church organ, but a secular instrument intended For more information, please contact for dance music and such. There are per- Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com cussion and bagpipe stops, as well as the

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 13 Reviews

³ page 13 into a secure fabric that helps anchor important and is certainly the major con- institutions. All who contributed either crisp, vibrant, gorgeous, and leap out of the viewer. He has, without doubt, the tributor to the sound of a Cavaillé-Coll fi nancially, or with time, expertise and the screen to draw the viewer inside. The best grasp of the work of Cavaillé-Coll organ. Those who have had experience talent, are to be congratulated. Kudos to audio quality of both the video tracks of anyone on the planet. Ebrecht helps restoring 19th-century organs in France Will Fraser of Fugue State Films, UK, and the CDs is outstanding. the audience understand the context will confi rm that the quality of the who not only had the vision to undertake There is so much that could be said of the times, the setting, the country, Cavaillé-Coll pipework is generally supe- such a project but to see it to fruition as about Aristide Cavaillé-Coll and his and the man, as if he had known Aris- rior to that of the fi rm’s contemporaries. a grand success. works. A great deal is covered in the tide Cavaillé-Coll personally. Shuster I greatly appreciated Lueders’ demon- —Gene Bedient three-segment DVD, but the viewer Fournier—who, like Lueders, has lived stration of the Cavaillé-Coll Poïkilorgue at will fi nd that each part passes by very in France for many years—has in-depth the Musée d’Art et Metiers, an important Gene Bedient is a retired organbuilder, quickly, because the presentation is so knowledge of the subject, a great deal part of the Cavaillé-Coll story. Although living in Paris, and working part-time for captivating. The three-part documentary of experience with the instruments, and I’ve been to see the organ on display organbuilder Michel Jurine, Rontalon, France, discusses the rise and decline of Aristide speaks elegantly about the salon organ, many times, I had never heard it until collaborating and assisting on the construction of new organs and the restoration of 19th- Cavaillé-Coll et Cie over the three gen- which was a very important part of 19th- watching the video. century French organs. erally agreed-upon periods of his career. century French culture. Those outside France often express It is important to note that the story is Fraser and his team have done a criticism that French organs sound out not only about Cavaillé-Coll, but also superb job of editing. Brooks looks of tune. Mendelssohn, upon making a Confl uence, Barbara Raedeke, about his relationships with organists, directly at the viewer when he is on trip to hear the famous Clicquot organ organist. Juget-Sinclair organ, St. composers, and organ teachers of the camera and gives the sense that he talk- at St. Sulpice, reported that it was in Mark’s Episcopal Church, St. Louis, time, and how the development of the ing directly to you, one-on-one. Lueders such bad condition, it sounded like a Missouri. Raven OAR937, $15.98, organs infl uenced compositions and vice always looks just to the right of the cam- chorus of screaming old women! Never www.RavenCD.com. versa. All is elegantly discussed, beauti- era and Ebrecht just to the left, as if they mind that the Revolution had recently Bruhns, Praeludium in E Minor; fully documented, and will be appreci- are having a conversation with you rather ended and that the French organ world Bach, Pastorella, BWV 590; Brahms, O ated both by those very knowledgeable than lecturing. Carolyn Shuster Fournier was in chaos. American GI organists Gott, du frommer Gott (no. 7), Herzlich about the topic as well as those who wish invites you into a salon as if she was la returning from World War II reported tut mich verlangen (no. 10) (from Eleven to enhance their knowledge. maîtresse de maison and then plays Bach that the organs in France were badly out Chorale Preludes, op. 122); Bach, Pre- I dare say that even those who believe on a salon organ as Widor might have. of tune. Never mind that the country lude and Fugue in G Major, BWV 541; they already know the subject very well She explains everything about this part had just been devastated by war. Yes, Franck, Prelude, Fugue and Variation, will learn at least something new after of the topic convincingly and she is sometimes they do sound out of tune op. 18; Vierne, Clair de lune, op. 53, no. perusing this work. At the same time, elegantly dressed while playing, as if she and that is almost always because reed 5 (from 24 Pièces de Fantaisie, Suite 2); with the organ world being so diverse had been one of the invitees to the salon. pipes can and do separate in pitch from Widor, Allegro (Symphony No. 6 in G and opinionated, some who take the time The French organists featured on each other and from the fl ue pipes in an Minor, op. 42). to view and listen to the entire work will camera are excellent and add vital organ. Fortunately, reed pipes are rela- Inspired by a visit to the organ of Nash- undoubtedly wish that more had been authenticity to the piece. Daniel Roth’s tively easy to tune. ville’s Second Presbyterian Church, the covered in detail, that other organs had explanation of the layout of the organ at It is not that French organists are organ committee at St. Mark’s Church, been featured, that other personalities St. Sulpice is outstanding and beautiful happy to play organs with sour reed St. Louis, Missouri, made the decision had been utilized, that other comments to behold. The same can be said of every tuning. It is much more a consideration to install a two-manual Juget-Sinclair in had been made, or that other refl ections French organist featured. Organbuilder of un-air-conditioned churches, circum- their delightful, reverberant Art Deco had been included. At the conclusion of a Bertrand Cattiaux’s commentary and stances, the cost of maintenance, and sanctuary, and, judging from this record- project like this, the viewer never knows explanation of the Barker machines the timing. French organs are almost all ing, it is a decision from which they will what remained on the cutting room fl oor. inside the organ at St. Sernin is a valu- proudly in tune for the major celebra- reap many years of musical rewards (see But such creative endeavors succeed at able addition. tions, just as they are in other countries The Diapason, February 2011, p. 28). their best level when decisions are made It is dangerous to ask an organbuilder of the world. Thus, I was disappointed The recording opens with Nicolaus by a competent person in charge and not his opinion of such a work because there that the reeds of the Jean-Pierre Cavaillé Bruhns’s Preludium in E Minor. Barbara a committee. are always tiny technical things that we organ (grandfather of Aristide) could Raedeke’s performance is unhurried in Cavaillé-Coll has many fans, and would have described differently. Tant not have been tuned for this important the best possible sense: grand, stately there are numerous historians, organists, pis! The technical explanations are excel- project. It is somewhat off-putting to and polished, it signals the beginning musicologists, and organbuilders who lent. I am grateful that some instruments hear the fi rst organ featured in this of a very fi ne, musical recital. After are truly experts regarding this man, his of modest size have been included. Many monumental work not having its reeds this dramatic opening, there follows a organs, and the movement he unleashed tend to focus on the monumental organs, well in tune, thereby perpetuating the charming performance of J. S. Bach’s in 19th-century France. Therefore, but it is important to remember that myth that French organs are never in Pastorella (BWV 590) in which Raedeke to make such a documentary, choices probably two-thirds of the organs made tune. With this one exception, the tun- introduces us to the solo possibilities of had to be made, and I believe that Will by the Cavaillé-Coll fi rm are twenty-fi ve ing condition of the featured organs is several of the organ’s 20 speaking stops. Fraser chose well. Gerard Brooks, Kurt stops or less. These smaller instruments overall very good. Again, the tempo is relaxed and unhur- Lueders, Ronald Ebrecht, and Carolyn all have mechanical action without a If the main documentary were not ried in a performance that the player is Shuster Fournier, the principal spokes- Barker machine and they tend to be very enough, two additional DVDs docu- clearly enjoying, and over which she has persons, have all spent lifetimes studying beautiful creations. The choir organ at ment visually and in sound recordings full control. Two of the Johannes Brahms and digesting this subject; all are bril- the Cathedral at Orleans, featured in the fi fteen organs of the Cavaillé-Coll fi rm. chorale preludes follow: Herzlich tut liant and articulate. Brooks is not only a piece, is a case in point. Each includes an orientation of both mich verlangen (no. 10) and O Gott, du fi ne musician and scholar with in-depth Much is made about the use of higher the cities or villages where they are frommer Gott (no. 7). Given Raedeke’s knowledge of the subject, but through wind pressures for the treble pipes. located and the buildings within which sensitive performance of the Bruhns and the quality of his voice and his calm and Very true, but the majority of the organs they have been installed. Usually in this Bach, the slightly sterile performance of professional demeanor on camera, he are on one wind pressure and when documentation, music that is contempo- these two works was a little disappoint- quickly instills in the viewer confi dence there are two pressures, the difference rary with each instrument is featured. ing, and they would both have perhaps that the story will be well told. Lueders between the two is not much, as I can Sometimes the organist/narrator gives a benefi ted from a freer approach to leads the viewer through the technical, attest from having made measurements verbal explanation of the organ and plays tempi and a more indulgent approach to musical, and aesthetic threads of the man myself. Therefore, the aesthetic of how an improvisation to demonstrate. In any Brahms’s darker mood. and the movement, and weaves them the pipes were made and voiced is very case, this documentation of instruments These are followed by another great is an important part of the project. Stop Bach work, the Prelude and Fugue in G lists as well as color photos are featured Major (BWV 541), which is given a very in the printed booklet. fi ne, spirited performance, with clear Two CD recordings feature nine organ- lines, good articulation, and excellent ists (who are also in the documentary) linear treatment of the fugue subject; the playing a variety of appropriate literature organ really sings out this Baroque Ger- on the fi fteen documented organs. man music with a colorful, bright pleno. Whether you are a Cavaillé-Coll afi - The fi nal three works on the CD come cionado, a collector of organ recordings, from the French romantic school: César an organ nut who loves to read, listen Franck’s Prelude, Fugue and Variation and learn about the organ, or simply a (op. 18) taken from his Six Pieces; Louis part of the world of organs and organ- Vierne’s Clair de Lune (from 24 Pièces ists, you will enjoy owning this important de Fantaisie), and closing with the fi rst work. The amount of expense and effort movement (Allegro) from the Symphony that went into its production is truly phe- No. 6 in G Minor by Charles-Marie Widor. nomenal. The project was co-sponsored In all three works, Raedeke’s judicious by the Organ Historical Society, where registrations present the impression of a the work is available for U.S. purchase. much larger instrument, and her superior Outside of the U.S., the set is available musicianship is evident throughout her directly from Fugue State Films. Supple- playing of these three works (as, indeed, mental funding was provided by many throughout the entire disc.) of you who will be reading this review The booklet includes informative pro- as well as by other private and public gram notes, in addition to details of the

14 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Reviews instrument, the process for choosing an prelude would make an ideal postlude as well as organ music. This collection of A Cipher is two pages in length and organbuilder, and some nice photographs for All Saints’ Day. ten trios, dating from 1899, follows in the in 3/8 meter. A repetitive minor third of the instrument’s construction (as well Andrew Carter’s Fanfare and Proces- tradition of Rheinberger; apart from no. is heard in the left hand for the fi rst 15 as a lovely full-color photograph of the sional (lasting fi ve minutes) is an exciting 1, which covers only one page, they are measures, coming to rest in measure 16. instrument on the front cover). There is work that opens with a sharply rhythmic just two pages long. The shortest note In measure 17 the right hand abandons a short biography of Barbara Raedeke, motif featuring plenty of crunchy dis- value is an eighth note (some moving in the linear line and plays triads in various and detailed registration information sonances and pedal eighth notes against quarter notes and half notes in C time), positions. Fingering challenges abound for each piece performed. Raven’s fi ne held chords, with simultaneous fi fths in and each trio is no faster than Moderato, for the beginner in order to follow the recording technique ensures that every the pedals. The second movement sets a with most being headed Andante; there indicated articulation. In measure 25 the note is heard as clear as a bell, no matter solo line for Trumpet against an accom- are a few instances of a note being played opening left-hand motive is taken up by how soft, and coupled with the church’s paniment, followed by an interlude simultaneously on the two manuals, but the right hand, and the left hand plays lively acoustic and majestic organ, in which a right-hand solo orchestral no crossing of voices. Keys do not exceed chromatically altered scale patterns until Raedeke’s commanding and measured reed plays an eighth-note line against three sharps (nos. 6 in A major and 7 in measure 40, when the triads appear in performance makes this a very good disc. repeated quarter-note chords, followed F-sharp minor). the left hand. At measure 47 a recap of —James M. Reed by the left hand on the solo reed against Some pieces begin with conscious imi- the opening section presents itself with Bergen, Norway syncopated chords on the Celestes. A tation between voices, others are homo- variation and the composition ends on a gradual crescendo leads to a repeat of phonic. Syncopation is used regularly sustained middle C. the fi rst part with a recapitulation of the but not excessively, and there are several Tuning Slides is clever and delightful New Organ Music Fanfare rhythms on the Tuba. While an chromatic passages to add interest. No for the listener. Sequential moments Mr Theo Saunders, His Trumpet organ with the appropriate resources registration is suggested, leaving the reinforce an opening pattern. Again, fi n- Tune, Antony Baldwin. Banks Music would do the fullest justice to it, I see player with a very broad palette of pos- gering concepts can be taught through a Publications 14064, £2.95. no reason why a player at a more mod- sibilities; neither is there any ornamenta- piece like this. At 28 measures in length, The cleverest aspect of this piece is its est instrument could not make this piece tion, although cadential trills should not it fi ts well between the outer movements early-English-like title. (The dedicatee sound convincing. A most entertaining be excluded. of the trilogy. The composition begins as is organist and master of the choristers piece that is not over-demanding techni- These gentle, tuneful, and relatively though in C major and ends tunefully on at Armagh Cathedral.) Otherwise, it’s cally, it would make a good concluding undemanding pieces would make an F-major chord—delightful writing. imitation 18th-century stuff—sectional, voluntary or recital item. excellent fi llers before or during the Gremlins on the Great sounds like its with harmonic motion that is not as clear Robert Cockcroft’s Soliloquy is a quiet service; they are also excellent teaching title and again is great for sight-reading. and engaging as that of its ancestors. and slow work, with the composer asking material as an introduction to the more The dissonance of a minor second is prev- for three manuals, with fl utes on each and demanding trios by Rheinberger and alent and the tritone makes its appearance Opera Festiva: Masterpieces for also a Salicional on the Swell. The pedal Merkel, and to the taxing examples by along with clustered chords fi lling out the Organ, edited by Günter Kaluza. part has a two-bar recurrent ostinato- Bach, Krebs, Rembt, and other 18th- tritone interval. Like the two movements Heinrichshofen’s Verlag, N2693, like fi gure consisting of just tonic and century composers. before, this is in compound time and €12.90. dominant that occurs in different keys; —John Collins presents the performer with the task of These transcriptions for organ of eight the left-hand is on the Swell throughout, Sussex, England creating convincing rhythmic concepts instrumental works are likely already in consisting almost entirely of quarter-note through appropriate tempo choices. many organists’ libraries. If not, and you triads in close position (marked legato Three Pieces for Three Stops (Manu- —Marjorie Ness, DMA would like this particular grouping under posible) in a repetitive pattern beneath als alone), Andrew Carter. Banks Fitchburg State University one cover, these are well done: idiomatic a solo line on the Great or Choir that Music Publications 14057, £3.50; Fitchburg, Massachusetts for the organ, though (as sometimes includes some syncopations, triplets, and www.banksmusicpublications.co.uk. happens with transcriptions) techni- occasional long-held notes with a moving I am familiar with Andrew Carter’s David Lasky, In Praise of God: Organ cally challenging. The transcriptions are lower voice. Atmospheric and hypnotic, choral music and have performed A Improvisations on Hymns of Faith, faithful to the originals. The pedals, as is this piece would be extremely effective Maiden Most Gentle and Songs of Still- Augsburg Fortress, ED 0184540, often the case, are overused in the earlier where a quiet conclusion is fi tting. ness. The present selections for organ $19.50, www.augsburgfortress.org. works. The fi rst fourteen pages (35% of These inexpensive volumes are clearly offer a new sound from the composer. For over 30 years Massachusetts native the volume) are taken up with Mozart’s printed and can be ordered online; they Three Pieces for Three Stops is a very David Lasky (b. 1957) has been director Adagio and Allegro in F Minor, K. 594. are recommended as being well-crafted cleverly composed trilogy. These pieces of music and organist at the very large The others: Bach (Air in D and Jesu, short works. would make excellent practice sight- St. Cecilia’s Roman Catholic Church in Joy); Purcell (Rondo); Charpentier (Pré- reading material for those preparing for Leominster, Massachusetts, home of lude from Te Deum); Marcello (Psalm Ludwig Ebner, Zehn Trios für Orgel, the AGO service playing exam, or great a four-manual vintage 1933 Casavant. 19); Handel (Hallelujah); Beethoven op. 48, edited by Franz Stoiber. Edi- teaching pieces for piano students com- Most of his numerous organ pieces have (The Heavens Are Telling); and Clarke tion Walhall EW844, €12.80, ing to organ as their pedal technique been composed at this instrument. (Trumpet Voluntary). www.edition-walhall.de. takes time to develop. They are suitable This is a collection of ten hymn impro- —David Herman Ebner was born in Deggendorf, where for concert material on a manuals-only visations in at least as many styles. Highly The University of Delaware he worked as an organist and choir direc- organ when something lighter is needed. melodic are Lasky’s Baroque-style trio tor; he was a prolifi c composer of sacred This work is defi nitely going in my peda- setting of King’s Lynn, which features Ian Hare, Three Hymn Preludes for and secular vocal music and operettas, gogy fi le for students. ³ page 16 Organ, £4.95. Andrew Carter, Fanfare & Proces- sional for Organ, £3.50. Robert Cockcroft, Soliloquy, £2.50. Banks Music Publications; www. Thousands of titles, top-tier publishers... banksmusicpublications.co.uk. Ian Hare’s Three Hymn Preludes (lasting just under seven minutes in total) are based on Little Cornard, Dominus Regit Me, and Sine Nomine. Little Cornard is in two sections: a short opening leads to the melody, given out on a Choir reed against rhythmic fi gures in the right hand and pedal, before a return to the OneLicense.net style of the opening section to conclude powerfully. In the gentle setting of Dominus Regit Me, the tune is given forSUNDAY ANNUAL and ONE-TIME out on a soft Choir solo reed, with inter- BULLETINS, ludes and accompaniment on the Swell. CHURCH COPYRIGHT Sine Nomine is the most substantial WEDDINGandFUNERAL work here, covering almost 70 bars, and is in two sections. The short fi rst PROGRAMS, section has a toccata-like opening with PERMISSIONS eighth-note runs, leading to a chordal PROJECTION, build-up, followed by a slower-moving SPECIALSERVICE chordal coda. The second section opens quietly, with a fugal arrangement of the BOOKLETS, fi rst line, soon yielding to an interlude Log on and take the tour today! on the Swell before building to a full PRACTICE TRACKS, chordal climax, which is rather more and PODCASTS demanding with some diffi cult stretches for smaller hands and triplets against 800.663.1501 duplets. This dramatically arresting

