THE DIAPASON JANUARY 2014

St. Bridget Catholic Church Richmond, Virginia Cover feature on pages 28–30 CONCERTARTISTS.COM 72:(5+,//5(&25',1*6&20 HPDLO#FRQFHUWDUWLVWVFRP WROOIUHH -HDQ%DSWLVWH5RELQ 'DYLG%DVNH\¿HOG ,VDEHOOH'HPHUV &DUROH7HUU\ David Hurd Huw Lewis ae ai hitePtrRcadCneLynne Davis RichardConte Peter James DavidChristie OYUVLO6LK-UPLVO &KULVWRSKHU+RXOLKDQ -HUHP\)LOVHOO &OLYH'ULVNLOO6PLWK Bruce Neswick Organized Rhythm Organized Bruce Neswick UGHHF 7KH&KHQDXOWV %UDGOH\:HOFK DO-FE 6LPRQ7KRPDV-DFREV 3DXO-DFREV John Rose HMPQ6HQ+HUQGRQ6SLOOPDQ %HQMDPLQ6KHHQ 5D~O3ULHWR5DPtUH] Duo MusArt Martin Jean THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fifth Year: No. 1, In this issue Whole No. 1250 By the time you read this, the Christmas organ tunings and JANUARY 2014 maintenance will have been completed, and the music for Established in 1909 services and concerts a glorious, joyful memory. We at The Joyce Robinson ISSN 0012-2378 Diapason wish you not only a wonderful new year but also 847/391-1044; [email protected] some rest and relaxation following your most worthy labors. www.TheDiapason.com An International Monthly Devoted to the Organ, On a sad note, we report the passing of Massimo Nosetti and the Harpsichord, Carillon, and Church Music Marianne Webb, organists, and Hellmuth Wolff, organbuilder. John Bishop devotes his column “In the wind . . .” to money, All have left us far too soon, and we are planning for tribute fea- namely, funding for the arts. (As was said in the movie The CONTENTS ture articles to their memories in future issues of The Diapason. Right Stuff: “Funding makes this bird go up . . . No bucks, no FEATURES Among the offerings in this issue, Cliff Varnon reports on Buck Rogers.”) He explores the nature of the large sums of British and French Organ Music Seminars the British Organ Music Seminar held this past July in London, money necessary to produce works of art and music (including 2013 Cambridge, and Peterborough, and Helen VanAbbema Rodg- our own instrument, which can have a cost of seven fi gures), by Cliff Varnon and Helen VanAbbema Rodgers 20 ers covers its French counterpart, which visited Paris, Lyon, along with the human nature—not always noble—that keeps and Chambéry. Andrew Forrest explains the history of the company with wealth. Gavin Black offers part sixteen of his The organ at St. James United Church, Montréal organ at St. James United Church in Montreal, from its origins organ method, this month discussing techniques for fi nger The genealogy of a restored instrument in 1889 to its current restored condition; the changes over the changing and substitution. by Andrew Forrest 22 years are clearly observable in the stoplists. Scottish Chamber Organ An increasing number of pipe organ projects these days In preparation The resurrection of a John Renton organ are not creations of brand-new instruments, but instead res- In the coming months, we will be publishing features on by Thomas R. Thomas 27 torations or reworkings of older organs. Thomas R. Thomas Indiana University’s recent organ conference and inaugural of NEWS & DEPARTMENTS describes the journey of a nineteenth-century Scottish C. B. Fisk opus 91, and on issues in pipe organ restoration, Editor’s Notebook 3 chamber organ, originally by John Renton of Edinburgh. And along with various projects. Here & There 3 our “New Organs” feature describes Marceau Pipe Organs’ Appointments 6 opus XXVIII, which is based on M. P. Möller’s opus 7821. Social life Nunc Dimittis 10 But new pipe organs do continue to be made. This month’s Social media is here to stay, and will become part of com- In the wind . . . by John Bishop 16 cover feature is John-Paul Buzard Pipe Organ Builders’ new munication in many facets of life. The Diapason is no excep- On Teaching by Gavin Black 18 three-manual instrument for St. Bridget Catholic Church in tion—we now have a Facebook page. We invite you to visit and REVIEWS Richmond, Virginia. to “Like” us on Facebook. Q Music for Voices and Organ 12 Book Reviews 12 New Recordings 13 Here & There New Organ Music 15 New Handbell Music 15 Events NEW ORGANS 30 Emmanuel Church, Chestertown, CALENDAR 31 Maryland, continues its music series: January 5, Twelfth Night Evensong; 1/17, ORGAN RECITALS 34 Timothy Robson; March 14, Thomas CLASSIFIED ADVERTISING 36 Sheehan; April 11, Bruce Stevens; May 2013 in Review—An Index 38 16, Ken Cowan; 5/29, Ascension Even- song. For information: www.emmanuelchesterparish.org.

St. Agnes Church, New York, New York, continues its organ recital series, every second Saturday of the month at 4:30 p.m.: January 11, Janet Yieh; Feb- ruary 8, David Hughes; March 8, Jared Lamenzo; May 10, David Ball; June Richie Gress, David Wold, Ray Cornils, Eric Bermani, and Bruce Amadi 14, James D. Wetzel. For information: stagneschurchnyc.org/music. The Young Organist Collaborative of Portsmouth, New Hampshire, presented a COVER faculty recital on November 3 on the Létourneau opus 75 organ at St. John’s Episcopal John-Paul Buzard Pipe Organ Builders, St. Lawrence Church, Alton, Church. Richie Gress, the 16-year-old winner of the Penn Brown Organ Scholarship, Champaign, Illinois; St. Bridget Catholic Hampshire, U.K., presents its 47th year opened the program with Bach’s Prelude and Fugue in G major (BWV 541). Faculty Church, Richmond, Virginia 28 of organ concerts on Tuesdays at 8 p.m.: members performed works of Bédard, Walther, J.S. Bach, Durufl é, and others. January 14, Clive Driskill-Smith; Febru- The Young Organist Collaborative, a program that was seeded by the New Hamp- Editorial Director JOYCE ROBINSON ary 11, Richard Pearce; March 11, Carol shire Episcopal Diocese in 2001, aims to “invest in the next generation of organists,” [email protected] Williams; April 8, Sarah MacDonald; supporting young people in study of the pipe organ. The YOC has to date supported 847/391-1044 May 6, Alex Palotai. For information: over 90 students, several of whom have gone on to study organ at prestigious univer- Editor-at-Large STEPHEN SCHNURR Tony Willman, 01420 543628; tony.will- sity music programs. [email protected] [email protected]. 219/531-0922