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 15 Reviews On Teaching

³ page 15 much more diffi cult to play than it is. A Organ Method X the tune soloed on an 8′ and Nazard delightful rondo, it is easily learned and This follows directly from the end of against counterpoint on an 8′ fl ute; his uses a variety of special effects—shakes, last month’s column. setting of Berglund, which solos out the thumb damping, swinging, martellatos, tune on an oboe with gentle interludes; martellato lifts, brush damping, and Take the same approach and follow and a lyrical meditation on Toplady. mallets. This is a great addition to any the same procedures with these addi- Variations abound in the ever-popular handbell library. tional exercises. These are also four- Lobe den Herren, set as a prelude in fi nger exercises that allow for choices 9/8 time followed by a trio, fugato, medi- Steal Away, arranged for 3, 4, 5, or of fi ngering (2-3-4-5 and 1-2-3-4) and Example 1 tation, and a dance-like Paean in mixed 6 octaves of handbells with optional therefore for comparing the feel of dif- meters. Five variations on Materna 3, 4, or 5 octaves of handchimes, by ferent fi ngerings. They add different, include a pedal solo and a rousing fi nale. Sandra Eithun. Choristers Guild, slightly more complicated, note patterns Finally, three variations on Ar Hyd y CGB775, $4.50, Level 2+ (M). (Examples 1 and 2). Nos form an attractive suite, beginning This popular African-American spiri- Each of these can also be moved to dif- with a piquant trio using 8′ and 2′ fl utes tual is well arranged to bring the text to ferent positions on the keyboard: moving against the tune on an 8′ reed in the light. The harmonic spectrum is broad to a different C as a starting place gives tenor, followed by an Aria using a deco- and brings several special effects into you a chance to practice the feel of the rated cornet solo, and concluding with a play, which add to the effectiveness of same patterns with different arm angles. fugue-like fi nale. the piece. Written in the key of E-fl at, When you start on other pitches, change A simple meditation on the Native this piece will be a worthwhile challenge the key signature in such a way as to American tune Lac Qui Parle begins for any player. keep the melodies the same. This will and ends with an 8′ fl ute playing in a give you a chance to experience different Example 2 Native-American style. Jesu, Dulcis O God Beyond All Praising, arranged physical shapes with these exercises. Try Memoria comprises four refl ections, for 3–5 octaves of handbells by each of the eight short exercises starting slightly different approach to fi ngering. three with the chant played as a solo voice, Lloyd Larson. Agape (a division of on F, with B-fl ats, and starting on D, For example, the second and sixth exer- and the last as chords played on celestes. Hope Publishing Company), Code with F-sharps. These fl ats and sharps cises can be played simply by positioning More rousing sounds emanate from No. 2632, $4.50, Level 2 (M-). may very well change the feel of some the fi ve fi ngers above the fi ve different a festive postlude on Holst’s Thaxted, Gustav Holst’s beautiful melody, of the alternate fi ngerings, perhaps mak- notes, and then playing those notes. which begins in C and concludes trium- Thaxted, excerpted from his orchestral ing some of them distinctly uncomfort- (This gives, for the second exercise in the phantly in D, and from two settings of suite, The Planets, has been coupled able—be on the lookout for this. right hand the fi ngering 1-3-5-4-2-3-2-1; Westminster Abbey, set once as a fan- with Michael Perry’s text and has been You can also start any of the exercises and for the seventh of these exercises— fare and once as a trumpet tune. Either included in hymnals and sung in worship described so far on a raised key. For in the left hand—the fi ngering 5-3-1- of these brief settings would serve nicely in a multitude of denominations. The example, try starting on F#, with the full 2-4-3-4-5.) The fi rst exercise, for the as a hymn introduction or postlude. arranger has captured the spirit of this F# major key signature. Again, be aware right hand, and the corresponding fi fth, tune and provided a fresh, festive piece. of difference in the feel of the fi ngerings. for the left hand, are the fi rst pair that Charles Callahan, O God Beyond All Keep everything light and relaxed, and we have seen in which the fi ngerings in Praising: Seven Pieces for Organ on A Mighty Fortress Is Our God, remember all of the points listed above. the two hands cannot mirror each other. English Hymntunes. MorningStar arranged for 3–6 octaves of hand- As you move these exercises to dif- This fi ngering works very naturally in the Music Publishers, 10-799, $16.00. bells with optional 3 octaves of hand- ferent places on the keyboard, whether right hand: 1-2-3-4-5-4-3-2-1-2-1-3-5. In Another Massachusetts native, chimes and C or B-fl at instrument, by octave or by transposing into another the left hand the closest corresponding Charles Callahan (b. 1951) has produced by Valerie W. Stephenson. Agape (a key, make a clear decision as to whether fi ngering—which would start out 5-4-3- yet another top pick. Although every division of Hope Publishing Com- you should write out the new notes, or 2-1—ends up getting us into trouble (try organist certainly already plays one if not pany), Code No. 2601, $4.95, C or whether you can effect those changes it and see). Other fi ngerings will work, several works of Callahan, this album is a B-fl at trumpet part, 2601P, $2.50, at sight and by memory. There is noth- for example 4-3-2-1-2-1-2-3-4-5-4-2-1. “must-have.” Not only has Dr. Callahan Level 3 (D). ing wrong with either approach: it is chosen seven of the most beloved British The beloved reformation hymn by important, however, that you not be Playing scales tunes of our time, but he has also arranged Martin Luther is written for bells in a distracted from the playing and practic- The last of these exercises for each hand them in an immediately appealing style. festive, celebratory style that comple- ing by worrying about the notes. If the is a scale. (In the physical act of playing, a Thaxted, King’s Lynn, Terra Beata, ments the tune from beginning to end. transposing at sight is even a little bit scale is just a stepwise pattern that spans Repton, and Jerusalem are all con- Adding the trumpet fanfare segment distracting, please go ahead and write an octave. It is not intrinsically different templative, whereas Agincourt Hymn would only add to the success of this things out. (This is absolutely crucial for from other stepwise patterns.) You should and Thornbury are robust. All of the piece. Highly recommended. a student who is new to keyboard play- try playing this scale with a number of dif- settings are playable on the most modest ing, and should be done without fail at ferent fi ngerings. For example: to the largest organ. Only general regis- Thee We Adore, O Hidden Savior, this stage in the learning process.) The R.H.: 1-2-3-1-2-3-4-5-4-3-2-1-3-2-1 trations are printed to suit the dynamics. arranged for 2–3 octaves of hand- same applies to trying different fi nger- L.H.: 5-4-3-2-1-3-2-1-2-3-1-2-3-4-5 Highly recommended. bells, arranged by Cathy Moklebust. ings: write them in for now. You cannot R.H.: 1-2-3-4-1-2-3-4-3-2-1-4-3-2-1 —Kenneth Udy Choristers Guild, CGB372, $3.95, practice a variety of fi ngerings effectively L.H.: 4-3-2-1-4-3-2-1-2-3-4-1-2-3-4 University of Utah, Salt Lake City also arranged for 3, 4, or 5 octaves if you—even some of the time—don’t R.H.: 3-4-3-4-3-4-3-4-3-2-3-2-3-2-3 of handbells, CGB714, Level 1+ (E). quite remember what fi ngering you are (quite detached: basically eighth notes Here is a lovely meditation on the using. Again, if you are beginning your with eighth-note rests in between; New Handbell Music 17th-century French tune Adoro Te keyboard study with this work on organ, light and relaxed) A Time for Joy, arranged for 3–6 Devote. Two verses are arranged in a thinking about fi ngering is something L.H.: 3-2-3-2-3-2-3-2-3-4-3-4-3-4-3 octaves of handbells by Cynthia gentle, fl owing mood from beginning to that you can do—for yourself, in large (likewise) Dobrinski. Agape (a division of end. The two editions are compatible for part—even from the very beginning. The fi rst of these in each hand is the Hope Publishing Company), Code massed ringing. Remembering your fi ngerings, especially standard (piano) scale fi ngering. The No. 2595, $4.50, Level 1+ (E+). —Leon Nelson different ones for the same passage, is second is a variant of that, which might This original composition, level 1+, tricky at fi rst, though both necessary and be appropriate in some situations, but is is written in such a way that it sounds Visit www.TheDiapason.com completely feasible in the long run. included here simply to afford more prac- The following exercises expand the tice with a variety of fi ngerings. The third scope of the notes that you are playing: is a version of the sort of scale fi ngering Saving organs throughout that is, the notes range a little bit farther that was prevalent before about 1700. over the keyboard (Examples 3 and 4). You should also try this scale—and America....affordably! Each of these eight exercises suggests a any transpositions of it that you want to

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16 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM By Gavin Black

to create a legato fi ngering. A legato fi ngering is often—though certainly not always—more diffi cult than a disjunct fi ngering. A disjunct—non-legato—fi n- gering that is comfortable will allow you to create a wide variety of articulations, short of full legato.

Other considerations Example 3 Physical comfort and logistic con- venience are crucially important fi rst principles of fi ngering. When you are trying to come up with a fi ngering for a passage—whether it is fairly simple, like the exercises above, or as complicated as the repertoire gets—the fi rst step is to have used for the piece previously on examine where the hand most naturally piano or harpsichord; it may differ from lies, what is the most comfortable hand it somewhat.) Then practice the piece position, what has the fewest steps and hands separately, slowly and carefully. can thus be most easily remembered. Look at the keyboard as little as possible; This does not give all of the answers to all an occasional glance is fi ne, but by and of the fi ngering questions, but is a good large keep your eyes on the music. As place to start. with the exercises above, you should Example 4 All else being equal, it is useful to plan listen carefully for articulation, and you fi ngering based on what is going to come should listen to the sonority. make—playing every note with the same feel very comfortable with everything next. (For example, that is the point of Try out different registrations. Do fi nger. The three middle fi ngers are that you have encountered so far before the different fi ngerings for the notes not assume in advance that a certain more natural for this than the thumb or you go on. There is no harm in spending C-E-G in exercises three and seven.) Of kind of sound will be right for the piece the fi fth fi nger. In doing this, you should extra time with these beginning steps. course, fi ngering is also about where you and other sounds wrong: try things and expect the notes to be detached—but have just come from, but the more you listen. A strictly two-voice piece is always just enough that the motion from one Articulation can plan fi ngering based on where you a candidate to play on two manuals. Try note to the next is smooth, no “lurching”. There can be a very direct relationship are going, the better. your piece out that way, in all sorts of dif- You should also keep it slow—again so in organ playing in particular between When either hand is playing only one ferent confi gurations. Does it feel more that the motion can be smooth. (It would fi ngering and articulation. Simply put, note at a time, fi ngering choices are comfortable or natural to have the right indeed be quite unusual to play a long if a fi ngering does not allow you to keep usually very fl exible. The more notes or hand on a higher manual than the left or stepwise passage all with one fi nger, holding one note in a passage while you voices a hand is playing, the more con- the other way around? Or are they both however, playing two or more notes in a start to play the next note, then going strained the fi ngering will be. It is often equally comfortable? row with one fi nger is common, and this from that fi rst note to that next note will better to change fi ngers on repeated is a good systematic way to practice it.) be detached rather than legato. This is notes—that is, to play successive notes (The next section, which will consti- The third and seventh of these exer- simply a fact, not a judgment or even a that are the same as one another with tute next month’s excerpt, consists of a cises are the fi rst ones in which you are suggestion about what to do in any situa- different fi ngers. This is important short two-voice piece by Samuel Scheidt, asked to spread the fi ngers in such a way tion. There are many places in the organ enough that I will discuss it at some with a discussion about fi ngering it and that adjacent fi ngers do not necessarily repertoire where a fi ngering that actu- length later on. practicing it. It is geared towards those play adjacent notes, though this happens ally requires a detached articulation and students who have little or no prior only briefl y. The fi rst three notes of exer- makes legato impossible—that is, a dis- For the experienced player keyboard experience but who have gone cise two or six and the fi rst three notes junct fi ngering—is appropriate or neces- If you are coming to the organ hav- through the exercises and practicing of exercise three or seven are the same: sary or good. There are also many places ing already studied and played another described so far. That is followed by C, E, G. However, the exercises go on to where a legato fi ngering is a good idea or keyboard instrument, and if you have exercises in which each hand plays more different places, which suggests differ- necessary, though there are indeed places previously played pieces that are in two than one note at a time, with further ent fi ngerings. Exercises two and six can where a legato fi ngering is impossible. voices—that is, pieces in which there is discussion about how to make fi ngering start like this: The clearest example of disjunct fi ngering indeed only one note at a time in each choices and how to practice.) Q Right hand: 1-3-5 [-4] is, of course, playing successive notes with hand—fi nd such a piece that you already Left hand: 5-3-1 [-2] the same fi nger. Note that if a fi ngering know and bring it to the organ now. Gavin Black is director of the Princeton However, exercises three and seven allows legato, it usually does not require Work out fi ngering that is comfortable Early Keyboard Center in Princeton, New should probably start like this: legato: you can release notes early. and in accordance with the discussion Jersey. He can be reached by e-mail at Right hand: 1-2-3[-5] If you neither need nor want legato in above, as much as possible. (This may be [email protected]. He writes a blog at Left hand: 5-4-2 [-1] a particular situation, it is not necessary largely the same as the fi ngering that you www.amorningfordreams.com. The latter two measures of the third exer- cise—right hand—could be played with the “standard” scale fi ngering 5-4-3-2-1- 3-2-1, or, just to practice a different feel, a variant: for example, 5-4-1-4-3-2-1-3. GOT RESULTS? NO WEB? Thoughts on fi ngering GOT E-COMMERCE? It should be clear by now that I am ask- GOT ing you, the student, to think about the GOT A SEO? GOT STRATEGY? fi ngering of these fairly simple exercises ONLINE for yourself, albeit with some guidance. TRAINING? This is, of course, on purpose. Learning to devise your own fi ngerings is one of the most important aspects of your learning to play organ—or any keyboard instru- ment. The primary purpose of these GOT WEB? NEED exercises is to help you begin to explore HELP? the touch and sound of the instrument. A highly functional website is your 24/7 sales force — keeping potential However, while you are doing that, you customers informed and engaged, even when your offi ce is closed for the day. can begin to gain experience thinking To compete in the global marketplace, a sophisticated website that is fully about fi ngering—rather than just imple- responsive, content rich and totally device independent not only puts you in the menting fi ngerings devised by someone race — it positions you in the lead. else. This may take more time now, but it SEO? Search Engine Optimization ensures that your website content is ranked will save you a lot of time later on. high enough in the search results that it is found more often. At MediaPress Studios, we apply now + tomorrow solutions to “now” problems, For the beginner whether enhancing existing sites or building new device-independent websites. If you are a beginner—having more Building websites for tomorrow or less never touched a keyboard instru- ment before—you should nonetheless have been able to do everything that Content Strategy Custom Coding E-Commerce SEO Training you have encountered so far, if you have www.mediapressstudios.com [email protected] taken it slowly and carefully, and paid Want to know more? Check us out at or e-mail . attention to the suggestions and instruc- tions. It is extremely important that you

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 17 In the wind...

User interface In 1975 and 1976 I had summer jobs in the workshops of Bozeman-Gibson & Company. I use the plural because the shop was in Lowell, Massachusetts in 1975, and during the summer of 1976 the company was moving to new digs in Deerfi eld, New Hampshire. These were my fi rst forays into the craft, and those few months were full of adventure. In 1975 the company was installing an organ in Castleton, Vermont, and I thought it was great fun to be working on site. They E. Power Biggs, Harvard University, were also starting the restoration of the Busch Hall, Aeolian-Skinner #931, 1956 very old Stevens organ in First Church in Belfast, Maine. more intimacy with the music he makes During the transitional summer of than the pianist. He overlooks the oboe, 1976, we worked hard moving truckloads Harvard University, E. M. Skinner #886, clarinet, and bassoon—those guys take A beautiful organ console without of machines, tools, stock, and supplies to 1932 the intimacy thing a step further. But wires. Duke University, Flentrop organ, Deerfi eld. As I arrived in the shop at the I don’t think organists need to be left 1976, thumbs a’dangling end of the semester, a one-manual organ all those gizmos and indicator lights to out of the fun. Playing a large organ in for the Chapel on Squirrel Island, Maine make music. It seemed that the intimacy a vast acoustic is a heroic, monumental The organ console is our “user inter- was being completed. We installed it in of the pure relationship between musi- experience. Many of us know the thrill face.” When we play, we have the notes the crossing of Holy Cross Cathedral in cian and instrument was compromised. of taking our hands off the keys and in our minds, whether we’re reading a Boston for use in a concert by the Handel But even I had to admit that it was reveling in that last chord as it reverber- score or drawing on our memory. The & Haydn Society during the national tricky to get your fi ngers between the ates. But the modern console allows the organ console allows us to translate those convention of the American Guild of huge ebony sharp-keys on the keyboards organist real intimacy in the control of thoughts, which are the intellectual ver- Organists. When the convention was of a Hook organ. And speaking of that that gigantic beast. sions of audible music into a stream of over, we took the organ to Maine, car- big 1860 three-manual Hook organ that Think of the players of orchestral information—a data-stream. The data- rying it to the island on the small private I loved so much, draw two or three cou- instruments as they achieve fortissimo. stream leaves the console and enters the ferry. It was all very exotic. plers, especially the Choir to Great sub- The trumpet player’s face becomes organ, where the data is converted to The new workshop in Deerfi eld was an octave, and to repeat a common phrase, a roadmap of veins and muscles, the audible music at the speed of light. old barn, and we split our days between it was like driving a Mack truck. How violinist sends horsehair and rosin fl y- Ideally, the console is confi gured to organ building and barn building, mak- intimate is that? And by the way, that ing, the pianist conjures power from the allow maximum fl exible control over the ing all sorts of repairs to the place. One would be a Mack truck from 1950 with base of his spine and his shoulders, not machinery that is the organ. There’s a night there was a wicked thunderstorm, a steel dashboard, twelve-speed manual unlike the major league pitcher turn- philosophical beauty present as we think the remnants of a hurricane that worked transmission (without synchronized ing his arm into a whip to hurl a ball at of how thoughts are translated into sound. its way up the coast, and we stayed up gears), a two-speed axle, and a cracked superhuman speeds. The intimacy is magnifi ed when we add late moving things away from the unfi n- mirror—not a modern dreamboat of a Sit at the console of a large organ and the composer to the mix. The creation ished windows. truck with power steering, hydrostatic draw a full registration, then quietly of music comes from the mystical skill George Bozeman and David Gibson transmission, ergonomic seats, air condi- touch a single key. With a miniscule of hearing melody and harmony before were the partner-principals, and David tioning, stereo, and GPS. twitch of a muscle you emit a roar. If you they have jelled into a musical phrase or and his family moved into the farmhouse What was Ernest Skinner thinking saw that motion on a soundless video, it composition. Our system of notation is that accompanied the barn. Several of when the only Trumpet in the organ might resemble touching a lover’s hand precise enough to allow the intentions of us rented rooms in the house. We had was in the Swell box, not on the Great or fl icking away a mosquito. Combine a composer to be delivered to the brain a beer kitty (25 cents a bottle) on top of where God meant Trumpets to be? And hundreds of those fl icks, and a cavernous of the musician, and it is the relationship the refrigerator and we had communal forget about Trumpets, what about the space is alive with sound energy. There between the musician and the instrument meals. The whole thing was a great expe- Mixture? One Mixture in an organ and are 82 notes in the fi rst measure of the that allows the contemporary immediate rience for a 20-year-old organ nut. he put it in the Swell? Ridiculous. Toccata from Widor’s Fifth Symphony. translation and interpretation. The organ Today, the Organ Clearing House Oh, wait a minute, I get it—when the Play that on a hundred stops, that’s 8,200 console is that relationship between rents the workshop from George in his most powerful voices are under expres- individual notes in about four seconds, musician and instrument. It’s a physical retirement. The plywood outfeed table sion, you maximize the range of expres- unless you’re playing too fast. Take that, appliance that performs a metaphysical I built for the table saw is still there, sion. So when that full Swell is coupled Mr. Steinhardt! function. How cool is that? along with remnants of lots of other to the Great with the box closed, you can What that organ’s console allows you little handyman things I did. The roof “crack” it for the start of the second line, to do is fl ing those notes into space by White with blue above the table saw is the place where and by the end of the verse the organ is the thousand without breaking a sweat. Most organbuilders have adopted I put a hammer through the wood into roaring, and your hands never left the The fl ick of the organist’s fi nger is magni- and adapted the use of color-coded a hornet’s nest while replacing shingles, keyboards. Marvelous. fi ed exponentially. cables that were developed by telephone and escaped by sliding off the roof into I think of this as a magical intimacy. companies to simplify the wiring of mul- the bushes—a stunt that would kill me Consoles The ergonomic seats and power steer- tiple circuits. The cables come in various today! Since we occupied the shop sev- Until I joined the Organ Clearing ing in that modern Mack truck allow sizes—12 pairs, 25 pairs, 50 pairs, and eral years ago, we’ve done lots of great House, I led the double life common the driver to manage the huge machine the special 32-pair cables created for work there, and it’s nice to have that con- among organ folk, that of organist and effortlessly and tirelessly. The ergonomic organbuilders that allow the 61 notes of nection with my past. George still lives organbuilder. I recognize this as the organ console allows the organist to com- the keyboard plus three spares. in the little house out back, and it’s great source of my love for working on con- mand many tons of organ components The conductors are arranged in revers- fun to see him regularly. soles. Whenever one of our projects with fl icks of the fi ngers. ing pairs, with primary and secondary Today, our house in Maine is about includes rebuilding a console, I try to colors. The fi rst two conductors of a twelve miles from Squirrel Island, as the organize bringing it to my personal work- Gizmos and gadgets standard cable have a white wire with crow fl ies. I visited the organ there last shop at our house in Maine, where I can I love to think of a console as a mag- blue stripe, and a blue wire with white summer. And First Church in Belfast revel in the puzzle of how best to make nifi er, expanding the motions of the stripe. Keeping white as a common, you is about fi fty miles away. Wendy and I the console as functional and accessible fi ngers into monumental sounds. I also go through a series of fi ve colors—blue, attended a concert there a couple years as possible. love to think of an organ console as a orange, green, brown, slate. So we rattle ago. It’s fun revisiting those places and I’ve come to realize that the well- manipulator, even a conjurer, fooling the off the sequence as white-with-blue, those instruments that were part of my appointed console of an expressive organ into doing things it didn’t know blue-with-white, white-with-orange, introduction to organbuilding, nearly electro-pneumatic organ is the vehicle were possible. The clever use of Unison orange-with-white. When we fi nish the forty (gulp) years ago. for the intimacy between the organist Off and related couplers make possible fi rst fi ve pairs at white-with-slate, slate- and the instrument. Longtime violin- the redistribution of the keyboards so a with-white, the common color shifts to A work in progress ist of the Guarneri Quartet, Arnold solo sound might be made available on red: red-with-blue, blue-with-red, etc. As I look back across the intervening Steinhardt, has written eloquently of a neighboring keyboard for the “thumb- Sounds complicated, but after you’ve years, I realize how much has changed the intimacy between the player and ing” of a few solo notes, or a lengthy wired a hundred keyboards, stops, in the trade, and in my outlook and the instrument: “When I hold the violin, melody. This is one place where “thumbs windchests, etc., it becomes second perception. In the seventies, I was a my left hand stretches lovingly around down” is a positive thing. nature. Everyone knows that black-with- tracker-action fi rebrand. I’ve since come its neck, my right hand draws the bow And when we get into a complicated green is note 25, which is middle C. The to appreciate and love the sounds of the across the strings like a caress, and the situation like that, it’s handy to have indi- point is that you can accurately wire both expressive electro-pneumatic organ. violin itself is tucked under my chin, a cators that tell you where you are and ends of a lengthy cable by yourself. Thirty-fi ve years ago I scoffed at the place halfway between my brain and my remind you what you’re doing. Now, if As I separate the individual conduc- gaudy consoles of big organs with elec- beating heart.” (Violin Dreams, Hough- only we could add a “rerouting” feature tors in a cable, and sort them into the tric actions. Those were the days when ton Miffl in, 2006, page 5.) like that in Google Maps, which realizes correct order, I think of the relationship the phrase cockpit syndrome was born, Steinhardt goes on to compare all this when you’re gone astray, takes a moment between colors and notes. Green-with- and it was not meant to be complimen- with instruments that are played “at arm’s to catch its breath, and then displays a white is low F. That wire will fi re the low tary. I wondered why an organist needed length.” He implies that the violinist has new route home. note of the last chords of grand pieces

18 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM By John Bishop

White with blue, blue with white. In this The console of a small Möller organ, organ, separate cables run to the C and ready for wiring in the workshop C# sides of the windchests. So both Low C and Low C# are “white with blue.” Church of the Resurrection, New York, The top row of wires have been dressed, Thomson, and led by the recently Casavant #665, 1915, David Enlow, but not soldered. retired professor of Eurhythmics and organist Music Theory, Inda Howland, who had I use as a bumper or cushion that won’t by Widor, Bach, or Mozart. Slate-with- studied with Emile Jaques-Dalcroze question: “What is my fi rst impression?” compress too much with use, changing white is number ten—the low note in Geneva. The longer I played music I had the right answer—the noise on the the travel of the pedal key and the “pluck of the fi rst chord (after the fanfare) of after my graduation, the more I real- pedalboard. “Play it again without mak- point” of the contacts? Mendelssohn’s Wedding March. How ized the value of that month—what the ing noise.” Hmm. Good point. All this happens in that workshop many times will that piece be played on exposure to that discipline added to And today, I try to make the pedalboard that’s so close to some of the fi rst organs I this organ? And have you ever stopped my musicianship. I was studying Bach’s help the player to meet Professor How- worked on. If I had been given a 50-pair to think of the ironic symbolism that the Toccata in F at the time (remember that land’s standards. Here’s a pedalboard that color-coded cable in the summer of 1975 fi rst note of that melody is supported green-with-white wire), and during one doesn’t make much noise when I play the I wouldn’t have understood. But those by a chord that demands resolution, of the sessions I played the piece for the keys, but makes a heck of a thump when thousands of little wires have everything ‘til death do us part? Think of all those class in a Robertson Hall practice room. I release a note. It’s a little like playing to do with great music-making. brides and grooms trembling with the Professor Howland’s fi rst comment was a the pedal solo on steel drums. What can I can name that tune in three colors! Q increased tension of the diminished chord. It’s the second note of the melody that allows a sigh of relief. And by the way, that high C which starts the melody? Violet-with-slate. Years ago my company installed a solid-state switching system in the grand Skinner/Aeolian-Skinner organ at Boston’s Trinity Church. One woman working for me at the time had trouble seeing the difference between the slates and violets in the color code. More than half of the high-B/C pairs were reversed! North America’s Premier The console is up on my workbench Pipe Organ Building and Service Firms so I can work on the stuff below the keyboards. Those expression pedals— I’m manipulating them with my hands. Is that enough tension for operation by foot? (If you manipulate with your hands, The Pipe Organ do you pedipulate with your feet?) How long after the organ is fi nished before the Performance measured organist hears the fi rst squeak? What can in centuries, not years I do to lengthen that period? Some axle grease, lithium grease, graphite paste? Will the light over the pedalboard An affordable shine up through the keyboards to dis- investment in pipes tract the organist? It’s a movable console. When the console is placed in front of an The sound that is often audience, will that light distract them? If imitated - but never the light is shaded so it doesn’t distract duplicated the audience, can the organist see the pedal keys? The original “Green” Recently we completed an organ with a complex and sophisticated console. solution I’m counting the indicator lights with my memory’s eye—I think there are A “sound” financial about ten. I came up with LED (light investment emitting diode) bulbs with various and rich colors that are about an eighth of an inch in diameter. I drilled perfectly sized holes in the stop jambs and coupler rail An asset to your and inserted the bulbs from behind Worship Experience so they stuck out the tiniest bit. Man, & your Balance Sheet were they bright. I pushed them back in the holes, which made the light more BUILDERS SUPPLIERS remote to the organist, but they shone ANDOVER LÉTOURNEAU A.R. SCHOPP’S on the wall behind the console like a BEDIENT NOACK HARRIS BERGHAUS PARKEY IOTI circus wagon, and when the console was BOND PARSONS SOLID STATE moved to the chancel steps for a recital, BUZARD PASI OSI those pesky lights were like laser beams C.B. FISK PATRICK J. MURPHY PETERSON in the eyes of the audience. So I used CASAVANT FRÈRES PAUL FRITTS DOBSON QUIMBY a leather punch to make little discs of GARLAND RANDALL DYER black translucent plastic that I stuck in GOULDING & WOOD SCHANTZ the holes in front of the LEDs. Perfect. HOLTKAMP SCHOENSTEIN ODELL TAYLOR & BOODY The colors are still vivid, but not so KEGG gaudy. Where did I get the black plastic? A report cover from Staples.

The pitter-patter of little feet APOBA.COM 800-473-5270 When I was a student at Oberlin, I was fortunate to participate in a month- long workshop in Eurhythmics. It was organized by my organ teacher Haskell

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 19 Conference report Continuo: The Art of Creative Collaboration A Westfi eld Center Conference in Collaboration with Pacifi c Lutheran University April 4–6, 2013

By Andrew Willis

The Westfi eld Center presented its annual conference April 4–6, in Tacoma, Washington, in collaboration with Pacifi c Lutheran University. Arriving in the Puget Sound area a day before the con- ference to explore a bit and visit friends, I was treated to the sight of Mt. Rainier aglow in the evening over the streets of downtown Tacoma.

Thursday evening concert On Thursday evening, the opening concert took place in Pacifi c Lutheran University’s Lagerquist Concert Hall, anchored by the Gottfried and Mary Fuchs Organ, built by Paul Fritts in 1998 Gregory Crowell, Edward Parmentier, Charlotte Mattax Moersch PLU students in class with Charlotte Mattax Moersch in the tradition of Northern European instruments of the 18th century. Later James Brown, baroque guitar, Kathryn emphases for the bass part; identifying substitution of sonority for cleverness. in the conference, Paul Tegels would Habedank, harpsichord, and Paul harmonic roots and harmonic rhythm; No fewer than three modern fl utists demonstrate this instrument, but on Tegels, positiv organ. If the impact of adding numeric fi gures; and identifying with their keyboard partners had been this evening the focus remained on the Haydn’s Little Organ Mass that closed and classifying cadences. Parmentier’s assigned to his masterclass, and he gen- hall itself, a high-ceilinged, shoebox- the evening was somewhat diluted after confi dence in the process and the clarity tly encouraged each toward realizations style space with a transparent, warm the intense expressivity of Carissimi, it of his explication left many eager to try that addressed infl ection, phrasing, and acoustic—ideal for the performance of was nonetheless charming to traverse their hands at his method, and in posses- the awareness of harmonic and rhythmic early music. Violinist Ingrid Mathews the text of the Mass in under twenty sion of clear instructions for doing so. structure, pointing out that a realization and harpsichordist Byron Schenkman minutes. Tegels capitalized upon the Throughout the conference, lectures should be neither interesting all the presented 17th-century sonatas by Dario opportunity to shine in the organ obbli- alternated with sessions of applied time nor boring all the time. Crowell’s Castello, Isabella Leonarda, and Hein- gato of the Benedictus. music, and thus a Parmentier master- reward came in the form of a refi ned rich Schmelzer, as well as a solo perfor- class ensued after a short break. Four and assured reading of a Biber violin mance by Schenkman of Georg Muffat’s Friday harpsichord students, assisted by vari- sonata by two experienced profession- Passacaglia. This 24-section piece, The morning began with “The Nuts ous soloists, presented a gavotte from a als, allowing him to offer suggestions at whose opening period recurs en rondeau and Bolts of Basso Continuo,” by LeRoux trio sonata, a movement from a a more sophisticated level. A paper on at four pivotal moments, came to life in Edward Parmentier. Parmentier’s Telemann violin sonata, a Handel aria, “Seventeenth- and Eighteenth-Century Schenkman’s hands. Mathews delivered lecture covered such core precepts as and a movement from a Handel violin Italian Continuo Improvisation and its an authoritative performance, present- bringing the bass to life with the left sonata. With each, Parmentier zeroed Application to Buxtehude’s Trio Sonatas ing all three sonatas from memory with hand, treating the bass as an indepen- in on one primary objective, underlin- Op. 1 and 2” was read by Jeong-Suk a spontaneity that bore the stamp of dent melody, recognizing the bass as the ing the chosen concept with energy and Bae to round out the afternoon’s activity. naturalness and identifi cation with the king melody in the piece, and, rather a wealth of colorful imagery. As soon The evening featured a brilliant improvisatory prowess of the Seicento. exhilaratingly, unlistening to the ensem- as each student demonstrated a grasp chamber concert anchored by the inde- The second half of the concert fea- ble so as to create the maximum dialogue of the essential point, he or she was fatigable Parmentier. Joined in turn by tured Carissimi’s Historia di Jephte, between the bass and other parts. Could congratulated and the class progressed four soloists on each half of the generous presented by the PLU Choir of the there be any doubt on which part the to the next work. This brisk approach to program, the harpsichordist became the West with a chamber orchestra con- attention should be focused? In a gen- teaching ensured that each student took avatar of the conference’s subtitle: “the ducted by Richard Nance. The student erous annotated handout, Parmentier away something practical and memo- art of creative collaboration.” Flutist Jen- ensemble achieved a wholly professional presented the score of a Veni Domine rable. Questions from the audience were nifer Rhyne, violinist Svend Rønning, standard under its conductor. The solo- by Viadana and a Largo from a Handel welcomed and addressed in a spirit of cellist Nathan Whittaker, and tenor ists displayed a remarkable acumen fl ute sonata, showing multiple stages of shared inquiry. James Brown assisted him in present- for tragic characterization. In keeping preparation, each illustrating one step After lunch, Gregory Crowell took ing a wide spectrum of Baroque styles, with the theme of the conference, the in his systematic approach to realizing a the helm for an illuminating talk on from Viadana, Caccini, Frescobaldi, and performance was secured and animated basso continuo part. Among the recom- “Continuo for Organ.” Armed with Purcell (Brown), through François Cou- by inventive playing from the continuo mended steps: identifying motivic asso- slides and recorded excerpts, Crowell perin and Hotteterre (Rhyne), and Vera- group, consisting of Nathan Whit- ciations with the verbal text if one exists; addressed numerous concerns specifi c cini and Handel (Rønning), to Vivaldi taker, cello, Mercedes Paynter, bass, creating phrasings, articulations, and to organ continuo playing, arguing for a and again Frescobaldi (Whittaker). As bolder, more substantial sonority than is a fi nale, all joined forces in the aria, “So Whole & Fast often heard. Adducing evidence drawn schnell ein rauschend Wasser schiesst,” Half Sizes from the disposition of various German from J. S. Bach’s Cantata 26. in 3 Widths Shipping! organs and illustrated by recordings of Responsive to each composer’s indi- both problematic and successful organ viduality and supportive of each soloist’s Try our suede soles and experience continuo sonorities, Crowell offered musicianship, Parmentier animated practical advice relating to chordal voic- movement after movement with energy the perfect combination of ing, the use of embellishment, matching and imagination, proving the effi cacy slide and grip releases to the ensemble sound, and the of the practice outlined in his morning on the pedals!

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20 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Stephen Stubbs, Gregory Crowell, Edward Parmentier, Charlotte Mattax Moersch lecture. His independent, strong, clear discussed “The Conceptual Shift Charlotte Mattax Moersch bass lines—he might call them “argu- between 17th and 18th Century Key- mentative”—generated and justifi ed board Continuo.” Tracing the historical the program were two early vocal freely shaped right-hand parts of great context for the development of continuo, works, Apollo e Dafne (1709) and a textural, rhythmic, and decorative vari- Stubbs claimed the chittarone as “the Gloria (1707). Though oddly described ety. It was a tour de force by a master humanistic instrument” during the in the program as “A Sacred Oratorio,” who did not disdain to shuttle chairs and “humanistic revolution” of the late 16th Apollo e Dafne is in fact a secular can- Stephen Stubbs stands about the stage between pieces. and early 17th centuries. Though the tata that deploys the mythical fi gures instruments are physically unrelated, as archetypes in a grand battle of the invigorated America’s historical keyboard Saturday the chittarone’s name evokes the image sexes. Singers Amanda Forsythe and culture in a way that is certain to pay Day three opened with a presentation of the ancient Greek kithara and refl ects Douglas Williams both possess beau- dividends through the better-informed by Charlotte Mattax Moersch on “The its role in support of the fusion of poetry tifully resonant instruments and both and more creative playing and listening Style of Basso Continuo Accompaniment and music during the rise of opera. Its delivered Handel’s vividly styled lines of all who participated. May the future in France according to Denis Delair.” ascendence fostered chordal conscious- with accuracy, agility, and dignity. Even continue to smile upon this mission. Q From Delair’s 1690 treatise, described ness, “breaking the stranglehold of more electrifying, if it were possible, was as “sympathetic to the performer and polyphony,” and its technique gradu- Forsythe’s coloratura in the Gloria that Andrew Willis performs on pianos of all the beginner,” and thus a good resource ally evolved from artistic strumming to brought the concert to a brilliant close. periods. He has recorded vocal and chamber for pedagogy, Mattax Moersch extracted include the plucking of individual notes. This was a level of historical performance music with many artists and solo works rang- much guidance for realization in the Of particular interest was the distinction that will long reverberate in the memory. ing from Beethoven’s “Hammerklavier” sonata French style. A useful distinction was drawn between the 17th-century con- To my regret, I was unable to attend to Martin Amlin’s Sonata No. 7 (1999). A past president of the Southeastern Historical drawn between science and art, cor- ception of harmony in confrontation with the organ recital played by Greg Crowell Keyboard Society, Willis holds degrees from responding to rules and style. Rules the melodic parts and the 18th-century on Sunday afternoon. Curtis, Temple, and Cornell universities and is are fairly universal, refl ecting the laws conception of harmony as accommodat- Through this conference, “Continuo: a professor at the University of North Carolina of tonal composition, but styles differ ing to them. The succinct 1607 continuo The Art of Creative Collaboration,” at Greensboro, where he directs the biennial according to time and place. The ele- tutor of Agazzari was recommended to the Westfi eld Center has once again “Focus on Piano Literature.” ments of style that Delair discusses those seeking guidance contemporary to relate to such refi nements as ornaments, this period. arpeggiation, alteration of the bass, and At midafternoon, a splendid harpsi- added dissonance, leading to a chord chord recital by Ignacio Prego revealed treatment not unlike the unmeasured the harpsichord in a different light from prelude tradition. Mattax Moersch’s that of continuo instrument (though playing of examples drawn from the I dare say many were by now extra treatise eloquently illustrated Delair’s attentive to the bass lines!). Much was taste in considerable detail, demonstrat- expected of Prego, winner of the 2012 ing the abundance of practical guidance Westfi eld International Harpsichord that may be drawn from this source. Competition, and he did not disappoint, JOAN LIPPINCOTT Although none of the works presented traversing works by Cabezón, Caba- THE GIFT OF MUSIC in the masterclass that followed was nilles, Frescobaldi, Froberger, and J. S. French, Mattax Moersch’s comprehen- Bach with intelligence, command, and LARRY G. BISER sive grasp of the repertoire generated warmth. Bravo Prego, and bravo West- sage guidance toward the realization of fi eld for supporting the future of early Caccini’s “Amarilli mia bella,” of an Alle- keyboard performance in an eminently gro assai from a Telemann fl ute sonata, tangible way. of Purcell’s “The Blessed Virgin’s Expos- A gathering for fi nal questions brought tulation,” and of the Andante from J. S. together all four presenters with the Bach’s Flute Sonata in E Minor. Her sug- attendees to clarify, reinforce, and fur- gestions immediately proved effective, as ther contemplate many points developed in the Purcell, where a highly expressive during the conference, and convivial- realization was developed by employing ity reigned as all decamped to a local an unobtrusive 1 x 8′ registration, varying restaurant for dinner. Local hosts Paul the direction and degree of arpeggiation, Tegels and Kathryn Habedank cannot releasing long basses during recitative, be praised enough for their unfl agging and closely following the singer’s punc- attention to the visiting conferees. tuation. When the need for improvised Those who have heard Stephen melody arose in the introduction of the Stubbs may predict that one of the Bach sonata movement, a wealth of highlights of the conference still lay in options involving scale fi gures, arpeggia- store, and indeed, his unobtrusive yet JOIN OHS TODAY! tion, ornaments, and leaps was proferred. spirited leadership from the continuo $29.99 HARDCOVER It was clear that the art of creative col- section molded a magnifi cent all-Handel WWW.ORGANSOCIETY.ORG laboration would continue to thrive in the concert by Pacifi c MusicWorks, a pro- hands of many a talented young artist. fessional ensemble blending virtuosity, IN STOCK FOR IMMEDIATE SHIPMENT! After lunch, lutenist and leader of beauty of tone, perfect ensemble, and NOW CHOOSE FROM OVER 5,000 TITLES! Pacifi c MusicWorks Stephen Stubbs refi ned historical awareness. 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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 21 Pipe Organs in Canada The British Invasion Lives On! Pipe Organs of Newfoundland and Labrador, Canada

By Lester Goulding and William (Bill) Vineer

or those of us in Canada who have a Fpassionate love for the pipe organ and its history, there is no need to look fur- ther than our own backyard: a gold mine of glorious history is sitting right here in the youngest province of the Confedera- tion, Newfoundland and Labrador, which became Canada’s tenth province in 1949. Prior to joining Canada, Newfoundland Memorial United Church, Bonavista, and Labrador was a Crown colony and NL, Woodstock 1922 (photo courtesy Lester Masonic Temple, St. John’s, NL, August in fact the oldest colony of the British Goulding) Gern 1883 (photo courtesy Lester Goulding) Empire in North America. Thus, as we uncover the history of pipe organs past and present, it is not surprising to fi nd in this eastern province a loyalty to the old country, Britain. A profound respect and affection for British standards of quality can be readily observed and it was quite common for the principal churches in the colony to turn to Britain rather than to America for their organs.