Sales Director JEROME BUTERA The National Association of Pas- July 2, a student from Eton College. Hofstra University Chorale; May 4, [email protected] toral Musicians continues “Music There will also be a celebrity recital May DPC Festival Choir and Orchestra, 608/634-6253 in Celebrating the Mass,” its webinar 15, featuring Paul Hale. The Concert Hall scenes from Haydn’s Creation. For Designer DAN SOLTIS series, on January 16, March 20, May 1 houses a “Father” Willis organ built in information: http://dtownpc.org. and 29. For information: www.npm.org/ 1863. It was restored in 1999 by Harrison Associate Editor LYNNE FORT Membership/webinar.htm. & Harrison. For information: 0118 960 Presbyterian Homes, Evanston, Contributing Editors LARRY PALMER 6060; www.berkshireorganists.org.uk. Illinois, continues its organ recitals Harpsichord The Philadelphia Singers continues in Elliott Chapel: January 27, Andrea their 2013–2014 season: January 19, First Church of Christ, Wethers- Handley; February 24, Brett Zumsteg; JAMES MCCRAY Choral Music Randall Thompson, Requiem, at the fi eld, Connecticut, continues its 2013–14 March 31, Christine Kraemer; April 28, Church of the Holy Trinity; May 18, concert series: January 26, Super Bell Stephen Schnurr; May 19, James Hicks; BRIAN SWAGER Mozart, Vesperae solennes de Confes- XXII; February 23, concert of spirituals; June 23, Christopher Urban. For infor- Carillon sore, and Schubert, Mass in A-fl at, at the March 23, Showcase for Youth; April 13, mation: www.presbyterianhomes.org. JOHN BISHOP Cathedral Basilica in Philadelphia. For Palm Sunday concert; June 8, ASOF win- In the wind . . . information: 215/751-9494; ners’ concert. For information: 860/529- The Cathedral of the Holy Angels, www.philadelphiasingers.org. 1575 x209; www.fi rstchurch.org. Gary, Indiana, continues its twenty-fi rst GAVIN BLACK On Teaching season of the Cathedral Arts Concert The Concert Hall in Reading, U.K., Doylestown Presbyterian Church, Series: January 27, Donald VerKui- Reviewers David Palmer continues its series of lunchtime recitals: Doylestown, Pennsylvania, continues len at St. Mary of the Lake Catholic James M. Reed January 22, Eleni Keventsidou; March 5, its music series: January 26, Impulse Church; April 27, Stephen Schnurr John Collins Chris Bragg; April 30, Richard Brasier; Handbell Ensemble; March 16, 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 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2014. 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 JANUARY 2014 Q 3 Here & There

³ page 3 full season at the Kennedy Center: at the cathedral (celebrating the 50th February 5, Paul Jacobs; May 21, Iveta anniversary of Casavant opus 2769). For Apkalna. Additional performances will information: Br. Ben Basile, bbasile@ be announced later. For information: ccsj.edu, 877/700-9100, ext. 280. www.kennedy-center.org.

St. Mary’s Episcopal Cathedral, The Cathedral Basilica of St. Memphis, Tennessee, continues its Louis, St. Louis, Missouri, continues its 2013–14 concert series: January 31, concert series: February 8, Cantus; 2/23, Luther College Nordic Choir; March 21, Organ and Brass Spectacular; March 15, Paul Jacobs performs for the Tennessee Stile Antico; April 8, St. Louis Symphony AGO centennial celebration. For infor- and Chorus; May 2, The Alleluia Ring- mation: 901/527-6123, ers. For information: “Viva Italia!” program at the Cathedral of St. Michael the Archangel [email protected], www.CathedralConcerts.org. www.stmarysmemphis.org. On October 19 the Cathedral of St. Michael the Archangel in Springfi eld, VocalEssence continues its 45th con- Massachusetts, opened its music season with “Viva Italia!,” a festival of Italian choral The Cathedral Church of the cert season: February 9, Witness: Stomp and instrumental music with the Cathedral Choir of Boys and Adults, strings, trum- Advent, Birmingham, Alabama, contin- & Sing; March 21 and 23, John Rutter pet, and oboe. The program featured Vivaldi’s Concerto for four violins, Concerto ues its music series: January 31, Monte- Jubilee; April 27, Tchaikovsky for Voices; for oboe and strings RV 450, and the Gloria in D; Pergolesi’s Magnifi cat in B-fl at; vallo Early Music Ensemble; February 2, May 20, ¡Cantaré! Community Concert. and trumpet sonatas by Domenico Gabrieli. The program was directed by Ladislaw Charles Kennedy; 2/28, Leon W. Couch, For information: www.vocalessence.org. Pfeifer, who also played the harpsichord for the event. III; April 6, Georgia Tech Chamber Choir; 4/13, Frederick Teardo, Dupré, Trinity Episcopal Church, Santa Le Chemin de la Croix; May 2, Leslie Barbara, California, continues its music C. S. Teardo; 5/18, Cathedral Choir. For series, Sundays at 3:30 p.m.: February information: adventbirmingham.org. 9, fl utes and piano; March 23, J. S. Bach Birthday Bash Concert; April 27, Kirkin’ The University of Texas at Austin o’ Tartans; May 11, Young Artists in Con- will host Martin Schmeding in a recital cert; June 15, Musical Fireworks; August on Sunday, February 2, at 4 p.m. in Bates 2, Old Spanish Days Fiesta Concert. For Recital Hall on the Visser-Rowland information: www.trinitysb.org. organ. Schmeding will also lead master- classes at the university. For information: Campbellsville University, Camp- www.music.utexas.edu. bellsville, Kentucky, continues its noon organ recitals on the 1894 Farrand and St. Mark’s Cathedral, Seattle, con- Votey pipe organ in Ransdell Chapel, tinues its music series: February 2, John and the 1875 Pomplitz organ in Our Jonathan Biggers (right) at Southern Illinois University Stuntebeck, with Brian Fairbanks, fl ute; Lady of Perpetual Help Catholic March 7, Alan De Puy; 3/23, Clint Kraus, Church: February 11, Schuyler Rob- Jonathan Biggers performed as part of the Marianne Webb and David N. Bate- with Linda Strandberg, soprano; May 23, inson; March 18, Jan-Piet Knijff; April man Distinguished Organ Recital Series on September 20, 2013, in Shryock Audito- Jonathan Dimmock, all-Bach program. 8, Wesley Roberts with Campbellsville rium at Southern Illinois University at Carbondale. Pictured, left to right, are Lynn For information: www.saintmarks.org. University faculty. For information: Trapp (principal artistic director), Frank Grzych (Director, School of Music), Gail www.campbellsville.edu. White (artistic director board), Kimberly Kempf-Leonard (Dean, College of Liberal The Church of St. Louis, King of Arts), and Jonathan Biggers. France, St. Paul, Minnesota, continues its organ recitals, Tuesdays at 12:35 pm: February 4, Margaret Burk; 2/11, Chris- The festival included performances of topher Wallace; 2/18, Russell Draeger; chamber, orchestral, and instrumental 2/25, Dean Billmeyer; March 11, Caro- works by the composer, including the lyn Diamond; 3/18, Christopher Ganza; organ works Harmonies performed by 3/25, Anna Myeong; April 8, Gregory FSU student Michael Sharp, and Volu- Mark Peterson; 4/29, Brian Carson; May mina, performed by Dr. Iain Quinn. 6, Mark Sedio; 5/13, David Saunders; 5/20, Jeffrey Jamieson. For information: The fi nal event in the Thirteenth www.stlouiskingoffrance.org. National Organ-playing Competi- tion sponsored by the Ruth and Clar- Camp Hill Presbyterian Church, Michael Sharp and Iain Quinn at Ligeti ence Mader Memorial Scholarship Fund Camp Hill, Pennsylvania, continues its symposium was held on November 9, 2013, at the music series: February 5, Beth and Ron Claremont United Church of Christ, Sider; March 5, David Binkley; April 2, Florida State University hosted a Claremont, California. The competi- Mader Scholarship winners: Weicheng Eric Riley. For information: Ligeti Symposium and Festival October tion was open to organists under age 35 Zhao, second place; Jaebon Hwang, www.thechcpc.org. 10–12, 2013, in celebration of the nine- who are residents of the United States. third place; Adam Pajan, fi rst place. tieth year since the composer’s birth. In Three fi nalists had been selected from Four prizes were awarded: $6,000 The John F. Kennedy Center for attendance were Ligeti scholars from recorded performances submitted by (fi rst prize), $4,000 (second prize), $2,000 the Performing Arts, Washington, around the world including Ligeti biog- 18 contestants. In both preliminary and (third prize), supplied by the Mader D.C., continues programs for the new rapher Richard Steinitz, the composer’s fi nal events the repertoire was unre- Fund, and $1,500 (audience prize), Rubenstein Family Organ (Casavant long-time assistant Louise Duchesneau, stricted, except for one required work: given by Craig and Jennifer Zobelein. Frères, Opus 3899, 85 ranks) in its fi rst and the composer’s son Lukas Ligeti. Fanfare Prelude by Clarence Mader. ³ page 6

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4 Q THE DIAPASON Q JANUARY 2014 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 Cincinnati, Ohio 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 Appointments Paul Jacobs has been appointed to ³ page 4 lead the Organ Institute at the Oregon First prize was awarded to Adam Pajan, Bach Festival. The newly created a DMA candidate at the University of institute, scheduled for June 30–July Oklahoma American Organ Institute. 5, 2014, will be devoted exclusely to He studies with John Schwandt and is the performance and study of the both a Graduate College Research Fel- organ, which fi gured prominently in low and Graduate Assistant. Winner Bach’s compositions and performance. of both second prize and the audience Attendees (both performers selected prize is Weicheng Zhao, who is currently through recorded audition, and non- enrolled in the Master of Music program performing auditors) will participate in at the University of Southern California specialized seminars, perform in daily Paul Jacobs Thornton School of Music, where he masterclasses under the direction of studies organ with Cherry Rhodes. Third Paul Jacobs and the festival’s Artistic Director, Matthew Halls, and present a prize was awarded to Jaebon Hwang, who fi nal public recital. The Oregon Bach Festival, founded in 1970 by Helmuth is pursuing the Graduate Certifi cate in Rilling and Royce Saltzman, is based in Eugene, Oregon; it presents three Organ Performance at the University of weeks of choral, orchestra, solo, and chamber works, along with social events Southern California Thornton School and educational programs. Paul Jacobs, chair of the organ department at the of Music; she studies organ with Ladd Juilliard School, performed at the Oregon Bach Festival in 2013, after which Thomas. All three fi nalists hold positions the creation of the Organ Institute began. The winner of a Grammy Award, as church musicians. The instrument Jacobs is currently recording a new album with soprano Christine Brewer. Q used for the fi nal competition was Glatter- Kent S. Dennis Götz/Rosales Opus 2 (1998). Kimberly Marshall, Dorothy Young Riess, and The Kent S. Dennis Memorial 1986. For 47 years, he served as organ- Assurance, a set of nine recessionals, James Vail served as competition judges. Scholarship Fund has been established ist for Memorial Presbyterian Church in trumpet tunes, and celebratory settings The Ruth and Clarence Mader Memo- through the Midland Area Community Midland; he was named organist emeritus of familiar hymns. Within the past year rial Scholarship Fund was founded in Foundation (MACF), for students seek- in 2003. According to Nicholas Schmelter, Zimbel Press has released Ashdown’s 1971 to honor the memory of two out- ing to begin or further their keyboard minister of music at Saginaw’s First Sonata da Chiesa, Ancient Dances: Four standing Southern California musicians education. The fund will provide com- Congregational Church, the scholarship Pieces for Organ, and Sonata da Chiesa whose high ideals and vision were an petitive scholarships to students resid- existed for several decades before being #2, premiered September 17 by Carson inspiration to their many friends, stu- ing in the area served by the Saginaw designated in memory of Kent S. Dennis. Cooman at Harvard. New choral music dents, and colleagues. Frances Nobert Valley Chapter of the American Guild of Original seed money was generated by includes Winds through the Olive Trees is president of the organization. In addi- Organists, or to students studying with a members of the Saginaw Valley Chapter (GIA), Spirit Divine, Attend Our Prayers tion to organ-playing competitions, the teacher who is a member of the Saginaw of the American Guild of Organists. (OCP), My Song Is Love Unknown Mader Fund has sponsored new organ Valley Chapter. The scholarship is open to keyboard (Paraclete), and Creator Spirit by Whose compositions and research projects Dr. Kent S. Dennis was a senior students enrolled in high school or col- Aid (Augsburg Fortress). related to the organ. research associate at the Dow Chemical lege, as well as adult students. Applica- —Orpha Ochse Company for 32 years before retiring in tions will be accepted in February. If selected, a portion of the application process will include a live audition. For information: 989/839-9661, or www.midlandfoundation.org. People

Dean Billmeyer with the Oehme organ in Brand-Erbisdorf, Saxony

Dean Billmeyer, professor of organ and harpsichord at the University of Minnesota, gave two concert tours of Germany and Austria this past fall, per- forming in Bavaria (Füssen and Pfronten) and at the Martin-Luther Kirche in Linz International Organ Competition award winners (left to right): Jean-Charles Robin- in September. On the fi rst weekend of Gandrille; Keiko Nakata; David Cassan; David Maw November, he gave recitals in Saxony in Franklin Ashdown Brand-Erbisdorf and in Cämmerswalde, The Academie André Marchal announces the results of the 2013 International performing works of Muffat, Böhm, Jean- Organ Competition, which took place October 22–26, 2014, in Biarritz, France. Franklin D. Ashdown announces Antoine Blanc, and J. S. Bach, on organs In improvisation, David Cassan and David Maw tied for the grand prize; second the release of new solo organ and choral built by the Gottfried Silbermann pupil prize was awarded to Jean-Charles Robin-Gandrille. In interpretation, Keiko Nakata works. Two collections published by Adam Gottfried Oehme. Billmeyer’s received the Grand Prize and the Giuseppe Englert Memorial Prize. David Cassan Augsburg Fortress are Bright and Guid- concerts were, in part, preparation for was awarded prizes for best interpretation of a French piece, best Wagner transcrip- ing Star, nine compositions for Epiphany, an international Master Course he will tion, best improvisation on a Basque theme, and public favorite prizes for both both free-style and hymn tune-based, hold July 14–18, 2014, together with the improvisation and interpretation. and Postludes on Hymns of Faith and ³ page 8 Celebrate the Legacy

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6 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM

Here & There

³ page 6 School in Canterbury, and also serves as Freiberg Cathedral organist Albrecht musical director of the Canterbury Sing- Koch. Organized in cooperation with the ers. For information: Gottfried Silbermann Society, the course www.regentrecords.com. will give organists opportunity to study both the great Silbermann organ in Frei- berg Cathedral as well as instruments of Oehme and Zacharias Hildebrandt. For information: www.silbermann.org or con- tact Prof. Billmeyer at [email protected].