Pre-Confederation (1853–1949) North East Church Museum, Twillingate, The earliest pipe organ found in our NL, Bevington & Sons 1906 (photo cour- research that could be factually dated tesy Lester Goulding) was constructed in 1853 by the British builder Thomas J. Robson for St. John 1949 and up to the present day, a total the Baptist Roman Catholic Cathedral, of eighteen organs were installed in the Botwood United Church, Botwood, NL, in St. John’s. Taking this date as a starting province, all manufactured in Canada Forster & Andrews 1928 (photo courtesy Private residence, St. John’s, NL, Posi- point, we have a period of 96 years, end- and all still currently in use. The instru- Lester Goulding) tive Organ Company (photo courtesy Lester ing when Newfoundland and Labrador ment built by Létourneau Organs as well Goulding) joined the Canadian Confederation in as sixteen of the instruments built by shore, the fi rst having arrived in 1824. 1949. During this period, a total of 52 Casavant Frères remain in the province, The only organ among these four still in Some historical facts of interest pipe organs were installed in the British their conditions ranging from good to existence today is located in the Mora- The 1853 Thomas J. Robson organ, colony: 36 were of British make, eleven excellent. Another of the organs built by vian Church, Hopedale: a one-manual installed in St. John the Baptist Roman were from Canada, and two from the Casavant Frères and originally installed with four stops, built in Saxony, Germany. Catholic Basilica, St. John’s, had three United States of America. We did not fi nd in Newfoundland is now located in We continue to search for information on manuals and 46 stops: 16 on the Great, 11 any information regarding the origin and Ontario and is in excellent condition. the other three pipe organs we believe on the Choir, 13 on the Swell, and six for manufacturer of the other three instru- were located along the coastal shore of the pedals, plus four couplers;1 “[…] it ments. The date of installation could not Pipe organs of Labrador Labrador. It is highly likely that these too was handsomely equipped with mixtures be determined for eight of the 52 organs. We believe that there were at least fi ve came from Saxony, Germany. on all three manuals, and fell short of the pipe organs installed in Labrador, the The fi fth pipe organ located in Lab- full present-day gospel by failing to have 1949–present mainland part of the province. Four of rador is a Casavant, a unit organ of one a 4ft. choral bass on the pedals.”2 We After Newfoundland and Labrador these were smaller instruments and were manual, nine stops, three ranks. It was have found no trace of this pipe organ. joined the Canadian Confederation in installed in communities along the coastal relocated in 1981 to Our Lady of Per- Today, St. John the Baptist Roman petual Help Roman Catholic Basilica, Catholic Basilica houses two Casavant Labrador City. The organ is in good con- organs, both installed in 1955. Opus dition, is played on a regular basis, and is 2269 is a four-manual, 51-stop instru- actively maintained. ment located in the gallery, and opus A Precious Gift 2270 a two-manual, 15-stop instrument Inventory of Newfoundland located in the chancel. from the Past and Labrador pipe organs A very rare and historic instrument The table below, a chronological list- is to be found in the Masonic Temple, ing of the instruments of the past and St. John’s. Built in 1883 (opus number for the Present present installed in Newfoundland and unknown) by August Gern, who previ- Labrador, is current as of January 2013. ously worked as a foreman in the late and the Future Each instrument is identifi ed by opus 19th century for the renowned French number, year of installation, city or town, organbuilder Cavaillé-Coll, the instru- Supremely beautiful and blendable location, builder, number of manuals, ment is fi tted with two manuals, 10 stops, tonal color – a Gift from the Venetian stops, and ranks, type of action, and pres- and mechanical/pneumatic action. It has School of organbuilding, a monumental part of our ent condition. Abbreviations were used glass-paneled doors, all part of the con- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH to describe the action of the instruments: sole, which are set into the beautiful case. “M” Mechanical (Tracker), “P” Pneu- This pipe organ was originally built for SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN matic, “MP” Mechanical-Pneumatic, the home of John B. Ayre (1850–1915), a “EP” Electro-Pneumatic, “DE” Direct merchant, political fi gure, organist, and Intriguing? Let us build your dream. Electric (all unit organs), and “ES” director of the music section of the now Electric Slider. In the Opus and Year defunct Ayre and Sons department store. columns, “N/A” indicates data was not The importance of this instrument available at the time of publication. is that it is the only Gern pipe organ We would greatly appreciate being in Canada and in fact the only one in made aware of any errors or omissions North America. Our understanding is and would welcome readers’ correc- that only a very few August Gern pipe tions and comments. Any information organs remain intact in England where that can be added to these fi les or data the builder lived. Unfortunately this pipe Builders of Fine Pipe Organs to the World to help fi ll in the table would certainly organ is in poor condition and in need be welcomed. All information on the of a total restoration. We fi rmly believe www.ruffatti.com organs of Newfoundland and Labrador that this pipe organ should be restored has been submitted from the fi les of to the full working condition of its glory Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 Lester Goulding. days and sit in its rightful place as part

22 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Pipe Organs of Newfoundland and Labrador M a A St. James Anglican Church, Car- n S R c bonear, NL, Positive Organ Company u t a t a o n i 1900, Number 262 (photos by Rev. Morley l p k o Boutcher) Opus Year City/Town Location Builder s s s n Condition N/A N/A St. John’s Masonic Temple Gern, 2 10 MP Poor August 850 N/A Burgeo St. John the Positive 1 11 M Silent Evangelist Anglican Organ Church Company N/A N/A Grand Bank Grand Bank United Peter 1 8 M Destroyed Church Conacher & Company N/A N/A Grate’s St. Luke’s Anglican Positive 1 Destroyed Cove Church Organ Company N/A N/A St. John’s private residence Positive 1 3 M Poor Organ Company N/A N/A St. John’s Congregational Peter 2 Destroyed Church Conacher & Company N/A N/A St. John’s George Street Bevington & 3 Destroyed United Church Sons N/A N/A St. John’s St. Mary the Virgin Unknown Destroyed Anglican Church, South Side Road N/A 1853 St. John’s St. John the Baptist Robson, 3 46 Destroyed Roman Catholic Thomas J. Cathedral N/A 1862 Hopedale Moravian Church Unknown 1 4 M Poor Corpus Christi Roman Catholic Church, 1139 1874 Brigus Brigus United Bevington & 1 10 M Good St. John’s, NL, Forster & Andrews 1928 Church Sons (photo by Heather Roberts) N/A 1877 Harbour St. Paul’s Anglican Chappell 1 5 M Good Grace Church Company N/A 1880 Trinity St. Paul’s Anglican Bevington & 1 6 M Good Church Sons N/A 1882 St. John’s Cochrane Street Peter 3 M Destroyed United Church Conacher & Company N/A 1883 St. John’s Ayre, John B. Gern, 210 MP Residence August (relocated) Corpus Christi Roman Catholic Church, St. John’s, NL, Forster & Andrews 1928 N/A 1884 St. John’s Alexander Street Bevington & 19 M (photo by Robert Young) Methodist Church Sons (relocated) N/A 1890 Harbour Immaculate Unknown 1 M Good of the glorious history of Newfoundland Grace Conception Roman and Labrador. Catholic Cathedral The Bevington & Sons organ of 1884, N/A 1895 St. John’s Methodist College Peter 3 Destroyed Hall Conacher & a one-manual, nine-stop instrument with Company mechanical action, was built for Alex- N/A 1896 St. John’s Gower Street Peter M Destroyed ander Street Methodist Church. It was United Church Conacher & moved in 1911 to Trinity United Church, Company Winterton. This instrument is in good N/A 1896 St. John’s St. Andrew’s Peter 2 22 Destroyed condition today. Presbyterian Conacher & The British organ builders, Forster & Church Company N/A 1897 Twillingate St. Peter’s Anglican Norman 1 4 M Good Andrews (1843–1956), of Hull, England, Church Bros. & built a total of eight instruments that Gower Street United Church, St. John’s, Beard were exported to Newfoundland. Seven NL, Casavant 1930 / 2008 Opus 1386 of these were smaller instruments of (photo courtesy Lester Goulding) ³ Table continued on page 24 similar design (one manual, six stops), the other one being a larger organ of three manuals, 38 stops. The last of the smaller instruments was built in 1928 EAST TEXAS PIPE ORGAN FESTIVAL for Botwood United Church, Botwood. In 1990, the organ was relocated to the Corpus Christi Roman Catholic Church, November 10-14, 2013 St. John’s. The organ is in poor condition and is in need of a total restoration. It should be pointed out that Forster & Andrews were exporting their instru- Honoring the Life and Work of ments to Newfoundland while it was still Roy Perry a British colony and did not export any of their instruments to Canada.3 Casavant opus 2586, built in 1960 for Thirteen recitals All Saints’ Anglican Church, Foxtrap, is on five Aeolian-Skinners a two-manual, 20-stop, three-rank direct electric action instrument. It was moved with in 1999 to St. Leonard’s Roman Catholic Church in Manotick, Ontario. This pipe Joby Bell, Charles Callahan, organ is in excellent condition.4 Ken Cowan, Isabelle Demers, The only two pipe organs that we know Nathan Laube, Lorenz Maycher, to have been imported from the United East Texas Pipe Organ Festival Bruce Power, Jason Roberts, Chandler Teague, States are Estey opus 1701 (1919), P. O. Box 2069 located in Central United Church, Bay Kilgore, Texas 75663 Tom Trenney, Thomas Trotter, Roberts (two manuals, seven stops) and Brett Valliant, Bradley Welch, Möller opus 7751 (1948), located in St. Anthony United Church, St. Anthony and special exhibits and presentations (two manuals, 17 stops, three ranks). www.EastTexasPipeOrganFestival.com honoring the life and career of Both are still in good playing condition. [email protected] William Teague. Of the eleven pipe organs built in Canada and exported before 1949, nine were by Casavant, one by Woodstock,

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 23 Pipe Organs in Canada

Pipe Organs of Newfoundland and Labrador (continued) M a A n S R c u t a t a o n i l p k o Opus Year City/Town Location Builder s s s n Condition 262 1900 Carbonear St. James Anglican Positive 1 8 M Good Church Organ Company N/A 1900 Clarke’s Clarke’s Beach Forster & 1 6 M Silent Beach United Church Andrews N/A 1900 Cupids, Cupids United Forster & 1 6 M Good Conception Church Andrews Bay N/A 1900 Fogo Island St. Andrew’s Forster & 1 6 M Good Anglican Church Andrews N/A 1901 Bonavista Christ Church Forster & 1 6 M Destroyed (Anglican) Andrews N/A 1903 St. John’s St. John the Baptist Hope-Jones 4 39 Destroyed Anglican Cathedral Organ Builder / Ingram, C. N/A 1903 Twillingate North East Church Bevington & 1 6 M Good Museum Sons N/A 1906 Collins Zion United Church Bevington & 1 6 M Good Cove Sons Gower Street United Church, St. N/A 1909 St. John’s Cochrane Street Forster & 3 38 Destroyed John’s, NL, Casavant 1930 / 2008 Opus United Church Andrews 1386 (photo above by Heather Roberts) (photo N/A 1910 St. John’s St. Thomas Peter 3 Destroyed on right by Robert Young) Anglican Church Conacher & Company N/A 1911 Winterton Trinity United Bevington & 1 9 M Good Church Sons N/A 1911 Brigus St. George’s Peter 2 M Destroyed Anglican Church Conacher & Company N/A 1912 Bay St. Matthew’s Forster & 1 6 M Good Roberts Anglican Church Andrews N/A 1912 Spaniard’s Holy Redeemer Forster & 1 6 M Good Bay Anglican Church Andrews N/A 1915 St. John’s St. John the Baptist Norman & 3 32 Destroyed Anglican Cathedral Beard N/A 1916 St. John’s Cochrane Street Harrison & 3 50 65 P Destroyed United Church Harrison N/A 1916 St. John’s St. Andrew’s Norman & 3 42 Destroyed Presbyterian Beard Church Memorial University, St. John’s, NL, 1701 1919 Bay Central United Estey Organ 2 7 P Good Casavant 1986 Opus 3601 (photo by Robert Roberts Church Company Young) 804 1919 St. John’s St. Michael’s & All Casavant 1 5 P Destroyed Angels Anglican Frères Church N/A 1922 Bonavista Memorial United Woodstock 2 7 DE Console St. James United Church, St. John’s, Church Organ Destroyed NL, Casavant 1975 Opus 3292 (photo by Builders Case Heather Roberts) Remains 931 1922 Grand Falls Holy Trinity Casavant 1 5 P Good Anglican Church Frères

³ Table continued on page 25

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Cochrane Street United Church, St. John’s, NL, Casavant 1957 Opus 2386, façade Harrison & Harrison 1916 (photo Peter Conacher organ, Memorial United by Heather Roberts) Church, Grand Falls, Newfoundland and one by Lye. Of these instruments, (photo courtesy Lester Goulding) eight are still playable and rate from are silent remain intact in their original good to excellent, two were destroyed, location. We would very much like to see and one lost its console (destroyed), all of these remaining instruments that although the case remains in the church. came from Britain and are still in play- Of the three instruments installed able condition be classifi ed as heritage by unknown builders, one has been instruments, and rebuilt to their original destroyed and two are still in use, one condition before this very important part rated poor and one good. of Canadian history is lost forever. Casavant opus 1386, located in Gower Street United Church, St. John’s, was Gower Street United Church, installed in 1930: three manuals, 29 St. John’s, Newfoundland stops. This instrument was rebuilt and In the photograph, we see the Peter enlarged in 2007 to 36 stops. Conacher organ built in 1896 for Gower Schoenstein & Co. It is amazing that, even after 160 years Street United Church, St. John’s, New- (1853–2013), fourteen of the 36 instru- foundland. In 1930, the organ was ments manufactured in England remain moved to the Memorial United Church, e in playable condition, their status ranging Grand Falls, Newfoundland. This photo from poor to good, and that the two that was taken in 1953, prior to the organ

24 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Pipe Organs of Newfoundland and Labrador (continued) M M a A a A n S R c n S R c u t a t u t a t a o n i a o n i l p k o l p k o Opus Year City/Town Location Builder s s s n Condition Opus Year City/Town Location Builder s s s n Condition 1178 1927 St. John’s St. John the Baptist Casavant 4 52 EP Excellent N/A 1931 Heart’s St. Mary’s Anglican Sweetland 2 Destroyed Anglican Cathedral Frères Content Church Organ N/A 1928 Botwood Botwood United Forster & 16 M Company Church (relocated) Andrews 1427 1931 St. John’s St. Patrick’s Roman Casavant 2 21 EP Very Good N/A 1928 St. John’s Corpus Christi Forster & 1 6 M Poor Catholic Church Frères Roman Catholic Andrews 1635 1940 Channel St. James Anglican Casavant 1 5 P Very Good Church Port aux Church Frères N/A 1930 Fortune Fortune United Lye, Edward 1 6 M Destroyed Basques Church & Sons 1672 1941 Corner St. John the Casavant 1 9 P Very Good 1385 1930 St. John’s Wesley United Casavant 3 28 EP Very Good Brook Evangelist Anglican Frères Church Frères Cathedral N/A 1930 Grand Falls Memorial United Peter Destroyed 7751 1948 St. Anthony St. Anthony United Moller, M.P. 2 17 3 DE Good Church Conacher & Church Company 1970 1949 Coley’s St. John the Casavant 1 9 3 DE Good 1386 1930 St. John’s Gower Street Casavant 3 29 EP Excellent Point Evangelist Anglican Frères United Church Frères Church 1441 1931 Bay Bulls Ss. Peter & Paul Casavant 2 12 P Good 2182 1953 Grand Falls Memorial United Casavant 2 17 EP Good Roman Catholic Frères Church Frères Church 2270 1955 St. John’s St. John the Baptist Casavant 2 15 EP Very Good Roman Catholic Frères Basilica 2301 1955 Labrador Our Lady of Casavant 1 9 3 DE Good City Perpetual Help Frères Roman Catholic Basilica 2269 1955 St. John’s St. John the Baptist Casavant 4 51 EP Very Good Roman Catholic Frères Basilica 2386 1957 St. John’s Cochrane Street Casavant 4 55 EP Very Good United Church Frères 2511 1959 Gander St. Martin’s Casavant 2 25 5 DE Good St. Mary the Virgin Anglican Church, St. St. Pius X Roman Catholic Church, St. Anglican Cathedral Frères John’s, NL, Casavant 1986 Opus 3613 John’s, NL, Casavant 1987, Opus 3638 2546 1959 St. John’s St. David’s Casavant 2 25 5 DE Very Good (photo by Heather Roberts) (photo by Heather Roberts) Presbyterian Frères Church being dismantled. The casework shown Presbyterian Church with his family. While 2586 1960 Foxtrap All Saints’ Anglican Casavant 2203DE Church (relocated) Frères here now houses Casavant opus 2182. he has had a lifelong love for the pipe organ, his focus since 1967 has been on the Vineer 3292 1975 St. John’s St. James United Casavant 2 17 23 EP Very Good The towers and rosettes are hand- Church Frères carved. Beautiful! Organ Library & Archives, now celebrating its 46th anniversary; the library and archives 3351 1977 St. John’s Memorial University Casavant 2 7 M Excellent are located in Vineer’s west-end Ottawa home. of Newfoundland Frères Historical note Its website: www.vineerorganlibrary.com. 3601 1986 St. John’s Memorial University Casavant 3 32 45 EP Excellent The United Church of Canada came Moving to Ottawa in 1965, Vineer began a of Newfoundland Frères into existence in 1925, bringing together 30-year career with the Department of Retro 3613 1986 St. John’s St. Mary the Virgin Casavant 3 28 40 EP Excellent the Congregational, Methodist, and some Virology in the Department of Agriculture’s Anglican Church Frères of the Presbyterian churches of Canada. Animal Disease Research Institute, during 16 1987 St. John’s St. Andrew’s Létourneau 3 37 ES Excellent which time he contributed to over 150 pub- Presbyterian Pipe Organs Acknowledgements lished scientifi c papers, and two patents. In Church The authors wish to express their most addition to his research work, he taught for 3638 1987 St. John’s St. Pius X Roman Casavant 2 24 29 EP Excellent sincere thanks and appreciation to the 26 years in the Department of Hospitality at Catholic Church Frères Algonquin College. following: Carl Goulding, who spent 3737 1994 St. John’s St. Thomas Casavant 2 24 32 EP Excellent Contact the authors at the Vineer Anglican Church Frères countless hours correcting the chrono- Organ Library & Archives by telephone at logical listing for this article; Kathy Rob- 3747 1996 Corner First United Church Casavant 3 32 45 EP Excellent 613/224-1553 or by e-mail at Brook Frères erts, who spent hours making changes [email protected]. and corrections in order for this article to be published; Paul Cheatley, who designed the database used in this article and provided helpful input to this article. Notes 1. E. J. Hopkins and E. F. Rimbault, The Organ: Its History and Construction (Lon- don: Robert Cocks & Co., 1877), pp. 453–454. 2. C. I. G. Stobie, “The Organ in St. An- drew’s Presbyterian Church, St. John’s, New- foundland,” The Organ, 52, 1972, p. 58. 3. Laurence Elvin, Forster and Andrews: Organ Builders, 1843–1956 (Lincoln: Lau- rence Elvin, 1968), p. 77. 4. “Pipe Organ Database,” Organ Histori- cal Society, 15 February 2013, database.or- gansociety.org.