Leon Nelson

Leon Nelson has recently had two Luis E. Arreaga, Doug Cleveland, Hörður Áskelsson pieces for organ, “Aria,” and “Trumpet Flourish,” published in The Essential Col- Doug Cleveland opened the 2013 International Summer Festival of the Arts in lection for the Church Organist II, 50 Set- Reykjavik, Iceland on August 18, 2013, with a solo organ recital on the Klais organ in tings for the Church Year. Compiled and Blaise Carson and Sylvia Marcinko Chai the Hallgrímskirkja. The concert was sponsored by the American Embassy and was edited by Jane Holstein, the collection is broadcast live on the Scandinavian Radio Network. At the festival, Cleveland joined available from Hope Publishing Company, Blaise Carson won the SMA Inter- Chicago-based trumpet virtuoso Stephen Burns on August 22 in a trumpet and organ Carol Stream, Illinois. Other contributors national Scholarship for Organ Study recital, which included two European premieres: Blue Green Red (2013) by Julian to the collection include Charles Callahan, recently. Two years ago the Tampa Chap- Wachner of Trinity Wall Street, and Elegy for Mundy (2013) by Chicago composer Donald Hustad, Hal H. Hopson, Joel ter AGO awarded her the second half of James Stephenson. Pictured are Luis E. Arreaga, the American Ambassador to Ice- Raney, Gordon Young, and others. their Margaret McAlister Scholarship for land, Doug Cleveland, and Hörður Áskelsson, organist of the Hallgrímskirkja. Doug Organ Study. Blaise is shown here with Cleveland is represented in North America by Karen McFarlane Artists. her teacher, Sylvia Marcinko Chai.

Other works on the program included O Festive Day, Trumpets of Light, Sonata da Chiesa, Anthem: The Lone Wild Bird, Ayre for the Dance, In Mystery and Wonder, and Phoenix Processional. The show is available for listening at the Pipedreams website: http://pipedreams. publicradio.org/listings/2013/1339/. Locklair’s Glory and Peace was per- formed by organist Thomas Murray on October 30 at the Cathedral of St. John the Divine in Manhattan. Commissioned by the Anglican Musicians Foundation, the Los Angeles Conference Commit- tee, and the Los Angeles AGO chapter for the 2009 Conference of the Asso- Jeannine and David Jordan ciation of Anglican Musicians, the work Anthony Newman refl ected the theme of the conference, Organist Jeannine Jordan and media “Seven whole days, not one in seven, I Anthony Newman completed three artist David Jordan presented their will praise Thee,” from George Herbert’s major projects in 2013. Earlier this organ and multi-media event, Bach and 17th-century poem King of Glory, King year, 903 Records released Newman’s Sons, at the Region VIII AGO Conven- Dan Locklair of Peace. Glory and Peace is published Complete Collected Organ Works of tion at St. John’s Lutheran Church in by Subito Music Publishing. For infor- JS Bach, a 9-CD set, and Complete Salem, Oregon. In October the Jordans The organ music of Dan Locklair mation: www.locklair.com. Collected Harpsichord Works of JS presented a performance of Bach and was the focus of American Public Bach, a 10-CD set, both available at Sons to open the 2013–2014 Music on Media’s Pipedreams radio program the David Newsholme is featured on CDBaby.com. Complete Original Works Market Series at Wooster United Meth- week of September 30. The two-hour a new recording on the Regent label of Anthony Newman has been released odist Church, Wooster, Ohio. The Jordans “Unlocking Locklair” program, hosted (REGCD407), Howells from Salisbury. by 903 Records, available at Amazon. also gave their organ and multi-media by Michael Barone, presented seven of Recorded on the Salisbury Cathedral com. Anthony Newman’s compositions presentation From Sea to Shining Sea, the composer’s major works, including organ, the program includes Flourish range from solo works for piano, organ, telling the story of the organ in America, the fi rst national broadcast of his Con- for a Bidding, St. Louis comes to Clif- harpsichord, and fl ute, to smaller cham- on October 27 at Hyde Park Community certo for Organ and Orchestra (2010), ton, Intrata no. 2, four Rhapsodies, and ber duets, trios, and quartets, to works United Methodist Church in Cincinnati. performed by the Eastern Festival Sonata no. 2. David Newsholme is cur- for chamber orchestra, to choral works, For information: www.bachandsons.com Orchestra, Gerard Schwarz, conductor, rently assistant organist at Canterbury operas, and works for full orchestra. and www.fromseatoshiningsea.net. with soloist Susan Bates. Cathedral and organist of the King’s ³ page 10

A. E. Schlueter Pipe Organ Company is pleased to announce the contract to build a new 50-rank pipe organ for Iglesia ni Cristo, Central Temple, in Quezon City, Philippines. The resources of this instrument will be controllable from a IV-manual drawknob console. Several divisions of the organ will have chamber openings into side chapels which can be closed off from the main Temple to allow the organ to also be playable as two separate two- manual instruments.

8 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM FIRST UNITED METHODIST CHURCH ROUND ROCK, TEXAS

Congratulations Here & There

³ page 8 sacred music at East Carolina University. Nunc Dimittis Repertoire includes Fanfare, John Cook; Organist, conductor, and composer Massimo Mors et Resurrectio, Langlais; Suite du Nosetti died November 12, 2013, of cancer. 2ème ton, Guilain; Fantasia and Fugue He was 53. Born in Alessandria, Italy, he was in G Minor, BWV 542, Bach; Sonata No. titular organist of the Cathedral of St. John the 3, Mendelssohn; Sicilienne from Suite, Baptist and the Sanctuary of St. Rita in Turin. He op. 5, Durufl é; Master Tallis’s Testament, taught organ and composition at the conserva- Howells; In Paradisum, Daniel-Lesur; tory in Cuneo, and led numerous masterclasses and Final from Symphony No. 1, Vierne. in romantic and post-romantic organ literature, For information: www.RavenCD.com. especially in Japan, Korea, and the U.S. He con- Massimo Nosetti (photo ducted both orchestral and choral groups, includ- credit: Maxine Thevenot) ing Cantus Firmus, the choral group he founded. Nosetti was also a composer, primarily of organ and choral works. A member of the diocesan sacred music commission, Nosetti was active in the Associazione Italiana Santa Cecilia, of which he served as vice president from 1999–2004. Dorothy Young Riess, M.D.