Lester Goulding was born in Grand Falls, Newfoundland. He has been an independent businessman, a music specialist (wind band) in the provincial school system, and a sessional instrumental instructor at the Department of Music at Memorial University of Newfound- land. A Licentiate and Fellow of Trinity Col- lege of Music, London, England, Goulding apprenticed and worked at Casavant Frères, St. Hyacinthe, Quebec in 1954 and 1955. In 1956 he was appointed by the builder to be their sales and service representative in New- foundland and Labrador. With few excep- tions, he has serviced all of the organs in this province. He lives in St. John’s, Newfoundland with his wife Elsie. He has four children and nine grandchildren. William (Bill) Vineer is an Ottawa Valley boy from Renfrew who got “hooked on the pipe organ” at age fi ve when he attended Renfrew

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 25 Cover feature

Chancel keydesk Gallery keydesk

Peragallo Pipe Organ Company, Brondel, a proposal was developed in neighborhood were entrenched in dif- National Symphony Orchestra, and Paterson, New Jersey 2008. It was not until current director fi cult times and transition. Fr. George the Seattle Symphony, to name a few. St. Malachy’s—The Actors’ Cha- of music Mark Pacoe arrived in January Moore was assigned to assess the dire Legendary conductors such as Leopold pel, New York City 2009, that the project would gain trac- existence of St. Malachy’s in the late Stokowski, Arturo Toscanini, Eugene tion. A comprehensive and multi-faceted 1970s, and became its pastor in 1978. Ormandy, and Gerard Schwarz cham- The music ministry at St. Malachy’s fundraising and education campaign was Through Fr. Moore’s leadership, he re- pioned Creston’s music. In addition to Church in New York City launched in early 2009. galvanized St. Malachy’s infl uence and Creston’s prolifi c compositional output, On Monday, January 20, 2012, the New Over the next few years (2009–2012), ministry in the neighborhood. Father he also published authoritative books York Times published a feature article on St. Malachy’s Parish garnered widespread Moore’s legacy is still felt today because on music and devoted himself to teach- the Paul Creston Memorial Pipe Organ, support for this extensive undertaking. St. of the measures he took then as a com- ing and academia, especially following Aeolian-Skinner (1935), Opus 938, that Malachy’s is a relatively small parish that munity activist and leader of the church. his time at St. Malachy’s. ‘The Creston was relocated to St. Malachy’s—The listed about 600 families on the register Throughout the 1990s and 2000s, Times Creed,’ a self-penned statement about Actors’ Chapel, New York City, and in 2009. Compared to its suburban coun- Square and the Theater District became his philosophy of music and composi- rebuilt, renovated, and enhanced by the terparts that typically have rosters two more attractive, commercial, and family tion, expressed his strongest sentiments Peragallo Pipe Organ Company (2012) of and three times as large, St. Malachy’s is friendly. The neighborhood surrounding in the spiritual nature of creativity, Paterson, New Jersey. This vintage instru- uniquely situated in the heart of the the- St. Malachy’s was in the early years of a music-making, and well-being. Creston’s ment has a storied past, which, coupled ater district and attracts regular visitors successful re-gentrifi cation. While the ‘credo’ became the foundation of the with its remarkable ‘rebirth,’ makes it a from around the world, as well as tourists church and surrounding areas were on Paul Creston Award that was established cultural landmark in its new home in the on a daily basis. Fittingly, a campaign was the verge of ‘better days,’ it would be a in 2009. This annual award honors a heart of New York City’s Theater District, developed to promote not only fundrais- very long time before a new pipe organ distinguished artist who embodies the the performing arts capital of the world. ing for this ‘King of Instruments,’ but would sound again in the sacred place. In Creston Creed, excellence in the arts, In 2007, the late John Peragallo, Jr. also a liturgical and cultural outreach that the 1980s, a two-manual electronic organ and is a signifi cant fi gure in church music received a call from a church in East resonates with all who visit and pray at was installed and was used until obsolete and the performing arts. Orange, New Jersey (formerly Hillside The Actors’ Chapel. Through Fr. Baker’s in 2012. The fi rst recipient of the Paul Creston Presbyterian Church) about the organ, vision, a high-quality music program, with One of the most important challenges Award (2009) was Frederick Swann, which had been damaged from a water its fi ne choral and liturgical tradition, was of this pipe organ project was how to internationally recognized church musi- leak in the roof. There was signifi cant paramount in the challenge of acquiring promote St. Malachy’s rich history, its cian and concert artist. At this inaugural damage to the console, but the majority such a fi ne, vintage instrument. location, and its mission and ministry; Creston Award event, coupled with the of the instrument, including the pipes and The new installation would be called this special place needed a worthy and offi cial launch of the pipe organ cam- chests, remained mostly in good condi- the ‘Paul Creston Memorial Pipe Organ,’ versatile American classic organ, namely paign, an all-Creston program, ‘The St. tion. However, the church no longer had honoring the legacy of the great Ameri- Aeolian-Skinner. The essential part of Malachy’s Years’, was presented at the the ability to maintain or use the organ can composer, who served as organist this campaign resides in the legacy of St. church. This unusual program included and it was days away from being thrown at St. Malachy’s from 1934–1967. Dur- Malachy’s own distinguished composer Prelude and Dance for solo accordion, his away. Upon hearing this, Peragallo said to ing Creston’s time, there was a Kimball and organist, Paul Creston. Future gen- well-known setting of Psalm 23 for coun- hold off on demolition. He returned the organ (15 stops) in the upper church and erations will benefi t from the campaign tertenor, and the Concertino for Marimba next day with his staff to dismantle the a Kilgen organ (20 stops) in the lower and the new organ that embody Creston’s and Orchestra. Craig R. Whitney, former organ and began looking for a new home church (commonly referred to as The timeless ideals. Paul Creston is hailed as assisting managing editor of the New York for it. John Peragallo, Jr.’s next call was to Actors’ Chapel, which was converted one of America’s leading 20th-century Times and author of All the Stops: The his friend, Reverend Richard D. Baker, into the Encore Senior Center in 1978). composers. During the 1940s–1960s, Glorious Pipe Organ and Its American pastor at St. Malachy’s—The Actors’ Unfortunately, because of disrepair and Creston’s music was performed regularly Masters, presented the keynote address Chapel, to consider this instrument for other mitigating factors, both instru- by leading orchestras across the nation, about the Aeolian-Skinner pipe organ, installation at the church. With the guid- ments were eventually removed in the including the New York Philharmonic, Opus 938. Whitney’s address recounted ance of then director of music Daniel late 1970s, when the church and the the Boston Symphony Orchestra, the American organ building in the 1930s,

Peragallo Pipe Organ Company / Aeolian-Skinner Organ Company, Inc.

GREAT—Manual II— 61 notes SWELL—Manual III—61 notes, CHOIR—Manual I—61 notes, PEDAL 16′ Violone (façade) 73 pipes enclosed enclosed 32′ Contre Bourdon digital 8′ First Diapason 61 16′ Bourdon 73 16′ Contra Viole 73 32′ Contra Violone digital 8′ Second Diapason 61 8′ Geigen 73 8′ Open Diapason 73 16′ Open Wood 44 8′ Doppel Flute 61 8′ Stopped Diapason 73 8′ Concert Flute 73 16′ Diapason digital 8′ Violoncello (ext 16′) 8′ Viole d’amour 73 8′ Erzähler 73 16′ Violone Gt 4′ Octave 61 8′ Voix Celeste 73 8′ Erzähler Celeste (TC) 61 16′ Contra Viole Ch 4′ Harmonic Flute 61 4′ Fugara 73 4′ Flute Traverso 73 16′ Bourdon 44 2 2⁄3′ Twelfth 61 4′ Flute Triangular 73 2′ Harmonic Piccolo 61 16′ Echo Lieblich Sw 2 2′ Fifteenth 61 2⁄3′ Nazard 61 8′ Tromba 73 8′ Octave digital IV Mixture 244 2′ Flautino 61 8′ Clarinet 73 8′ Violoncello Gt 3 IV Fourniture* 1⁄5′ Tierce 61 8′ Cor Anglais 73 8′ Flute (ext 16′ Bourdon) 8′ Actors’ Trumpet 49 III Mixture 183 4′ Clarion (ext Tromba) 8′ Still Gedeckt Sw 8′ Tromba Ch 16′ Fagotto 73 Tremolo 4′ Flute digital 4′ Clarion Ch 8′ Trumpet 73 8′ Actors’ Trumpet Gt 32′ Contra Bombarde digital Chimes digital 8′ Oboe 73 Harp digital 32′ Contra Fagotto digital Cymbelstern digital 8′ Vox Humana 73 Celesta digital 16′ Bombard digital Great 16′ 4′ Clarion 73 Choir 16′ 16′ Fagotto Sw Great Unison Off Tremolo Choir Unison Off 8′ Tromba Ch Great 4′ 8′ Actors’ Trumpet Gt Choir 4′ 8′ Actors’ Trumpet Gt *(from Mixture 8va higher) Swell 16′ 4′ Clarion Ch Swell Unison Off *Tower Carillon digital Swell 4′ Chimes digital *Cymbelstern digital *on drawknob console: by rocking tablet on coupler rail

26 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Great Fourniture, Violone, and Pedal Swell Geigen, Fugara, Flute Triangular, Choir division Bourdon Mixture, Vox Humana, Fagotto, Clarion organ builder and Opus 938 consultant G. organ campaign through diverse and dis- craft as an apprentice with the E. M. Skin- updated with new key claviers and pedal- Donald Harrison, Opus 938’s relevance tinct programming, featuring instrumen- ner Company. His son, John Peragallo, boards, rocker tablets for stop control in to the acoustical space and future usage tal, choral, Broadway, opera, chamber Jr., who was a member of the American the gallery keydesk and new drawknobs at St. Malachy’s, and most interestingly, and symphonic performers. Concerts at Guild of Organists, joined the company for the chancel keydesk. a novel and entertaining narration that St. Malachy’s programs have included in 1949. The tonal design was slightly enlivened Paul Creston’s legacy through the Fairbanks Trio (Asimov, Nagin and Now in its fourth generation, the sons modifi ed with the addition of Walker the organ at The Actors’ Chapel. Hopkins), Danilo Pina (piano), ‘Love of John Jr., John Peragallo III and Frank components, primarily to expand the The second recipient of the Paul Cres- Notes—from Broadway to Opera’ (NY Peragallo, having grown up in the busi- existing small pedal division and for ton Award (2010) was Bruce Neswick, Bar Association), the Three Cantors— ness, now head the company. John III a new fl oating division in the chancel then director of music at the Cathedral from Sanctuary to Stage, the Salvatones, received his Bachelor of Science degree for support of choral accompaniment. of St. John the Divine, New York City, the Orchestra of St. Malachy’s, the in Electrical Engineering from the New Several ranks of pipes were also added, now on the faculty at Indiana University, New York Boychoir, Face the Music, Jersey Institute of Technology and also including a Great four-rank mixture Bloomington. The award event featured the Auburn University Show Choir, the studied organ with Russell Hayton of (12-15-19-22), 16′ Violone (façade, a professional orchestra, the Salvatones Virtuosi (wind) Quintet, Sweet Plantain Montclair and Leonard Raver of the with 8′ Violoncello on the Great), and a (a professional choral ensemble), and String Quartet, and Simon Boyar, Daniel Juilliard School. He also pursued musical hooded solo reed, the Actors’ Trumpet, the New York Boychoir. This program, Brondel, Deborah Jamini, and Joanna studies at the New York School of Liturgi- on eight inches of wind pressure. The ‘Creston’s New York’, included music by Arnold Darrow in a performance of cal Music. Frank studied cabinetmaking ranks of the original Dolce Cornet III American composers Copland, Gersh- Creston’s music. For the inaugural year with the Salesian Brothers of Don Bosco. of the Swell division were separated 2 win, Larsen, and Corigliano. of the new organ, Concerts at St. Mala- John III and Frank are now joined and installed independently as a 2 ⁄3′ 3 The third recipient of the award was chy’s launched the ‘Fridays in October’ by their sons, Anthony and John IV. Nazard, 2′ Flautino, and 1 ⁄5′ Tierce. David Higgs, chair of the organ depart- post-theater organ recitals at 11 p.m., Anthony received his Bachelor of Sci- The Grave Mixture II of the Great ment at the Eastman School of Music and the ‘Fridays in December’ pre- ence degree in Finance from Montclair Organ was also separated and installed 2 in Rochester, New York. Higgs was theater organ recitals at 6:30 p.m. Other State University. John IV received the as the 2 ⁄3′ Twelfth and the 2′ Fifteenth. presented the award at ‘Voices United’, a special performances included silent Bachelor of Science degree in Archi- The casework of the instrument was benefi t event for St. Malachy’s Outreach fi lms, the Educational Outreach Series tecture and a Master’s of Architecture designed and handcrafted to match the Ministries and Covenant House New for school-age children through college- degree from the Catholic University of Gothic architectural style throughout York at the historic Beacon Theatre in level music appreciation classes, massed America in Washington, D.C. the church. The façade includes the New York’s Upper West Side in Novem- choral performances and collaborations The fi rm’s leadership is well rounded, original pipes from the Aeolian-Skinner, ber 2012. Higgs presented the headlining between St. Malachy’s Choir and tri- with diverse skills and business acumen, along with the Violone 16′ comprising recital for the inaugural season of the Paul state regional choral societies, as well as and has distinguished the Peragallo the towers. The case is adorned with Creston Memorial Pipe Organ in April full-length feature recitals. Inaugural- Pipe Organ Company in fi ne pipe organ gold accents found in the ceiling of the 2013, co-sponsored by the New Jersey year recitalists included David Higgs, building and restoration. church and also features hand-crafted Metropolitan and New York City chap- Mark Pacoe, David Ball, Jon Johnson, trefoil moldings and tower crowns fea- ters of the American Guild of Organists. Michael Hey, Crista Miller, James Wet- The organ tured throughout the nave. Higgs performed Creston’s rarely heard, zel, Jonathan Ortloff, and Vincent Carr. The Paul Creston Memorial Pipe The superb acoustic of the church, complex solo organ work Fantasia. This Organ includes 73 stops, 43 ranks of at about three seconds, is a result of the co-sponsored event was the fi rst of its The builders pipes, and 19 digitally sampled stops. high, narrow, neo-Gothic vaulting of the kind between these two AGO chapters The new installation of Aeolian- These are all playable from two keydesks. room. The room seats 350 comfortably, and coincidentally connected the heritage Skinner Opus 938 (1935) was completed A repurposed E. M. Skinner keydesk and provides an intimate and aestheti- of Opus 938 from the New Jersey chapter by the Peragallo Pipe Organ Company of from Opus 524 is located in the gallery. cally pleasing setting for the dynami- to its new home in the New York chapter. Paterson, New Jersey. The Peragallo Pipe The Aeolian-Skinner keydesk original to cally subtle yet powerful instrument. The Concerts at St. Malachy’s series Organ Company was founded in 1918 by Opus 938 is located on the fl oor of the While only steps away from the bustling was initially developed to benefi t the John Peragallo, Sr., who developed his chancel. Both keydesks were completely theaters of Broadway and the frenzy of Times Square, St. Malachy’s is a hidden gem, a sanctuary where tourists, parish- ioners, neighbors, and people from all St. Malachy’s Church – The Actors’ Chapel, New York, New York walks of life feel welcomed. For more information about St. Mala- Chancel Organ (fl oating)—61 Swell to Choir 16, 8, 4 Accessories chy’s—The Actors’ Chapel, the music notes, expressive (digital stops Great to Choir Swell MIDI 1 (thumb) calendar, and the Paul Creston Memo- by Walker Technical Company) Chancel to Choir Swell MIDI 2 (thumb) rial Pipe Organ, see www.actorschapel. 8′ Diapason digital Choir to Swell Great MIDI 1 (thumb) 8′ Bourdon digital Chancel to Swell Great MIDI 2 (thumb) org or ‘Creston Memorial Pipe Organ’ 8′ Gemshorn digital Choir MIDI 1 (thumb) on Facebook. 8′ Vox Angelorum II digital Adjustable Combinations (250 Levels) Choir MIDI 2 (thumb) We recognize those who made this ′ 4 Principal digital Swell Organ Pistons 1-2-3-4-5-6 (thumb) Pedal MIDI 1 (thumb) restoration and relocation possible: 4′ Chimney Flute digital Great Organ Pistons 1-2-3-4-5-6 (thumb) Pedal MIDI 2 (thumb) 8′ Cor d’amour digital Choir Organ Pistons 1-2-3-4-5-6 (thumb) Memory Level Up (thumb) Reverend Richard Baker, Mark Pacoe, Chancel 4′ Chancel Organ Pistons 1-2-3 (thumb) Memory Level Down (thumb) Peggy Pugh, Daniel Brondel, Benjamin Tremolo Pedal OrganPistons 1-2-3-4 (thumb and toe) Sequencer Next (two thumb, 1 toe) Lorello, Andy Nerhbas, John Peragallo Chancel Pedal General Pistons 1-2-3-4-5-6-7-8-9-10-11-12 MIDI record/Playback Jr., and the parishioners and supporters (thumb & toe), 13-14 (thumb) Transposer 16′ Bourdon digital of St. Malachy’s Parish. 8′ Flute digital General Cancel (thumb) Setter (thumb) Expression Information about the construction Balanced Swell Pedal (with LED ribbon) and rebuilding of this fi ne instrument Couplers Reversibles Balanced Choir Pedal (with LED ribbon) can be found at www.peragallo.com. Crescendo Pedal (with LED ribbon) Great to Pedal 8, 4 Swell to Pedal (thumb & toe) —Mark Pacoe, Director of Music, Swell to Pedal 8, 4 Great to Pedal (thumb & toe) All Swells to Swell (keycheek) Choir to Pedal 8, 4 Choir to Pedal (thumb & toe) St. Malachy’s Church Chancel to Pedal 8 Sforzando (thumb & toe with ind.) —John Peragallo IV, Architectural Swell to Great 16, 8, 4 Cymbelstern (toe paddle) Designer, Peragallo Organ Company Choir to Great 16, 8, 4 —John Peragallo III, Principal, Tonal Chancel to Great 8 Director, Peragallo Organ Company