Robert “Bob” Sinclair died August 18, 2013, at the age of 69. Born and Dorothy Young Riess, M.D., physi- raised in Winnsboro, South Carolina, he graduated from Mars Hill College, cian, organist, and lecturer, presented North Carolina, with a bachelor’s degree in music. He also attended Virginia her workshop, “Performing in the James Welch plays a Porter Heaps work Commonwealth University and Westminster Choir College, pursuing choral Golden Years, Just Survive or Really studies. In 1975, he became organist and director of music and fi ne arts for Thrive” to organists in Knoxville, Ten- On October 18, 2013, James Welch, Greene Memorial United Methodist Church, Roanoke, Virginia, and cofounded nessee, on October 7. The workshop organist of Santa Clara University in the Southwest Virginia Opera Society, later known as Opera Roanoke. He also explains physiologic changes of aging California, returned to Mount Pleasant served as organist and director of music at Unity of Roanoke Valley, St. Thomas affecting everyone, and how to work Retirement Village in Monroe, Ohio, for Anglican Church, and Williamson Road Church of the Brethren. He served with those changes to continue making a recital entitled “Organists Just Want to various leadership roles for the Roanoke Chapter of the American Guild of music to the best of one’s ability. Riess Have Fun.” The program opened with a Organists and the Thursday Morning Music Club. Robert “Bob” Sinclair is has presented the workshop at the 2012 Wagner transcription featuring blazing survived by his sister, his former wife, three children, a daughter-in-law, and AGO national convention (Nashville), fanfare trumpets. A variety of fl ute stops four grandchildren. the Region IX AGO convention, and and the zimbelstern were drawn to illus- to organist groups in Columbia, South trate Haydn’s musical clocks. As we go to press we have learned of the passing Carolina, San Diego, and Las Vegas. For Canadian Wedding March, by Clar- of Marianne Webb, 77, of Carbondale, Illinois, on information: [email protected]. ence Lucas, was dedicated to a woman December 7, 2013 in Marion, Illinois. Webb had a in the audience who was celebrating lengthy and distinguished career as a recitalist and pro- her 58th wedding anniversary that day. fessor of music at Southern Illinois University, Carbon- Emma Lou Diemer’s Fiesta utilized the dale. The February issue of The Diapason will contain harpsichord stop and celesta. Dudley more detailed information. Buck’s virtuoso Concert Variations on ‘The Star Spangled Banner’ was particu- Hellmuth Wolff, Canadian organ builder, died larly appreciated by the audience (who November 20, 2013, after a brief illness. He was 76 Marianne Webb weren’t required to stand for the piece). years old. Born September 3, 1937, in Zurich, Noel Rawsthorne’s A Hornpipe Switzerland, he apprenticed with Metzler & Humoresque brought down the house— Söhne of Dietikon, Switzerland, before working as it included the sailor’s hornpipe, the for Rieger Orgelbau of Schwarzach, Austria, and blasting horn of a large ocean-liner, C. B. Fisk of Gloucester, Massachusetts. In 1963, snippets from Vivaldi and Bach, and a he immigrated to Canada to work with Casavant Andrew Scanlon quodlibet of Rule, Britannia and the Frères, Limitée, designing organs for their new Widor Toccata. mechanical action division. After working with Andrew Scanlon is featured on a new American works included Richard Karl Wilhelm, he established his own fi rm in 1968 recording, Solemn and Celebratory, on Elliott’s arrangement of Every Time in Laval, Québec. The fi rm’s website (www.orgel- the Raven label. The CD was recorded I Feel the Spirit, Richard Purvis’s Les wolff.com) lists 50 opus numbers of instruments of on the 2005 C. B. Fisk Opus 126 three- Petites Cloches, Dale Wood’s Wonderful all sizes, with installations throughout Canada, the manual organ of 57 ranks at St. Paul’s Words of Life, and Porter Heaps’s Noc- United States, and in Switzerland. Hellmuth Wolff Episcopal Church, Greenville, North turne for the Orange, a novelty piece that is survived by his wife Claudette, son Martin, and Hellmuth Wolff (photo Carolina, where Scanlon is organist/ uses an orange rolled on the black keys daughter Maya and her family. Q credit: Andrew Maruzzella) choirmaster and oversees the undergrad- to play a very attractive melody. Every- uate and graduate programs in organ and one did seem to have fun! Publishers PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS Banks Music Publications announces new organ music releases: St. Mary’s Cathedral Francis Jackson, Partita on a Somerset Carol (14073, £5.95), and Philip Moore, Sydney, Australia Five Sketches on Helmsley (14072, Rodgers Infinity 243 Two Manual £5.50). For information: Organ with Moving Drawstops www.banksmusicpublications.co.uk.

“The practicalities of making music in Broadcast Music, Inc.® (BMI)® this cathedral every day are obviously Scan with your smartphone has partnered with Christian Copyright to view video of organ dedication very complex. The Rodgers Infinity Solutions (CCS) to create product offerings specifi cally targeted at new Choir organ enables us to carry out small ministry clients. CCS recently our busy program of music in this launched WORSHIPcast 2.0 Streaming cathedral, where Mass and Vespers are Performance License; the upgraded WORSHIPcast License features tiered sung every day of the week during term rates, more value, and simpler online time. In fact, we think that the Rodgers music reporting. WORSHIPcast offers a Infinity Choir organ is probably one of one-stop church streaming performance the most often heard instruments in license that covers 17 million Christian and other genres of songs from BMI, any church in this country.” ASCAP, and SESAC. Thomas Wilson, Director of Music The online music use reporting © 2013 Steve Morenos Steve © 2013 requirements have also been greatly simplifi ed, and licensees can easily download their set list of songs into Rodgers invites you to call for details their CCS online account on a weekly about new hybrid organ solutions. basis, recording the number of times the songs have been performed. All For more information, please contact licensees must report music use, ensur- Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com ing more accurate royalty reporting so that songwriters and publishers

10 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Here & There will receive increased revenue. CCS academic year. The organ is named in also partners with BMI, ASCAP, and memory of Stephanie Yen-Mun Liem SESAC to offer PERFORMmusic, the Azar (Curtis, Organ ‘08) who died unex- only one-stop performance license that pectedly on July 19, 2013 while attend- allows churches and non-profi t minis- ing Columbia University Medical School tries to play and perform more than 17 in New York. She was 26 years old. Alan million songs in settings outside of their Morrison, Haas Charitable Trust Chair religious services. For information: in Organ Studies at the Curtis Institute www.bmi.com. of Music in Philadelphia, is shown with students Bryan Anderson (left) and Jazzmuze, Inc. has released its latest Joseph Russell, at the console of the new Joe Utterback newsletter, KICK THOSE organ in the school’s Wyncote Founda- BLUES. It lists Joe Utterback’s composi- tion Organ Studio. tions as they fi t into the liturgical year, beginning with Advent. Also included are performance practice suggestions, and a link to score samples. Utterback and Andrew Shenton will present a Holtkamp 25th anniversary participants at University of Alabama concert hall workshop in June for the national AGO convention, on the use of his music in The University of Alabama Organ Department hosted the 25th anniversary the worship service. For information: of the Holtkamp concert hall organ, opus 2005, and alumni reunion on October www.jazzmuze.com. 12, 2013. The organ in the concert hall of the Frank Moody Music Building was created by the Holtkamp Organ Company of Cleveland, Ohio, at the instigation of Paraclete Press Sacred Music Warren Hutton, then professor of music and university organist. The instrument announces that composers John Eggert, was funded entirely by private donors. There are 86 ranks of pipes and over 5,000 John Butler, Robert Farrell, James Kevin pipes in the instrument. Key action is mechanical, and the stop action is electric. Gray, Andrew March, Byron Adams, There is mechanical intermanual coupling, but also additional electrical coupling for James Buonemani, and David Jernigan Swell to Great, Positiv to Great, and Swell to Positiv. These three special couplers are have joined its catalog. New releases designated with an “E,” so there is a “Swell to Great E” coupler as well as the usual include settings for Evensong by Adams, “Swell to Great” coupler. Walter Holtkamp, Jr., the builder, described the physical Buonemani, Jernigan, Robert Powell, and organization as follows: “The Solo, an enclosed division, is located directly above the Stephen Tappe, as well as Robert Lehm- Dobson Opus 91, Merton College console. Above the Solo is the Great and at the top of the central section we placed an’s Denver Mass in the Phrygian Mode, the Swell. Flanking the Great and Solo is the Pedal. Above the Pedal, on each side, composed for the 2013 Anglican Asso- Dobson Pipe Organ Builders has is the Positiv.” ciation of Musicians Conference. New completed Opus 91 for Merton College. The instrument was installed in 1988 during the tenure of Warren Hutton, Uni- organ compositions by Robert Lau and C. Commissioned in celebration of Mer- versity of Alabama professor of organ, and featured in that year’s September issue of Griffi th Bratt are also now available. For ton’s 750th anniversary, the organ fi nds The American Organist. information: www.paracletepress.com. its home in the College’s Chapel, whose The 25th-anniversary events commenced with a University of Alabama alumni mas- construction was begun around 1290 and terclass coached by Mary Lou Nowicki, Class of 1957. Dr. Nowicki offered valuable Recordings was completed by 1450. The oldest of expertise and insight into the works performed by eight of the eleven current students the thirty-eight University of Oxford col- in the UA organ studio of Dr. Faythe Freese, professor of organ. The students per- leges, Merton has a vibrant chapel music formed the following works: J.S. Bach: Sei gegrüsset, Jesu gütig, BWV 768; Prelude in program under the leadership of Benja- D Major, BWV 532; Prelude in A Minor, BWV 543; Toccata in D Minor (Dorian), BWV min Nicholas, the Reed Rubin Organ- 538; Wer nur den lieben Gott lässt walten, BWV 642; Guilmant: Sonata in C Minor, op. ist and Director of Music, and Peter 56, Preludio; Dupré: Variations on a Noël; and Vierne: Symphony VI, Scherzo. Phillips, the Reed Rubin Director of Following the gourmet luncheon, Chris Holtkamp, president, Holtkamp Organ Music. The Rev. Dr. Simon Jones is the Company, Class of 1987, lectured on the installation and tonal philosophy of the Chaplain, and Paul Hale served the Col- Holtkamp organ, opus 2005. lege as organ consultant. Opus 91 is only An Alumni Decade Recital took place at 3 pm with the following alumni perform- the third mechanical-action organ by an ers: Mary Williamson, Class of 1969; David Buice, Class of 1976; Jonathan Biggers, American builder to be sent to England. Class of 1982, 1984; Jeff McLelland, Class of 1992; and Donald Given, Class of 2009. John Scott of St. Thomas Church Fifth Works performed were: L. Couperin: Chaconne in G Minor; J.S. Bach: Kommst du Avenue in New York City will pres- nun, Jesu, vom Himmel herunter, BWV 650, Prelude and Fugue in B Minor, BWV ent the inaugural dedication recital on 544; Frescobaldi: Toccata nona from Toccata e partite, Book I, 1615/37; Buxtehude: The Britannic Organ Vol. 6 Saturday, April 26. For information on Praeludium in G Minor, BuxWV 149; Reger: Phantasie über den Choral ‘Halleluja! this and other dedicatory programs, visit Gott zu loben, bleibe meine Seelenfreud,’ op. 52, no. 3; and Franck: Choral in B Minor. A new two-CD set, The Britannic www.dobsonorgan.com. —Faythe Freese, Professor of Organ, The University of Alabama Organ Vol. 6, recorded on the Welte organ of the ship Britannic, has been released on the Oehms Classics label (OC 845). Featuring organists Alfred Hollins, Harry Goss-Custard, Herbert Walton, William Wolstenholme, and Reginald Goss-Custard, the recording presents works by Bach, Handel, Widor, Wolstenholme, and others, played on the two-manual Welte-Philharmonie in the Museum für Musikautomaten in Seewen, Switzerland. For information: www.oehmsclassics.de.

Organ Builders

Alan Morrison, with students, at the Dyer organ (photo credit: Pete Checchia)

A three-manual, 14-rank instrument was completed by Randall Dyer & Associates, Inc., of Jefferson City, Ten- nessee, in time for the beginning of the