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 27 New Organs 2013 Summer Carillon Concert Calendar Bigelow & Co., Inc., Organ Builders, American Fork, Utah, Opus 35 Alfred, New York Alfred University, Davis Memorial Carillon The Cathedral Church of St. Mark Tuesdays at 7 pm (Episcopal), Salt Lake City, Utah July 9, Carol Jickling Lens All of us at Bigelow & Co. were July 16, Sally Harwood thrilled and honored to be commis- July 23, Tim Sleep sioned to build a new tracker organ for July 30, Philippe Beullens the beautiful, historic Cathedral Church Allendale, Michigan of St. Mark in Salt Lake City. The three- Grand Valley State University, Cook Caril- manual, 40-rank instrument is the fi rm’s lon, Sundays at 8 pm Opus 35, our fourth largest when it July 7, Linda Dzuris was completed in February 2012. The July 14, Sue Bergren Very Reverend Frederick Q. Lawson, July 21, Laura Ellis former dean of the cathedral, initiated July 28, open tower the project and supported it throughout. August 4, Helen Hawley August 11, Jeremy Chesman Dr. Andrew Unsworth (Mormon Taber- August 18, Julianne Vanden Wyngaard nacle) served as consultant. Founded in 1871 (less than thirty Austin, Texas years after the fi rst Mormon settlers University of Texas, Kniker Carillon arrived in the Salt Lake Valley, and only Sundays at 4 pm two years after the completion of the fi rst July 7, July 28, August 18, Austin Ferguson transcontinental railroad), St. Mark’s is Belmont, North Carolina the oldest non-Mormon church in Utah First Presbyterian Church in continuous use. It was designed by August 25, Mary McFarland & Joseph noted architect Richard Upjohn (Trinity Vaughan, 6:30 pm Church, New York City) in the Gothic Revival style, and is now listed on the Berea, Kentucky National Register of Historic Places. The Berea College, Mondays at 6:30 pm interior is graced by beautiful stained August 5, John Gouwens glass windows, including several by the Birmingham, Alabama Tiffany fi rm. Samford University, Rushton Memorial The highest priority in the visual Carillon, Wednesdays & Thursdays at 4:30 design of the new organ was to reveal pm, July–August the rose window that had been walled Stephen Brooks Knight, carillonneur over behind the previous organ for Bloomfi eld Hills, Michigan forty years. That requirement was met, Christ Church Cranbrook, Sundays at 4 pm and the south-facing rose window once July 7, Robin Austin again adds light and life to the Sunday July 14, Phillippe Beullens morning worship experience. The July 21, Carol Lens gothic architecture of the organ case fi ts July 28, Gijsbert Kok the church interior perfectly and is a joy August 4, Kipp Cortez to behold. August 11, Dick van Dijk Tonal objectives of the new organ St. Mark Cathedral Photo credit: Katherine Bigelow Kirk in the Hills Presbyterian Church included a generally warmer sound than Sundays at 10 am & noon had been in vogue at the time of the and adds considerably to the fl exibility sizeable organ into a restricted space, July 14, Philippe Buellens previous organ and more resources for of the instrument. and it made some valuable unifi cation July 21, Laura Ellis choral accompaniment in the Anglican Manual key action and all coupling and duplexing practical. July 27, Gijsbert Kok tradition. Because the Positive divi- is mechanical, except that the Proces- Dedicatory and inaugural recit- August 11, Dick van Dijk sion, placed on the gallery rail, would sional Trumpet (mounted horizontally als spanned several months and were September 1, Dennis Curry ′ be the least useful for accompanying a in the main case), the Swell Fagotto 16 , played by cathedral organists George Centralia, Illinois choir, it was conceived as a quasi-Solo and the lower two octaves of the Great Henry and Christopher Wootton, other Centralia Carillon, evenings at 6:30 pm division (Cornet, Processional Trumpet, Bourdon (borrowed from the Pedal) area organists, including those of the July 19, Carlo van Ulft & Little Egypt Brass Great-to-Positive coupler). Placing the play from electro-pneumatic chests, as Mormon Tabernacle (one of whom is a August 31, Julianne Vanden Wyngaard Great division under expression, except do all Pedal stops. Giving up tracker former organist of St. Mark’s), and Dr. September 1, Robin Austin Præstant 8′ and Octave 4′, increases its action on this limited basis solved sev- Julia Brown. September 2, Carlo van Ulft usefulness in choral accompaniment eral problems associated with fi tting a —David Chamberlin Chicago, Illinois University of Chicago, Rockefeller Chapel Sundays at 5 pm July 7, Isaac Wong Bigelow & Co., Inc. The Cathedral Church of St. Mark (Episcopal), Salt Lake City, Utah July 14, Vera Wünsche July 21, Philippe Beullens July 28, John Widmann POSITIVE – Manual I SWELL – Manual III 40 ranks August 4, Gijsbert Kok 8′ Præstant (façade, 1–6 = Ch. Fl.) 8′ Stopped Diapason Detached, low-profi le keydesk with August 11, Lisa Lonie & Janet Tebbel 8′ Chimney Flute 8′ Viole de gambe terraced stop jambs August 18, Dick van Dijk 4′ Octave 8′ Voix céleste (GG) 61/32 compass (AGO standard) August 25, Wylie Crawford 4′ Open Flute 4′ Viol-Principal Bone and ebony manuals ′ ′ 2 Octave 4 Traverse Flute Mechanical key action (manuals and Cohasset, Massachusetts ′′′ 2 ′ III Cornet (AA–d ) 2⁄3 Nasard couplers) St. Stephen’s Episcopal Church 8′ Cromorne 2′ Blockfl öte Electro-pneumatic action (Pedal and 3 Sundays at 6 pm 16′ Processional Trumpet (TC) 1⁄5′ Tierce duplex/unit stops) 8′ Processional Trumpet III Plein Jeu Electric stop action (slider solenoids) July 7, Margaret Angelini Flexible Wind, Positive 16′ Fagotto 60-level combination action with defi nable July 14, Richard Watson Great to Positive 8′ Oboe pistons and sequencer July 21, Helen Hawley Swell to Positive Flexible Wind, Swell www.bigeloworgans.com July 28, Gerard de Waardt Flexible Wind, All August 4, Gordon Slater GREAT – Manual II Tremulant (affects all divisions with August 11, Philippe Beullens 16′ Bourdon* (1–24 = Ped) Flexible Wind on) August 18, Lee Leach 8′ Præstant (façade) ′ 8 Conical Flute* PEDAL Culver, Indiana 8′ Harmonic Flute* (1–16 = Con. Fl.) 32′ Resultant (Bourdon) ′ ′ Culver Academies, Memorial Chapel Caril- 4 Octave 16 Contrebasse (wood) lon, Saturdays at 4 pm 4′ Lieblich Flute* 16′ Bourdon 2 July 6, Robin Austin 2⁄3′ Twelfth* 8′ Octave (façade) 2′ Fifteenth* 8′ Bourdon (ext) July 13, 20, 27, August 31, September IV Mixture* 4′ Octave (ext) 28, John Gouwens 8′ Trumpet* 16′ Trombone Flexible Wind, Great 16′ Fagotto (Sw) Denver, Colorado Positive to Great 8′ Trombone (ext) University of Denver, Williams Carillon Swell to Great 8′ Fagotto (Sw) Sundays at 7 pm *expressive 4′ Fagotto (Sw) July 14, Carol Jickling Lens Great to Pedal July 28, Lee Cobb Positive to Pedal Aug 11, Jeff Davis Swell to Pedal Aug 25, Joey Brink Zimbelstern (rotating star, 8 bells) Detroit, Michigan Jefferson Avenue Presbyterian Church July 30, Gijsbert Kok, 7:30 pm

28 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Bert Adams, FAGO By Brian Swager Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL St. Mary’s of Redford Catholic Church Middlebury, Vermont GRACE CHURCH Saturdays at 5:15 pm Middlebury College, Fridays at 5 pm Pickle Piano & Church Organs NEW YORK July 6, Patrick Macoska July 5, George Matthew Jr. Bloomingdale, IL July 20, Carol Jickling Lens July 12, Elena Sadina July 27, Gijsbert Kok July 19, Tatiana Lukyanova July 26, Sergei Gratchev East Lansing, Michigan August 2, Phillipe Beullens Christopher Babcock Michigan State University, Beaumont Tow- August 9, Gordon Slater er Carillon, Wednesdays at 6 pm August 16, George Matthew Jr. (7 pm) July 3, Stephan D. Burton St. Andrew’s by the Sea, July 10, Philippe Beullens Minneapolis, Minnesota Hyannis Port July 17, Ray McLellan Central Lutheran Church, Sundays July 24, Laura Ellis July 7, Povl Christian Balslev, 9:30 am July 31, Gijsbert Kok July 28, Chelsea Vaught, 11:15 am Erie, Pennsylvania Naperville, Illinois Dean W. Billmeyer AVIN LACK Penn State University, Smith Chapel Naperville Millennium Carillon G B Tuesdays at 7 pm Princeton Early Keyboard Center Thursdays at 7 pm University of Minnesota July 11, Carol Jickling Lens July 2, Povl Christian Balslev 732/599-0392 July 9, Isaac Wong July 18, Sally Harwood Minneapolis 55455 • [email protected] July 25, Tim Sleep July 16, Vera Wünsche www.pekc.org August 1, Philippe Beullens July 23, Philippe Beullens July 30, John Widmann Fort Washington, Pennsylvania August 6, Gijsbert Kok St. Thomas Church, Whitemarsh August 13, Lisa Lonie & Janet Tebbel Byron L. Blackmore THOMAS BROWN Tuesdays at 7 pm August 20, Dick van Dijk UNIVERSITY July 2, Julianne Vanden Wyngaard Crown of Life Lutheran Church PRESBYTERIAN CHURCH July 9, Gerard de Waardt New Haven, Connecticut Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA July 16, Lisa Lonie & Janet Tebbel Yale University, Yale Memorial Carillon July 23, Sally Harwood Fridays at 7 pm 623/214-4903 ThomasBrownMusic.com July 30, Linda Dzuris July 5, Ellen Dickinson July 12, Vera Wünsche July 19, Helen Hawley Gainesville, Florida AMES ORROH, AAGO, PhD University of Florida, Sundays at 3 pm July 26, Yale summer carillonneurs J D July 14, Ryan Chancoco August 2, Roy Lee DELBERT DISSELHORST Saint Luke’s Episcopal Church August 18, Laura Ellis August 9, Philippe Beullens Professor Emeritus Samford University Birmingham, Alabama Glencoe, Illinois Northfi eld, Vermont University of Iowa–Iowa City Chicago Botanic Garden, Mondays at 7 pm Norwich University, Saturdays at 1 pm Organ Consultant Organ Recitals July 1, Povl Christian Balslev July 6, George Matthew Jr. July 8, Isaac Wong July 13, Elena Sadina July 15, Vera Wünsche July 20, Tatiana Lukyanova STEVEN EGLER July 22, Christmas in July July 27, Sergei Gratchev JOHN FENSTERMAKER August 3, Phillipe Beullens Central Michigan University July 29, John Widmann Mt. Pleasant, Michigan August 10, Gordon Slater August 5, Gijsbert Kok Artist in Residence TRINITY-BY-THE-COVE August 12, Lisa Lonie & Janet Tebbel First Congregational Church Norwood, Massachusetts August 19, Dick van Dijk Saginaw, Michigan Norwood Memorial Municipal Building NAPLES, FLORIDA August 26, Wylie Crawford [email protected] Mondays at 7 pm September 2, Mark Lee July 1, Tatiana Lukyanova July 4, Margaret Angelini & Lee B. Leach Grand Rapids, Michigan (3 pm) Grand Valley State University July 8, Margaret Angelini STEPHEN HAMILTON WILL HEADLEE Wednesdays at noon July 15, Richard Watson 1650 James Street July 10, Linda Dzuris July 22, Helen Hawley recitalist–clinician–educator July 17, Sue Bergren Syracuse, NY 13203-2816 July 29, Gerard de Waardt www.stephenjonhamilton.com July 24, Laura Ellis August 5, Gordon Slater (315) 471-8451 July 31, Gijsbert Kok August 12, Philippe Beullens August 19, Lee B. Leach Grosse Pointe Farms, Michigan Gary L. Jenkins Christ Church Grosse Pointe Omaha, Nebraska ANDREW HENDERSON, DMA July 7, Robin Austin, 11:15 am Central Presbyterian Church University of Nebraska at Omaha, Hen- Director, Schmidt Concert Series ningson Campanile Madison Avenue Presbyterian Church Carmelite Monastery Jackson, Tennessee July 4, patriotic concert, 9 am New York, NY First Presbyterian Church, Jackson Memo- Curator of Organs www.andrewhenderson.net rial Carillon Ottawa, Ontario Rose-Hulman Institute of Technology August 24, Jackson Symphony Orches- Peace Tower Carillon Terre Haute, Indiana tra with carillon, 6:45 pm July & August, weekdays, 11 am July 1, Andrea McCrady (9 am) Kennett Square, Pennsylvania July 9, Sally Harwood Longwood Gardens, Sundays at 3 pm July 16, Isaac Wong July 7, Gerard de Waardt July 23, Wesley Arai David Herman July 21, Sally Harwood July 30, student recital Trustees Distinguished Professor Emeritus of Music and University Organist July 28, Linda Dzuris August 4, Daniel Kehoe Owings Mills, Maryland The University of Delaware Q [email protected] August 18, John Widmann McDonogh School, Fridays at 7 pm August 25, Gordon Slater July 5, Julianne Vanden Wyngaard September 1, Ellen Dickinson July 12, Gerard de Waardt September 8, Janet Tebbel July 19, Lisa Lonie A Professional Card in September 15, Doug Gefvert July 26, Philippe Beullens August 2, Buck Lyon-Vaiden The Diapason Lincoln, Nebraska For rates and digital specifi cations, contact Jerome Butera First-Plymouth Congregational Church Philadelphia, Pennsylvania Saturdays at 6:15 pm First United Methodist Church of German- 847/391-1045; [email protected] July 13, Kathleen Johnson town, Mondays at 7:30 pm August 10, Brent Shaw July 1, Julianne Vanden Wyngaard July 8, Gerard de Waardt LORRAINE BRUGH, Ph.D. Madison, Wisconsin July 15, Lisa Lonie & Janet Tebbel University of Wisconsin Thursdays at 7:30 pm Princeton, New Jersey Associate Professor July 11, 18, 25, Lyle Anderson Princeton University, Grover Cleveland University Organist Tower, Sundays at 1 pm Mariemont, Ohio July 7, Julianne Vanden Wyngaard Valparaiso University Mary M. Emery Memorial Carillon July 14, Gerard de Waardt Valparaiso, IN Sundays at 7 pm July 2, Lisa Lonie July 4 (2 pm), July 14, August 4, August July 28, Sally Harwood www.valpo.edu 18, September 2 (2 pm), Richard D. Gegner August 5, Linda Dzuris July 7, July 21, August 11, September 1, August 11, Doug Gefvert 219-464-5084 Richard M. Watson August 18, Gordon Slater July 28, August 25, Richard D. Gegner & August 25, Lisa Lonie & Janet Tebbel [email protected] Richard M. Watson September 1, Anton Fleissner

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 29 CALIFORNIA LUTHERAN UNIVERSITY 2013 Summer Carillon Concert Calendar Visit The Diapason Kyle Johnson, DMA Rochester, Minnesota July 14, Karel Keldermans website: University Organist Mayo Clinic August 11, Tin-Shi Tam www.TheDiapason.com 

r
LFKPIOT!DBMMVUIFSBOFEV July 8, Povl Christian Balslev, 7 pm September 8, Jeremy Chesman www.callutheran.edu University of Rochester, Hopeman Memo- Storrs, Connecticut rial Carillon, Mondays at 7 pm Storrs Congregational Church July 8, Carol Jickling Lens July 22, Isaac Wong, 7 pm KIM R. KASLING July 15, Sally Harwood August 25, Ellen Dickinson, 4 pm Brian Jones July 22, Tim Sleep D.M.A. Director of Music Emeritus July 29, Philippe Beullens Toronto, Ontario St. John’s University University of Toronto, Soldiers’ Tower TRINITY CHURCH St. Paul, Minnesota Collegeville, MN 56321 Wednesdays at 5 pm BOSTON House of Hope Presbyterian Church July 10, Sally Harwood Sundays at 4 pm July 17, Isaac Wong July 4, Dave Johnson July 24, Wesley Arai July 7, Povl Christian Balslev July 31, Canadian student recital JAMES KIBBIE July 21, Dave Johnson July 28, Chelsea Vaught The University of Michigan Valley Forge, Pennsylvania Ann Arbor, MI 48109-2085 Washington Memorial Chapel ORGAN CONSULTANT Sewanee, Tennessee 734-764-1591 FAX: 734-763-5097 Wednesdays at 7:30 pm www.gabrielkney.com University of the South, Sundays at 4:45 pm email: [email protected] July 4, John Bordley & Charlene William- July 3, Julianne Vanden Wyngaard son (1 pm) July 10, Gerard de Waardt July 7, Anton Fleissner July 17, Lisa Lonie & Janet Tebbel July 24, Sally Harwood A Professional Card in July 14, Ray Gotko & Michael Moore David K. Lamb, D.Mus. July 21, Richard Shadinger July 31, Linda Dzuris Director of Music/Organist The Diapason August 7, Daniel K. Kehoe For rates and digital specifi cations, August 21, Gordon Slater First United Methodist Church Spokane, Washington contact Jerome Butera Cathedral of St. John the Evangelist August 28, Doug Gefvert Columbus, Indiana 847/391-1045 July 4, Wesley Arai, 9 pm 812/372-2851 [email protected] Victoria, British Columbia Springfi eld, Missouri Netherlands Centennial Carillon Missouri State University, Jane A. Meyer Sundays at 3 pm, June–August Carillon, Sundays at 7 pm Rosemary Laing, carillonneur

Calendar

Timothy Duhr; Basilica of the National This calendar runs from the 15th of the month Shrine of the Immaculate Conception, of issue through the following month. The deadline Washington, DC 6 pm is the fi rst of the preceding month (Jan. 1 for Marilyn Keiser; Shepherd of the Bay Lu- Feb. issue). All events are assumed to be organ theran, Ellison Bay, WI 7 pm recitals unless otherwise indicated and are grouped Jeffrey Verkuilen; Shrine of Our Lady of ANDREW PAUL MOORE within each date north-south and east-west. •=AGO A.S.C.A.P. Guadalupe, La Crosse, WI 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS chapter event, • •=RCCO centre event, +=new organ Olivier Latry; Madonna Della Strada CHRIST CHURCH dedication, ++= OHS event. Chapel, Loyola University, Chicago, IL 3 pm 345 SADDLE LAKE DRIVE Information cannot be accepted unless it Philippe Beullens, carillon; Rockefeller ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 specifi es artist name, date, location, and hour in Memorial Chapel, Chicago, IL 5 pm writing. Multiple listings should be in chronological Anita Werling, with horn; Sts. Peter and order; please do not send duplicate listings. Paul, Nauvoo, IL 3 pm THE DIAPASON regrets that it cannot assume 23 JULY responsibility for the accuracy of calendar entries. LEON NELSON DOUGLAS O’NEILL Jacques Boucher, with violin; First Par- ish Church, Brunswick, ME 12:10 pm Director of Traditional Music Cathedral of the Madeleine UNITED STATES Jonathan Bezdegian; Old West Church, Southminster Presbyterian Church Salt Lake City, Utah East of the Mississippi Boston MA 8 pm [email protected] Thomas Baugh; Christ Episcopal, Roa- Arlington Heights, IL 60005 noke, VA 7:30 pm 801/671-8657 16 JULY Christ Church Choir of Men and Girls; Ann Hartzler; First Parish Church, Christ Church Grosse Pointe, Grosse MARILYN MASON Brunswick, ME 12:10 pm Pointe Farms, MI 7 pm Felix Hell; Cathedral of St. Luke, Port- CHAIRMAN, DEPARTMENT OF ORGAN land, ME 7:30 pm 24 JULY UNIVERSITY OF MICHIGAN Colin Lynch; Old West Church, Boston Ray Cornils; Basilica of Sts. Peter & ANN ARBOR MA 8 pm Paul, Lewiston, ME 12:15 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Virginia Vance; Christ Episcopal, Roa- Harry Lyn Huff; Methuen Memorial Mu- with awesome technique and a thrilling command of its daring writing.” noke, VA 7:30 pm sic Hall, Methuen, MA 8 pm The American Organist, 1980 John Gouwens, carillon; Memorial Cha- Robert Plimpton; Ocean Grove Audito- pel, Culver Academies, Culver, IN 4 pm rium, Ocean Grove, NJ 7:30 pm Scott Hyslop; Old Salem Visitor Center, Huw Lewis; Broadway Baptist, Louis- Winston-Salem, NC 12 noon SYLVIE POIRIER ville, KY 10:45 am Olivier Latry; Peachtree Road United LARRY PALMER Methodist, Atlanta, GA 7:30 pm 17 JULY Blake Doss & Frank Rippl; First English Peter Latona; Methuen Memorial Music Professor of PHILIP CROZIER Lutheran, Appleton, WI 12:15 pm Hall, Methuen, MA 8 pm Michael Bottenhorn; Sinsinawa Mound, ORGAN DUO Gordon Turk; Ocean Grove Auditorium, Harpsichord and Organ Sinsinawa, WI 7 pm 3355 Queen Mary Road, Apt 424 Ocean Grove, NJ 7:30 pm Nathan Laube, with Pittsburgh Concert Meadows School of the Arts 27 JULY Montreal, H3V 1A5, P. Quebec Chorale; St. Paul Cathedral, Pittsburgh, PA John Gouwens, carillon; Memorial Cha- 7:30 pm pel, Culver Academies, Culver, IN 4 pm SOUTHERN METHODIST UNIVERSITY Canada Nathan Zullinger; Old Salem Visitor Karen Beaumont; St. Hedwig’s, Milwau- (514) 739-8696 Center, Winston-Salem, NC 12 noon kee, WI 2:30 pm Dallas, Texas 75275 Fax: (514) 739-4752 Isabelle Demers; Cathedral of Christ the King, Atlanta, GA 7:30 pm 28 JULY Musical Heritage Society recordings [email protected] Michael Stefanek; Holy Cross Catholic Marisa & Roger Cazden; St. Paul Ca- Church, Kaukauna, WI 12:15 pm thedral, Pittsburgh, PA 4 pm Charles Barland; Sinsinawa Mound, Benjamin Straley; Basilica of the Na- Sinsinawa, WI 7 pm tional Shrine of the Immaculate Concep- tion, Washington, DC 6 pm 18 JULY John Widmann, carillon; Rockefeller Ray Cornils; St. John’s Episcopal, Ban- Memorial Chapel, Chicago, IL 5 pm gor, ME 7:30 pm 30 JULY Harold Stover; First Parish Church, 20 JULY Brunswick, ME 12:10 pm Gordon Turk; Ocean Grove Auditorium, Geoff Wieting; Old West Church, Bos- Ocean Grove, NJ 12 noon ton, MA 8 pm WARREN D. HOOD II, DSM John Gouwens, carillon; Memorial Cha- Organist and Director of Music pel, Culver Academies, Culver, IN 4 pm 31 JULY Jung-A Lee; Methuen Memorial Music Th e Historic Sharon Baptist Church 21 JULY Hall, Methuen, MA 8 pm Nathan Laube; Union Evangelical Brennan Szafron; Old Salem Visitor Baltimore, MD 21217 Church, Heath, MA 4 pm Center, Winston-Salem, NC 12 noon Steven Anisko; St. Paul Cathedral, Pitts- Paul Weber; All Saints Episcopal, Apple- burgh, PA 4 pm ton, WI 12:15 pm

30 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer A Professional Card in Recitals – Consultations The Diapason 1 AUGUST Thomas Froehlich; First United Method- Director of Music Emeritus For rates and digital specifi cations, Rosalind Mohnsen; St. John’s Catholic ist, Appleton, WI 12:15 pm contact Jerome Butera Church, Bangor, ME 7:30 pm Joan DeVee Dixon & Alice Fiedlerova; Cathedral Church of the Advent 847/391-1045 Naomi Rowley; Memorial Presbyterian, Sinsinawa Mound, Sinsinawa, WI 7 pm [email protected] Appleton, WI 12:15 pm Choral Evening Prayer; Sacred Heart Birmingham, Alabama Church, Palos Hills, IL 7 pm 2 AUGUST Gloriae Dei Cantores; Church of the 16 AUGUST Transfi guration, Orleans, MA 7:30 pm Ray Cornils; St. Saviour’s Episcopal, ROBERT L. Bar Harbor, ME 12:15 pm Nicholas E. Schmelter 3 AUGUST Director of Music and Organist Gloriae Dei Cantores; Church of the 17 AUGUST SIMPSON Transfi guration, Orleans, MA 7:30 pm Gordon Turk; Ocean Grove Auditorium, First Congregational Church Christ Church Cathedral Gordon Turk; Ocean Grove Auditorium, Ocean Grove, NJ 12 noon Saginaw, Michigan 1117 Texas Avenue Ocean Grove, NJ 12 noon Houston, Texas 77002 Karen Beaumont; All Saints’ Cathedral, 18 AUGUST Milwaukee, WI 2 pm Nick Capozzoli; St. Paul Cathedral, Pittsburgh, PA 4 pm ORGAN MUSIC OF THE SPANISH BAROQUE 4 AUGUST Adam Detzner; Basilica of the National Stephen Tappe John & Marianne Weaver, organ and Shrine of the Immaculate Conception, Organist and Director of Music fl ute; Chapel on Squirrel Island, ME 4 pm Washington, DC 6 pm David Troiano Daniel Sansone; St. Paul Cathedral, Paul Jacobs; Loyola University, Chica- Saint John's Cathedral DMA MAPM Pittsburgh, PA 4 pm go, IL 3 pm Denver, Colorado 586.778.8035 Russell Weismann; Basilica of the Na- Dick van Dijk, carillon; Rockefeller Me- www.sjcathedral.org tional Shrine of the Immaculate Concep- morial Chapel, Chicago, IL 5 pm [email protected] tion, Washington, DC 6 pm John Chappell Stowe; Shrine of Our Gijsbert Kok, carillon; Rockefeller Me- Lady of Guadalupe, La Crosse, WI 3 pm morial Chapel, Chicago, IL 5 pm Kraig Windschitl; Shrine of Our Lady of 20 AUGUST Guadalupe, La Crosse, WI 3 pm Ray Cornils, with Kotzschmar Festival Marcia Van Oyen Brass; Cathedral of St. Luke, Portland, ME Joe Utterback First United Methodist Church 6 AUGUST 7:30 pm COMMISSIONS & CONCERTS Katelyn Emerson; First Parish Church, Erica Johnson; Old West Church, Bos- Plymouth, Michigan ton, MA 8 pm Brunswick, ME 12:10 pm 732 . 747 . 5227 mvanoyen.com Julie Huang; Old West Church, Boston, 21 AUGUST MA 8 pm Yun Kyong Kim; Methuen Memorial Mu- sic Hall, Methuen, MA 8 pm 7 AUGUST Ralph & Marillyn Freeman; St. Paul Lu- David Enlow; Methuen Memorial Music theran, Neenah, WI 12:15 pm David Wagner Hall, Methuen, MA 8 pm Bruce Bengtson; Sinsinawa Mound, DMA Kevin Walters Ken Cowan; Ocean Grove Auditorium, Sinsinawa, WI 7 pm Madonna University Ocean Grove, NJ 7:30 pm M.A., F.A.G.O. Livonia, Michigan John Skidmore; St. Joseph Catholic 24 AUGUST Church, Appleton, WI 12:15 pm Gordon Turk; Ocean Grove Auditorium, [email protected] Rye, New York Gregory Peterson; Sinsinawa Mound, Ocean Grove, NJ 12 noon Sinsinawa, WI 7 pm 25 AUGUST 10 AUGUST Thomas Dressler; Round Lake Audito- Gordon Turk; Ocean Grove Auditorium, rium, Round Lake, NY 8 pm Davis Wortman Ocean Grove, NJ 12 noon Russell Weismann; St. Paul Cathedral, KARL WATSON Pittsburgh, PA 4 pm 11 AUGUST Benjamin LaPrairie; Basilica of the Na- SAINT LUKE’S St. James’ Church David Troiano; St. Paul Cathedral, Pitts- tional Shrine of the Immaculate Concep- New York burgh, PA 4 pm tion, Washington, DC 6 pm METUCHEN Josh Stafford; Basilica of the National Wylie Crawford, carillon; Rockefeller Shrine of the Immaculate Conception, Memorial Chapel, Chicago, IL 5 pm Washington, DC 6 pm Lisa Lonie & Janet Tebbel, carillon; 26 AUGUST Rockefeller Memorial Chapel, Chicago, IL Thomas Dressler; Round Lake Audito- RUDOLF ZUIDERVELD 5 pm rium, Round Lake, NY 2 pm RONALD WYATT Illinois College, Jacksonville 13 AUGUST 27 AUGUST Trinity Church Ray Cornils; First Parish Church, Bruns- Jonathan Schakel; Old West Church, Galveston First Presbyterian Church, wick, ME 12:10 pm Boston, MA 8 pm Springfi eld Katelyn Emerson; Old West Church, Boston, MA 8 pm 28 AUGUST Michael S. Murray; Methuen Memorial 14 AUGUST Music Hall, Methuen, MA 8 pm Charles Dodsley Walker, FAGO Martin Schmeding; Methuen Memorial Daniel Schwandt; St. Joseph Catholic Music Hall, Methuen, MA 8 pm Church, Appleton, WI 12:15 pm Artist-in-Residence Founder/Conductor Ahreum Han; Ocean Grove Auditorium, Stephen Steely; Sinsinawa Mound, Sin- Saint Luke’s Parish Canterbury Choral Society Ocean Grove, NJ 7:30 pm sinawa, WI 7 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. , Organist/Choirmaster, St. John s Episcopal Church, Versailles, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at

A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact Jerome Butera: [email protected] 847/391-1045  DAVID SPICER  First Church of Christ  Wethersfi eld, Connecticut 

House Organist The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2013 Q 31 Calendar

31 AUGUST 3 AUGUST 18 JULY Claudia Termini; Cappella di S. Marta e Gordon Turk; Ocean Grove Auditorium, David Gell, with guitar and piano, Old Simone Gheller; Chiesa di S. Eurosia, Chiesa di S. Giacomo, Campertogno, Italy Ocean Grove, NJ 12 noon Spanish Days’ Fiesta concert; Trinity Epis- Pralungo/S. Eurosia, Italy 9 pm 9 pm John Gouwens, carillon; Memorial Cha- copal, Santa Barbara, CA 3 pm Alan Morrison; St. Albans Cathedral, St. pel, Culver Academies, Culver, IN 4 pm Albans, UK 6 pm 4 AUGUST 4 AUGUST Philip Crozier; Malmö Konstmuseum, Stephen Hamilton; Grace Cathedral, 19 JULY Malmö, Sweden 2 pm UNITED STATES San Francisco, CA 4 pm Choir of St. Aidan’s Episcopal, Alpharet- Mario Duella, with fl ute; Chiesa di Santa West of the Mississippi Carol Williams; Spreckels Organ Pavil- ta, GA, Choral Evensong; St. German’s Croce, Rassa, Italy 9 pm ion, Balboa Park, San Diego, CA 2 pm Church, Cardiff, UK 7 pm Jérôme Faucheur; St. Paul’s Cathedral, 15 JULY Jeremy Joseph; St. Wenzel’s Church, London, UK 4:45 pm Daryl Robinson 7 AUGUST Naumburg, Germany 7:30 pm Martin Ford; Westminster Abbey, Lon- ; Spreckels Organ Pavil- Bob Henstein; Northfi eld United Meth- ion, Balboa Park, San Diego, CA 7:30 pm don, UK 5:45 pm odist, Northfi eld, MN 12:15 pm 20 JULY 17 JULY Philip Crozier; Le Musée Suisse de 5 AUGUST 11 AUGUST l’Orgue, Roche, Switzerland 5 pm Stephen Tharp; St. Lambertus, Düssel- David Lim; Carleton College, Northfi eld, Anthony Baldwin; Trinity Episcopal, MN 12:15 pm Simone Gheller; Basilica Antica, Oropa, dorf, Germany 7:30 pm Santa Barbara, CA 3:30 pm Italy 9 pm Carlo Barbierato; Chiesa di S. Stefano, Carol Williams; Spreckels Organ Pavil- Piode, Italy 9 pm 18 JULY ion, Balboa Park, San Diego, CA 2 pm Stephen Tharp; Cathedral Basilica of St. 21 JULY Choir of St. Aidan’s Episcopal, Alpharet- 6 AUGUST Louis, St. Louis, MO 8 pm 14 AUGUST ta, GA; Bath Abbey, Bath, UK Matins 11:15 Ennio Cominetti; Parrocchia di Brugaro, Katie Burk; Boe Memorial Chapel, St. am, Evensong 3:30 pm Cravagliana, Italy 9 pm 19 JULY Olaf College, Northfi eld, MN 12:15 pm Choir of St. Aidan’s Episcopal, Alpharetta, Joseph Adam; Christ Episcopal, Taco- GA, Choral Evensong; St. David’s Church, 7 AUGUST ma, WA 12:10 pm 16 AUGUST Susanna Valleau; Christ Episcopal, Ta- Llanddewi Rhydderch, Wales, UK 7 pm Philip Crozier; Sofi a Albertina Kyrka, coma, WA 12:10 pm Tom Winpenny; St. Paul’s Cathedral, Landskrona, Sweden 12:10 pm 21 JULY London, UK 4:45 pm Stephen Tharp; Domkirke Åarhus, Åar- Paul Fejko; St. Mary’s Cathedral, San 18 AUGUST Daniel Cook; Westminster Cathedral, hus, Denmark 5 pm Francisco, CA 3:30 pm London, UK 4:45 pm Susan Landale; Kathedrale, Dresden, Carol Williams; Spreckels Organ Pavil- Carol Williams; Spreckels Organ Pavil- ion, Balboa Park, San Diego, CA 2 pm Germany 8 pm ion, Balboa Park, San Diego, CA 2 pm 22 JULY Gail Archer; Chiesa della Beata Vergine 25 AUGUST Choir of St. Aidan’s Episcopal, Alpharet- Assunta, Scopello, Italy 9 pm 24 JULY Carol Williams; Spreckels Organ Pavil- ta, GA; Christ Church Cathedral, Oxford, Stephen May; Carleton College, North- ion, Balboa Park, San Diego, CA 2 pm UK 6:05 pm 8 AUGUST fi eld, MN 12:15 pm Mario Duella; Chiesa di S. Bartolomeo, James Welch; Mount Angel Abbey, Sa- 23 JULY Scopa, Italy 9 pm lem, Oregon 6 pm INTERNATIONAL James Vivian; Mansion House, London, UK 6:30 pm 9 AUGUST 26 JULY 16 JULY John Walker; St. James United Church, Wolfgang Zerer; St. Wenzel’s Church, Olivier Latry; St. Helena Cathedral, Hel- Robert Sigmund; St. James United Montreal, QC, Canada 12:30 pm Naumburg, Germany 7:30 pm ena, MT 7 pm Church, Montreal, QC, Canada 12:30 pm Walter D’Arcangelo, with fl ute; Chiesa Jonathan Ryan; Our Lady of Fatima 24 JULY di S. Maria delle Grazie, Varallo, Italy 9 pm Parish, Seattle, WA 7:30 pm 17 JULY Peter Planyavsky; Frauenkirche, Dres- Philip Crozier; Friedenskirche, Pots- den, Germany 8 pm 10 AUGUST 28 JULY dam, Germany 7:30 pm Choir of St. Aidan’s Episcopal, Alpharet- Stephen Tharp; Domkirke Copenhagen, Carol Williams; Spreckels Organ Pavil- Hee-Jung Min; Kathedrale, Dresden, ta, GA; Hereford Cathedral, Hereford, UK Copenhagen, Denmark 12 noon ion, Balboa Park, San Diego, CA 2 pm Germany 8 pm 5:30 pm Jeannine Jordan, with media artist, Kent Tritle; St. Vitus Church, Prague, Tak Chow; St. Michael & All Angels, Bach and Sons; St. Bartholomäus Kirche, 31 JULY Czech Republic 7:30 pm West Croydon, London, UK 1:10 pm Dornheim, Germany 7:30 pm Rosalie Alcoser; First Congregational, Ruaraidh Sutherland; St. Michael & All Philip Scriven; Westminster Cathedral, Richard Pinel; St. Bavo’s Cathedral, Northfi eld, MN 12:15 pm Angels, West Croydon, London, UK 1:10 pm London, UK 7:30 pm Haarlem, Netherlands 3 pm 26 JULY 11 AUGUST ORGAN BUILDERS Jeannine Jordan; Stadtkirche, Witten- Mary Mozelle; St. Paul’s Cathedral, Lon- berg-Lutherstadt, Germany 6 pm don, UK 4:45 pm Silvius von Kessel; St. Wenzel’s Jean-Baptiste Dupont; Westminster L. W. BLACKINTON THE NOACK ORGAN CO., INC. Church, Naumburg, Germany 7:30 pm Abbey, London, UK 5:45 pm and associates, inc. MAIN AND SCHOOL STREETS Philip Crozier; Collégiale de Neuchâtel, GEORGETOWN, MA 01833 www.noackorgan.com Switzerland 6 pm 14 AUGUST 380 FRONT ST. Michel Colin; Chiesa di Santa Maria Laurence Lyndon-Jones; Frauen- EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Vergine Assunta, Viverone, Italy 9 pm kirche, Dresden, Germany 8 pm

27 JULY 16 AUGUST Member Firm: The Associated Pipe Organ Builders of America martin ott pipe Choir of St. Aidan’s Episcopal, Alpharet- Bine Bryndorf; St. Wenzel’s Church, organ ta, GA, Choral Evensong; Dublin National Naumburg, Germany 7:30 pm RANDALL DYER company inc. Cathedral, Dublin, Ireland 5:30 pm & ASSOCIATES, INC. 17 AUGUST

PIPE ORGANS OF QUALITY AND DISTINCTION 7408 Somerset Ave. 28 JULY Per Bonsaksen; St. Bavo’s Cathedral, St. Louis, MO 63105 BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 314-504-0366 Phone Philip Crozier; Eglise Saint-Just, Arbois Haarlem, Netherlands 3 pm Martin Ott [email protected] (Jura), France 6 pm [email protected] ◆ www.rdyerorgans.com Orgelbaumeister www.ottpipeorgan.com Edward Picton-Turberville; St. Paul’s 18 AUGUST Cathedral, London, UK 4:45 pm Ben Chewter; St. Paul’s Cathedral, Lon- Andrzej Chorosinski; Westminster Ab- don, UK 4:45 pm TUNING • MAINTENANCE bey, London, UK 5:45 pm Peter Holder; Westminster Abbey, Lon- REBUILDING • RELEATHERING RELOCATIONS Choir of St. Aidan’s Episcopal, Alpharet- don, UK 5:45 pm UNIQUE CUSTOM ta, GA, Choral Evensong; Dublin National WOOD CREATIONS Cathedral, Dublin, Ireland 3:15 pm 21 AUGUST P.O. BOX 601 Francesco di Lernia; Kreuzkirche, Dres- ANTIOCH, ILLINOIS 60002 30 JULY 847-395-1919 den, Germany 8 pm FAX 847-395-1991 Eugenio Fagiani; Chiesa di S. Antonio, Stephen Tharp; Konstantinbasilika, Tri- www.fabryinc.com Borgosesia, Italy 9 pm er, Germany 8:30 pm Kurt-Ludwig Forg; St. James United Church, Montreal, QC, Canada 12:30 pm 22 AUGUST Stephen Tharp; Altenberger Dom, Alten- 31 JULY berg, Germany 8 pm Thierry Escaich; Kreuzkirche, Dresden, Germany 8 pm 24 AUGUST Eugenio Fagiani; Chiesa di S. Lorenzo, Stephan van der Wijgert, with soprano; Sostegno, Italy 9 pm St. Bavo’s Cathedral, Haarlem, Nether- Stephen Tharp; Santuario di San Fran- lands 3 pm cesco, La Verna, Italy 9:20 pm Jonathan Hope; St. Michael & All An- 25 AUGUST gels, West Croydon, London, UK 1:10 pm Richard Pilliner; St. Paul’s Cathedral, sound INSPIRATION London, UK 4:45 pm 1 AUGUST Paul Derrett; Westminster Abbey, Lon- Acoustical Design & Testing • Organ Consultation & Sergio Paolini; Chiesa di S. Michele Ar- don, UK 5:45 pm Inspection • Organ Maintenance & Tuning • Sound & Video cangelo, Rastiglione, Italy 9 pm System Design, Evaluation & Training 28 AUGUST

www.riedelassociates.com • (414) 771-8966 2 AUGUST Jan Hage; Kathedrale, Dresden, Ger- email: [email protected] Jeannine Jordan; Stadtkirche, Witten- many 8 pm 819 NORTH CASS STREET•MILWAUKEE, WI 53202 berg-Lutherstadt, Germany 6 pm Hansjörg Albrecht; Westminster Cathe- Monica Melcova; St. Wenzel’s Church, dral, London, UK 7:30 pm Naumburg, Germany 7:30 pm Sergio Militello; Chiesa dei SS. Giovan- 30 AUGUST A. David Moore, Inc. _ ni e Giuseppe, Mollia, Italy 9 pm Michael Schönheit, with Baroque trum- Visit The Diapason pet; St. Wenzel’s Church, Naumburg, Ger- TRACKER ORGAN DESIGNERS & BUILDERS 3 AUGUST many 7:30 pm website: Philip Crozier; Vor Frelsers Kirke, Hors- HC 69 Box 6, North Pomfret, Vermont 05053 www.TheDiapason.com ens, Denmark 11 am 31 AUGUST 802/457-3914 Peter King; St. Bavo’s Cathedral, Haar- Mari Mihara; St. Bavo’s Cathedral, Haar- lem, Netherlands 3 pm lem, Netherlands 3 pm