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 11 Reviews

Music for Voices and Organ that have been been overlooked. Some with some moments of divisi. Tempo Baptism by James McCray special Sundays mentioned below tend and dynamic changes are abundant. Baptized and Set Free, arr. John Hel- to use the same music each; for example, The music has consistent syllabic and gen. SATB and piano, Augsburg For- Music for special Sundays of the singing Ralph Vaughan Williams’ For All rhythmic settings throughout. Drama tress, 978-1-4514-2006-1, $1.75 (M-). liturgical year the Saints on All Saints Day is almost as is heightened through the use of sfor- The accompaniment provides a busy common for choirs as singing O Come, zando chords. background for the choral parts, yet it is The single harmony produced by all the heavenly bodies singing and dancing O Come Emmanuel during Advent. This relatively simple. There are four verses together springs from one source and ends is not to suggest those are poor choices, O God the King of Glory (Anthem with each having a different choral by achieving one purpose, and rightly be- but rather that singing some alternative for Ascension), Robert Powell. SATB arrangement, but always with the main stowed the name not of “discord” but of anthems helps breathe new life into the and organ, Concordia Publishing melody clearly projected. The third “ordered universe” upon the whole. —Aristotle (384–322 B.C.) music for those days. House, 98-4148, $1.65 (M). verse uses a descant of a few voices. Metaphysics Directors are urged to fi nd a reason- There is solid unifi cation of musical Easy, practical music. able balance between new repertoire style throughout, even though the three The liturgical calendar brings a cer- and old familiar standards, so that there choral sections are all different. The text Take Me to the Water, David Cher- tain order to the church, even though is a blending in their weekly musical is appropriate for later in the Easter sea- wien. SSAATBB unaccompanied, many denominations do not adhere offerings. Both choir and congregation son and is not diffi cult. The organ music, MorningStar Music Publishers, strictly to it. In this column about will be grateful. I will also try to be on two staves, is very easy and there is MSM-50-5332, $1.70 (M). church music, major seasons of wor- more helpful in this area by devoting one passage that is unaccompanied. This looks more diffi cult than it is; its ship receive attention each year; these one column a year to various less-special Highly recommended. special feature is the two bass parts cre- include such times as Advent, Christ- Sundays of the liturgical year. ating a rhythmic background of whisper- mastide, Epiphany, Holy Week, Palm Christ the King ing antiphonal statements of “shoomm,” Sunday, and Easter. Attention has also Transfi guration Crown Him with Many Crowns, which occurs for 95% of their participa- been given to other topics such as Rally Anthem for Transfi guration, arr. John Behnke. SATB, organ, and con- tion. The musical style is a relaxed swing Sunday, summer church choirs, and Paul W. Hofreiter. SATB and organ gregation with optional 3–5 octave that is somewhat jazzy. This would be lots general anthems. or piano, Augsburg Fortress, 978-0- handbells, brass quartet, and tim- of fun for a choir that can manage divisi The reviews this month will focus on 8006-8419-0, $1.30 (E). pani, Concordia Publishing House, parts in all sections (except the tenors). some special events in the church year The text “This is my son, my Chosen 98-4143, $2.00 (E). that commonly receive less attention One” is repeated several times in this Much of the singing of these fi ve All Saints from many choir directors. This may be brief four-page work based on the music verses is in some form of unison (men/ Sing with All the Saints in Glory, Carl due to a limited budget; naturally direc- Deo Gracias. The organ part, on two women/all). The congregation sings on Schalk. SATB, brass quartet, timpani, tors purchase new music for major events staves, has short legato lines with numer- four verses and is omitted only on verse and organ with optional congrega- in the church year. Most church choirs ous fermatas to add to the drama. The three, which is for SATB choir. The tion, MorningStar Music Publishers, tend to have about 15–30 members, so at chorus parts, also on two staves, add to instrumental parts are not diffi cult; the MSM-50-9952, $1.85 (M). an average cost around $2.00 an anthem, the drama with several statements asking organ part is on two staves. There is a The music has a majestic quality. Three directors are forced to be very selective us to “Listen to him!” reproducible congregational part at the verses follow the extended instrumental in their choices of repertoire. end. A full score and reproducible parts introduction: one in unison, one unaccom- Church attendance is highest during The Transfi guration of Christ, for instruments are available (97-7633). panied, and one with a descant. The con- the seasons of Christmas and Easter, so Aaron Garber. Two-part mixed and This hymn (Diademata) is the most gregation sings on the outer two verses and naturally there is a correlation to pur- organ, Concordia Publishing House, popular hymn for this special Sunday. their music is at the end for duplication. chases of new music. A check of church 98-3769, $1.65 (M-). choral libraries should reveal a clear The organ music is in two styles: the Praise, My Soul, the King of Heaven, Give Thanks for Saints, arr. Don- overweight of music for these seasons fi rst half has slow, legato lines; the last Timothy Waugh. SATB and piano, ald Busarow. SATB, organ, horn, when compared to other special Sundays half of the setting is fi lled with busy, with optional handbells, hand- trombone, and optional assembly, in the liturgical year. However, the most staccato sixteenth notes. In the fi nal chimes, timpani, and organ, Morn- Augsburg Fortress, 978-4514-6234-0, common works found in most church section, the chorus sings in unison ingStar Music Publishers, MSM-50- $1.95 (M). music holdings may be those that could above a chordal accompaniment. This 3450, $1.85 (M). The setting is based on the C. Hubert be classifi ed as “general”; these could is very functional music that is based on Although the familiar text by Henry Parry tune (Repton) and has four verses, include Psalms and other settings with a Sarum 15th-century text. The modal Lyte is used, the music is newly com- with the congregation only singing on broader texts. music is very attractive and especially posed, which is why the congregation the last one; their music is included for So, while the most important days/ useful for small church choirs. is never involved. The outer two verses duplication. One verse is unison, one seasons receive considerable mindful- use the same basic music, but the middle unaccompanied, one contrapuntal, and ness (Christmas/Easter), others are often Ascension verse changes to a more legato style and one with a soprano descant. The long passed over by choir directors. Naturally, The Lord Ascendeth Up on High, much slower tempo. A full score and instrumental introduction features the there is a denominational infl uence on Dan Locklair. SATB unaccompa- optional instrumental parts are available organ, with other instruments playing a which liturgical days receive vigilant nied, Subito Music Publishing Co., from the publisher. The music is festive contrasting descant above it. circumspection. In an effort to broaden 91480660, $1.50 (M). but not diffi cult. repertoire considerations, the reviews This brief (two-minute) anthem has this month focus on some of those areas three verses; it is fast and exuberant Crown Him Lord of All!, arr. Marty Book Reviews Parks. SATB, piano with optional Messiaen’s Final Works, by Chris- Irish fi ddle (or fl ute, or penny whis- topher Dingle. Ashgate Publishing tle), Hope Publishing Co., C 5836, Limited, Farnam, Surrey, UK; and A Precious Gift $2.05 (M). Ashgate Publishing Company, Burl- Using the hymn tune Kingsfold as ington, VT, 2013; hardback, 369 pp., the foundation, Parks has created a very ISBN 9780754606338. from the Past unusual and fun setting that might be When Messiaen was interviewed at used at several different times through- the premiere of his opera, Saint François for the Present out the church year. The Irish fi ddle part d’Assise, in 1983, he stated that he was plays throughout the entire work and fi nished as a composer, that after this has rapid sixteenth-note passages that four-hour work he had nothing left in and the Future add to the spirit of the music. The choral him.1 Yet a few months later in 1984, he Supremely beautiful and blendable parts are on two staves and are not dif- accepted a commission from the Detroit fi cult, although they later divide into two Chapter of the American Guild of Organ- tonal color – a Gift from the Venetian choirs, which could be just high and low ists for a work for the 1986 convention.2 School of organbuilding, a monumental part of our voices. This will be a surprising anthem The Livre du Saint Sacrement (Book of JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH that is certain to elicit interest from both the Blessed Sacrement) was the result. SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN singers and congregation. Then, nine years later, after writing some