32 Q THE DIAPASON Q JULY 2013 WWW.THEDIAPASON.COM Organ Recitals

JAMES E. “JEB” BARRETT, First Plym- Prelude (Suite pour orgue, op. 5), Durufl é; BWV 654, Kommst du nun, Jesu, vom Himmel St. Andrew Lutheran Church, Mundelein, outh Congregational Church, Greenwood Prelude on a Christmas Carol, Gibbs; Han- herunter, BWV 650, Bach; The Star Spangled IL, December 23: IIme Dimanche de l’Avent, Village, CO, February 26: Präludium und son Place (Five Gospel Preludes), Owens; Banner (Concert Variations), Buck; Sonata Chauvet; Kommt und lasst uns Christum eh- Fuge in C dur, Wer nur den lieben Gott Andante cantabile, Finale (Quatrième Sym- No. 1 in d, op. 42, Guilmant. ren, O Heiland, reiss die Himmel auf, Wie soll lässt walten, Präludium und Fuge in D moll, phonie, op. 14, no. 4), Widor. ich dich empfangen, Pepping; Wie soll ich Böhm; Jesu, meine Freude, W. F. Bach; Prelu- DEREK NICKELS, United Church of dich empfangen, Rübsam. dio con Fuga in A dur, Walther; Prelude and DAVID A. GELL, Trinity Episcopal Hyde Park, Chicago, IL, February 21: Prelude Fugue in E, op. 99, no. 1, Saint-Saëns; Sonata Church, Santa Barbara, CA, December 16: and Fugue in C, op. 109, no. 3, Saint-Saëns; STEPHEN SCHNURR, Lutheran School on the 1st Tone, Lidon; Le coucou, d’Aquin; Trumpet Processional, Fedak; Nun komm, Adagio in E, Bridge; O Lamm Gottes, un- of Theology, Chicago, IL, February 5: Over- Tu es Petra, Mulet. der Heiden Heiland, Sweelinck; Nun komm, schuldig, BWV 656, Bach; Psalm Prelude, op. ture in C, K. 399, Mozart; Sonata VI in D, der Heiden Heiland, Bach; Choral Fantasy 32, no. 1, Howells; Herzlich tut mich verlan- op. 65, no. 6, Mendelssohn; Sweet Sixteenths: JACKSON BORGES, Presbyterian on Nun komm der Heiden Heiland, Pach- gen, op. 122, nos. 9–10, Brahms; Very Slowly A Concert Rag for Organ, Albright; Final Homes, Evanston, IL, February 25: Fiat Lux, elbel; Noël: Vous qui desérez sans fi n, Dan- (Sonatina, H. 279), Sowerby; Toccata, op. 53, (Troisième Symphonie, op. 28), Vierne. Dubois; Lead, Kindly Light, Hamlin; Fanta- drieu; IIIme. Dimanche de l’Avent, Chauvet; no. 6, Vierne. sia and Fugue in c, Bach; Psalm Prelude, Set Noël Basque, Benoit; Five Variations on DAVID SCHRADER, Northern Illi- 2, No. 2, Howells; Suite Gothique, Boëllmann. Antioch, Schaffner; Noël Nouvelet, Wood; ANNETTE RICHARDS, University of nois University, DeKalb, IL, January 20: Silent Night, Holy Night, Hebble; On Christ- Notre Dame, South Bend, IN, February 3: L’Ascension, Messiaen; Chaconne en Trio, CRAIG CRAMER, Sacred Heart Univer- mas Night, Martin; Good Christian Friends, Fantasia and Fugue in c, BWV 537, Bach; Ich Morel; Two Fantasies, Alain; Variations on sity, Fairfi eld, CT, January 26: Toccata and Rejoice!, Sergisson; A Christmas Suite on ruf zu dir, BWV Anh. II 73, Bach, arr. C. P. E. Vom Himmel hoch, da komm’ ich her, Prelude Fugue in E, Krebs; Freu dich sehr, o meine Irby, Gell. Bach; Duetto (Fugue), Princess Anna Amalia and Fugue in e, Bach. Seele, Böhm; Passacaglia et thema fugatum, of Prussia; Toccata in F, BuxWV 156, Buxte- BWV 582, Bach; Introduction, Scherzo und DENNIS JANZER, Episcopal Church of hude; Bergamasca (Missa della Madonna), CAROLYN SHUSTER FOURNIER, Fuge on B-E-A-T-E, Zahnbrecher; Salutation, Bethesda-by-the-Sea, Palm Beach, FL, Feb- Frescobaldi; Madrigal intabulation ‘Ancide- Hospital De Los Venerables, Seville, Spain, Petition, and Acclamation on Salve Regina, ruary 3: Psalm 19, The Heavens Declare the temi pur,’ after Jacques Arcadelt, Variations February 19: Dialogue (Livre III, 1696), Trapp; Sonata No. 1 in f, Mendelssohn. Glory of God, Marcello; Invention in a, Bach; on ‘Fidele’, Mayone; Sonata in g, Wq. 70/6, Marchand; Récit de Tierce en Taille (Glo- Toccata des Cloches (Toccata of the Bells), C. P. E. Bach; Pièce d’Orgue, BWV 572, Bach. ria, Cunctipotens Genitor Deus Mass), De DELBERT DISSELHORST, Collegiate Janzer; Andante Cantabile (String Quartet Grigny; Voluntary and Fugue in A, Selby; United Methodist Church, Ames, IA, Feb- No. 1 in D), Tchaikovsky; Toccata Fluide, By NAOMI ROWLEY, with Lori Meyer, cello, Gavotte, Allegro (Concerto in D), Balbas- ruary 24: Praeludium in C, BuxWV 136, the Waters…, Adagio & Rondeau de Concert Shepherd of the Bay Lutheran Church, Ellison tre; Prélude, Fugue, Variation, op. 18 (Six Buxtehude; Mein junges Leben hat ein End, on a theme by Henry Purcell, Janzer. Bay, WI, February 24: Sketch in f, Schumann; Pieces), Franck; Organ Piece in g, Chauvet; Sweelinck; Ein feste Burg ist unser Gott, Vom When I Survey the Wondrous Cross, Hopson; Grand Chorus in D (alla Handel), op. 18, no. Himmel hoch, da komm ich her, Ich ruf zu SARAH KRAAZ, with Annalisa D’Agosto, Andante sostenuto (Symphonie gothique, op. 1, Guilmant; Postlude pour l’offi ce de com- dir, Herr Jesu Christ, Lobe den Herren, Wal- soprano, Chiesa di S. Benedetto, Pontecag- 70), Widor; Let All Mortal Flesh Keep Silence, plies, Litanies, Alain. cha; Prelude and Fugue in G, BuxWV 541, nano Faiano, Italy, December 16: Ave maris Jerusalem, My Happy Home, Held; Variations Bach; Hymne d’action de Grâce–Te Deum, stella, Cavazzoni; Away in a Manger, Held; on ‘O Sacred Head Now Wounded’, Bédard; STEPHEN THARP, Sacred Heart Cathe- Arabesque sur les fl ûtes (Suite française), Salve Regina, Bellini; In dulci jubilo, J. M. Toccata for Cello and Organ, Frescobaldi, arr. dral, Rochester, NY, February 8: Toccata in Langlais; Andante sostenuto (Symphonie Bach; Pastorale (Concerto Grosso, op. 6, no. Cassadò; March on Handel’s ‘Lift Up Your E, BWV 566, Bach; Prière, op. 20, Franck; Gothique), Widor; Fiesta!, Farrington; Tu es 8), Corelli; Rejoice greatly (Messiah), Handel; Heads’, op. 15, Guilmant. Variations on the Hymn-Tune ‘Rouen’, Baker; petra, Mulet. Trois Nöels, Franck; Et incarnatus est (Mass Mathnavi, op. 50, Falcinelli; Larghetto (Sym- in c), Mozart; Es ist ein Ros’ entsprungen, JEFFREY SCHLEFF, St. Andrew Lu- phonie No. 5, op. 47), Vierne; Straf’ mich JAMES DORROH, Bluff Park United Brahms; Vom Himmel hoch, da komm ich her, theran Church, Mundelein, IL, December nicht in deinem Zorn, op. 40, no. 2, Reger. Methodist Church, Birmingham, AL, Febru- Bach; Cantique de Noël, Adam. 9: Break Forth, O Beauteous Heavenly Light, ary 24: Marche Heroique, Brewer; Herzlich Bach; Savior of the Nations, Come, Walther; MARIJIM THOENE, St. Charles Ave. tut mich verlangen, Es ist ein’ Ros’ entsprun- DEANNA MURO, private residence, Wachet auf, ruft uns die Stimme, Bach; O Presbyterian Church, New Orleans, LA, gen (Eleven Chorale Preludes, op. 122), Sands Point, NY, January 27: Toccata in F, Little Town of Bethlehem, Hobby; Canon February 27: Second Fantaisie, Alain; Three Brahms; Prelude and Fugue in G, BWV 541, BuxWV 157, Buxtehude; Suite for a Musical Meditation—Choral: O komm, o komm Em- Pieces for Organ, Teml; Choral Variations on Bach; Choral in b (Trois Chorals), Franck; Clock, Handel; Schmücke dich, o liebe Seele, manuel, Rübsam. the Theme Veni Creator, Durufl é.

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Visit The Diapason website: Own a piece of history! www.TheDiapason.com The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Apprentice sought to train with and succeed Newtown Requiem by Joe Utterback, dedicated Certifi ed appraisals—Collections of organ Shattinger Music’s new choral music read- Frederick Hohman as primary Producer/Engi- to “the loved ones of Sandy Hook Elementary books, recordings, and music, for divorce, ing clinics take place July 31, with Jerry Estes neer and/or Director of Artists & Repertoire for School” consists of “Balm in Gilead” for bari- estate, gift, and tax purposes. Stephen L. Pinel, covering K–5/elementary and middle school the American CD/DVD label PRO ORGANO. tone, SATB, fl ute, piano; “We Are Not Alone”, a Appraiser. [email protected]; 609/448-8427. works, and August 10, with Kevin McBeth cover- Applicant must display strong aptitude for acquir- gospel setting for tenor, choir ensemble, piano, ing adult church choir repertoire. Contact: info@ ing modern skills in audio and video media and possible guitar; “Requiem Aeternam” for shattingermusic.com. In the Organ Lofts of Paris—A new edition of production and must possess a base level of soprano, alto, SATB, fl ute, piano; and “Dona Eis Frederic B. Stiven’s 1923 Parisian study is avail- knowledge and some practical experience in Pacem” for young soprano and fl ute. Sample able, edited and annotated by Rollin Smith. Stiven sacred music, with a focus on classical organ pages may be viewed on http://www.jazzmuze. Pro Organo presents Eric Plutz on a new graduated from the Oberlin Conservatory in 1907 and choral literature. Applicant must be willing to com/catalog_newtown.html. Price for two bound recording, French Trilogy (Pro Organo CD and subsequently served on the faculty. From commit to a seven-year apprentice program, the copies and fl at sheets for local duplication is $50 7255). Recorded on the Aeolian-Skinner Opus 1909–11 he studied with Alexandre Guilmant successful completion of which shall culminate + $6 postage (+NJ sales tax if applicable) from 1257 organ at Winthrop University, Rock Hill, in Paris and each Sunday he visited important with the eventual assumption of label operations South Carolina, the program includes Pierné, Jazzmuze, Inc., 80 Rumson Place, Little Silver, churches. Stiven writes charming pen-portraits of in year 2020. Preference given to applicants Trois Pièces; Saint-Saëns, Three Preludes and NJ 07739. Phone orders accepted: 732/747-5227 his visits with Widor, Vierne, Gigout, and Bonnet, who are U.S. residents of 30 years of age and Fugues, op. 99; and Vierne, Deuxième Sym- Questions? [email protected]. and describes encounters with other organists, younger as of July, 2013. Those interested are phonie, op. 20. www.proorgano.com. as well as singing in the choir of the Paris Bach invited to send an introductory cover letter by Society and in a chorus directed by Charles Tour- mail or FAX (574/271-9191)—no telephone or Raven, providing organ recordings since 1978, nemire. Stiven’s original text is illuminated with Internet inquiries, please—detailing reasons and offers one hundred CDs and videos at RavenCD. PIPE ORGANS FOR SALE 68 illustrations and copious annotations by Rollin motivation for pursuing this vocation, along with a com. Titles include the 5-disc DVD/CD set about Smith. Includes Stiven’s articles written for The brief c.v., including contact information, to: Zarex Cavaillé-Coll, the acclaimed Bach Art of Fugue Seeburg Combo Player Organ/Piano— Etude magazine: “Systematized Instruction in Corp, F. Hohman, P.O. Box 8338, South Bend IN DVD/CD set with George Ritchie, Ritchie’s 11-CD Stopped Flute and Quintadena with octave Organ Playing” and “The Last Days of Guilmant,” 46660-8338 USA. set of the complete organ works of Bach, and coupler, and tremolo. Blower and vacuum pump and stoplists of all organs mentioned in the text. recent CDs recorded by Jeremy Filsell (National Hardbound; 184 pages. $24.95; OHS member included. Casework excellent. Piano works OK. Cathedral), Scott Montgomery (new 90-rank price, $19.95. www.ohscatalog.org. All components intact. Some refurbishment for PUBLICATIONS / RECORDINGS Reuter), Jonathan Ryan (new Parkey 3m organ, action pneumatics suggested. Asking $700. Tom Shreveport Cathedral), Barbara Raedeke (new Rench, Wisconsin; 262/639-3473. Marching along with Verdi and Nessler—I Juget-Sinclair organ, St. Louis), Jack Mitch- Historic Organs of Southeastern Massachu- have recently restored Lemare’s transcription of ener, Adam Brakel, Maxine Thévenot, Harry setts—New! The long-awaited OHS Convention the March from Aida and Barrett’s transcription Huff, Christina Harmon, Carla Edwards, Damin recording is fi nally here! This diverse 4-CD col- 1986 Delaware Organ Company—7 extended of Nessler’s Wedding March. One is known by all Spritzer, Andrus Madsen, Jonathan Dimmock, lection features stellar performances by 37 dif- unit ranks. Fits under 7′ ceiling. Ideal for home and the other is unknown. PDF downloads avail- James Hammann, Ken Cowan, Daniel Sullivan, ferent organists, including Brian Jones, Thomas or small church. $23,000. For pictures and a able. michaelsmusicservice.com; 704/567-1066. John Brock, many more. www.RavenCD.com. Murray, Peter Sykes, and Barbara Owen. More specifi cation contact [email protected] (not than just a memento of the convention, this is Comcast) or call 215/353-0286. an important documentation of many historic Hymn Tunes from the British Isles, Settings The OHS Catalog is online at www.ohscatalog. organs that have never before been recorded, for Organ, Volume 2: Invention on Aberystwyth; org. More than 5,000 organ and theatre organ featuring instruments by Beach, Erben, Hook, Expressive and compact—3/27 Kilgen (1940). Postlude on Bunessan; 3 Canons and a Lilt on CDs, books, sheet music, DVDs and VHS videos Hutchings, Jardine, Johnson, and Skinner. Be Two expressive divisions. 17 manual 8-foot fl ues. Danby; Fantasy on Down Ampney [also avail- are listed for browsing and easy ordering. Use a among the fi rst to own this treasury! The booklet Reeds include Tuba, Cornopean, Oboe, Clarinet, able as a single issue]; Paraphrase on God link for adding your address to the OHS Cata- offers detailed information about all performers, Vox Humana. Harp. 16′ Open Wood. H: 237″, W: Rest You Merry; Chorale Prelude on Llangloffan; log mailing list. Organ Historical Society, Box organs and composers. Click the link above to 170″, D: 189″. Stopkey console. Original restor- Prelude on Slane. Visit www.frumuspub.net for 26811, Richmond, VA 23261. E-mail: catalog@ see track information and how to order. Regular able condition. $30,000. Organ Clearing House, complete listings. organsociety.org. Price: $34.95, member Price: $31.95. 617/688-9290, [email protected].

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Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, For advertising information contact: contact editor Jerome Butera, The Diapason 847/391-1045 847/391-1045 voice [email protected]

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1869 E. & G.G. Hook organ—Measures 14 1928 Casavant pipe organ, completely restored Console for sale: Famous, enormous, quality Aeolian/Robert Morton-style maroon ft. wide, 10 ft. deep (with pedal), and 20 ft. tall. with fi ve new stops by Létourneau in 1987. Two 5-manual built by M.P. Moller (1990) as a sec- leather is now available from Columbia Organ Mechanical action; Great, Swell, Pedal divisions, manuals and pedals, 24 ranks. Organ is in excel- ond console for the Crystal Cathedral; limited Leathers! Highest quality. 800/423-7003, two combination pedals, 15 ranks; available lent condition and is a good candidate for solid- use over the years; good condition; not needed www.columbiaorgan.com. immediately. $95,000, negotiable. Please contact state conversion. Asking $65,000 “as is” or can be by new owners in the total renovation of the Cathedral and the organ. Available immedi- Stephen Tappe at Saint John’s Cathedral in Den- rebuilt with modifi cations. For more information, ately; asking $40,000. Photos/full details from Highest quality organ control systems since ver for more information: [email protected]. contact Létourneau Pipe Organs at mail@letour- neauorgans.com or 888/774-5105. [email protected] 1989. Whether just a pipe relay, combination action or complete control system, all parts are compat- ible. Intelligent design, competitive pricing, custom 1978 Reuter pipe organ, 15 stops in excellent 1938 Kimball studio/practice organ, 4 ranks, SERVICES / SUPPLIES software to meet all of your requirements. For condition tonally and great working condition. 21 stops, excellent condition, 91″ H, 85″ W, more information call Westacott Organ Systems, For specifi cations or more information, visit 56″ D (+pedalboard). Organ Clearing House, 215/353-0286, or e-mail [email protected]. www.milnarorgan.com. 617/688-9290, [email protected]. Need help with your re-leathering project? All pneumatics including Austin. Over 45 Releathering all types of pipe organ actions Tracker organ built by the French organ builder MISCELLANEOUS FOR SALE years experience (on the job assistance and mechanisms. Highest quality materi- Haerpfer (1983), 2 keyboards and pedalboard. 6 available). 615/274-6400. als and workmanship. Reasonable rates. stops. Located in province of Quebec. Contact: Columbia Organ Leathers 800/423-7003. www.expressif.org. Have a Rodgers 925 and need pipes? We have eight great sets of Laukhuff pipes, windchests, a www.columbiaorgan.com/col. blower, etc. For more information please see our ATTENTION ORGANISTS! Does your 1959 Moller Artiste #9458: 3 ranks, detached website: www.milnarorgan.com. busy schedule leave you with little time ANNOUNCEMENTS rocker tab console, walnut case, electric to pursue a fi tness routine? We have the switches, good playable condition; $5,000 Wood pipes. Missing pipes made to match. answer! Our combination Stairmaster/ Eighth International Academy Dom Bedos– OBO. Steve Beddia 609/432-7876; acorgan@ Damaged pipes in any condition repaired. Over bellows operator lets you have a handy Merklin takes place September 7–11 in Sainte- comcast.net. 25 years experience. Filip Cerny, 814/342-0975. exercise tool available, and also can be Croix and Saint-Michel, Bordeaux, France. The used to wind your pipe organ—saving academy program, dealing with de Grigny’s Livre your hide should the power go out. Each d’orgue and symphonic organ works, will be led 1986 Rudolf von Beckerath, 2/15 (20 ranks) 162″ Consoles, pipes and numerous miscellaneous step on the Stairmaster compresses the by François Espinasse, on the Dom Bedos and H, 146″ W, 114″ D. $150,000, Organ Clearing House, parts. Let us know what you are looking for. bellows and helps tighten the hips and Merklin organs in Bordeaux. For information: 617/688-9290, [email protected]. E-mail [email protected] (not comcast), thighs of fl abby bellows operators. Invite www.renaissance-orgue.fr. phone 215/353-0286 or 215/788-3423. an organist friend over and take turns exercising while the other gets in some Wicks organ, 2 manuals, 4 ranks, ca. 1990. Postal regulations require that mail to The ′ ′ ′ needed practice. Rediscover the fi tness 16 Rohrfl ute 97 pipes, 8 Principal 85 pipes, 4 Quality pipework—Buy one rank, get one Diapason include a suite number to assure ′ ′: ′: secret our organ-playing ancestors knew Gemshorn 73 pipes, 8 Trumpet 61 pipes. Excel- free. 16 Bombarde, Bourdon. 8 Doppelfl öte, delivery. Please send all correspondence so well! Box Bellows-Con, The Diapason, lent condition. Oak casework and console. Lauck Vox Humana, Aeoline, Cornopean, Angelica to: The Diapason, 3030 W. Salt Creek Lane, Pipe Organ Co. 269/694/4500; e-mail: k.reed. Celestes. 4′: Hohlfl öte, Flûte D’amour, III Cornet. [email protected]. Suite 201, Arlington Heights, IL 60005. [email protected]. Morel Co.; 303/671-6708.

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