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12 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Reviews miniatures, he astonished the musical period, freeing himself from his own pre- the genesis of the Livre, which began 2. Peter Hill and Nigel Simeone, Messiaen world with a work for large orchestra viously structured approach. Beginning with a single improvisation in the Maundy (New Haven and London: Yale University Press, 2005), 343–44. lasting an hour and a half. Eclairs sur l’au with the categories of modes and chords, Thursday Mass in 1981, on the institu- 3. Peter Hill, ed., The Messiaen Companion delà (Illuminations of the Beyond), the as described in the early Technique de tion of the Eucharist. Dingle expands his (Portland, Oregon: Amadeus Press, 1994), 301. commission from the New York Philhar- mon langage musicale5 and later in the own biography, drawing comparisons to 4. Ibid. monic to celebrate their 150th anniver- posthumous Traité de rhythme, de cou- other pieces to illustrate how Messiaen 5. Olivier Messiaen, Technique of My Mu- 6 sical Language, trans. John Satterfi eld (Paris: sary, saw him reclaiming his full powers, leur et d’ornithologie, Dingle reviews found fresh interpretations of techniques Alphonse Leduc, 1956). but with seemingly fresh inspiration. Messiaen’s entities such as the chord he used elsewhere. With discerning 6. Olivier Messiaen, Traité de rhythme, In between Saint François and Eclairs on the dominant, chords of transposed insight, he traces Messiaen’s faith and his de couleur et d’ornithologie (Paris: Alphonse came short pieces for orchestra and for inversions, chords of contracted reso- profound comprehension of the Mass as Leduc, 1994–2002). 7. Paul Griffi ths, booklet to accompany La solo piano. Given that his usual modus nance, and others. He moves on to show they found expression in the Livre. For Nativité du Seigneur, La Transfi guration de operandi was to write compositions of how Messiaen gave the element of tim- example, the last seven movements echo Notre Seigneur Jésus-Christ (Decca CD 425 gigantic length, Messiaen expressed a rare bre an integral part in chordal structure the structure of the Mass. Here, Messiaen 616-2), 4. uncertainty and disappointment in the in works of the 1960s and 70s. Looking thinks liturgically, similar to his intent in 8. Hill and Simeone, Messiaen, 331. quality of his writing.3 In the mid 1980s, at the post-opera pieces, Dingle posits La Transfi guration, “a conscious attempt —David Palmer he was suffering health issues, on top of that Messiaen delighted in harmonies for to create a liturgy for the concert hall.” University of Windsor which he committed himself to travels their color aspects, favoring their triadic Although there are musical examples in around the world to attend concerts of his origins over their functions. profusion, having scores at hand is neces- music, especially in 1988, his 80th year. Does the Livre du Saint Sacrement sary for full understanding of the meticu- New Recordings As Yvonne Loriod recounted, Mes- really belong stylistically to the post-St lous analyses. Comprehensive references J.S. Bach: The Complete Organ siaen fell into depression after writing François period? From a composer to Messiaen’s own writings complete the Works; Margaret Phillips, organ. the opera.4 In order to help him move who was fi nished, it is far from ranking contexts. Appendices give instrumenta- Regent Records, P. O. Box 528, beyond, Loriod persuaded him to write as a leftover from a prolifi c career. At tion in the fi nal works, excerpts from Wolverhampton, WV3 9YW, England; some bird pieces for piano, resulting in eighteen movements and two hours in Messiaen’s cahiers (diaries), and a list of www.regentrecords.com. the miniatures Petites esquisses d’oiseaux length, it is Messiaen’s largest work for birds whose songs fi gure in the last works. Volume I (REGCD232-2)—1734 of 1986. With the same intent, Pierre the organ. Dingle’s chapter on the Livre There follows a select bibliography, a dis- Christoph Treutmann organ (III/42) Boulez commissioned him for two works elucidates the work’s subject matter, cography up to 2009 giving information in Grauhof Klosterkirche, Germany: for his Ensemble Intercontemporain. It structure, harmonic elements, theologi- for both audio and video recordings, and ‘Schübler’ Chorale Preludes (BWV was clear that Messiaen faced a crisis in cal origins, and place in the specialized fi nally, an index. 645–650); ‘Eighteen’ Chorale Preludes completing the fi rst project. His usual world of the organ. He positions it in This book adds signifi cantly to the (BWV 651–668); Canonic Variations on rapid pace of work was missing, as it the panoply of the three “Monumental studies in English of Messiaen’s style ‘Vom Himmel hoch’ (BWV 769a). was three years before Un Vitrail et des Trinity” works (to use the term Paul initiated by Robert Sherlaw Johnson and Volume II (REGCD254-2)—2004 Ber- Oiseaux (A Window and Some Birds), a Griffi ths applies to La Transfi guration Paul Griffi ths, amid a growing number of nard Aubertin organ (III/51) in L’eglise ten-minute work, appeared. Finally, in de Jésus Christ, Des canyons aux étoiles, other more current authors. Touchingly Saint-Louis-en-l’Île, Paris, France: Pre- 1989, he was in full powers again as he and Saint François d’Assise7) that were human activities in Messiaen’s daily life lude and Fugue in C (BWV 531); Pre- worked on Eclairs. conceived during that period. and work fi ll the canvas on which Dingle lude and Fugue in e (BWV 533); Prelude How did he fi nd new creative impetus Dingle makes several points as to why features the extraordinary music in richly and Fugue in A (BWV 536); Fantasia and to move beyond the opera? What is dif- the Livre should not be regarded as a detailed study. Don’t miss this book! Its Fugue in c (BWV 537); Fugue in b, on a ferent about Eclairs? And how does the post-Saint François piece. The fi rst clue lucid and engaging style of writing make theme by Corelli (BWV 579); Canzona Livre du Saint Sacrement relate to Mes- as to its origin came in 1980 when Mes- it a must-read, for both the Messiaen in d (BWV 588); Allabreve in D (BWV siaen’s post-Saint François period? siaen said he would like to write a large lover and the serious student. 589); Orgelbüchlein (BWV 599–644). In this outstanding book, Christopher work for the organ, and had jotted down Volume III (REGCD276-2)—1724 Dingle, reader in music at Birmingham several ideas already.8 At this point, of Notes Heinrich Gottfried Trost organ (III/47) Conservatoire (U.K.) and author of The course, he was hard at work on the opera. 1. Alan Rich, “Messiaen’s Saintly Vision.” in Stadtkirche ‘Zur Gotteshilfe’, Newsweek, December 12, 1983. Life of Messiaen, examines the works that Secondly, its pairing with Saint François ³ page 14 followed the opera. He outlines a three- parallels the similar genesis of Médita- fold purpose for this fi rst study of these tions sur le mystère de la Sainte Trinité, compositions: 1) to provide background which was born in the creative heat of and a detailed setting for the works of La Transfi guration. The Livre arrived Messiaen’s fi nal years, 2) to propose that only a few months after the opera. Both Messiaen’s style underwent a change in concert-hall works (the opera St. Fran- his last years, and 3) to examine certain çois and the oratorio La Transfi guration) aspects of the music, especially harmony, were hailed as a summa of their genres; the element that Dingle fi nds ignored the two huge organ cycles summarize his to a surprising degree. The four parts of thought for the instrument closest to his the volume are 1) Final Works [includ- faith. Thirdly, subject matter is central ing Saint François and the Livre], 2) The to the twinnings: the nature of fi liation Miniatures, 3) Eclairs sur l’au-delà, and relates Méditations to La Transfi guration. 4) Final Thoughts. In the oratorio, Messiaen contemplates Dingle offers a penetrating examina- the relationship of Christ to the Father. tion of Messiaen’s treatment in the post- In Méditations, the subject of the Trinity opera pieces, fi nding that the composer takes us to the heart of Messiaen’s faith. is looking to pare away non-essentials. In Saint.François, “Les stigmates” (“The Especially in Eclairs, which “seems to be Stigmata”) has Messiaen dealing with a governed by an almost Classical emphasis new element in his musical expression: on clarity and restraint,” there is a sense of crucifi xion and darkness. The parallel in ATLANTA CHAPTER, AGO assurance, light, and even humor. In these the Livre is “Les ténèbres” (“Darkness”), ANNOUNCES late works, Messiaen leaves behind the the ninth movement. dark bass range of earlier output in favor Biographical material, already offered of a more luminous language. Did you fully in several other books, including The Taylor Organ know, for example, that the contrabass Dingle’s own, is included as it pertains tuba and the contrabassoon are used for to the origin and creation of the works only two notes in all of Eclairs? discussed. He draws on the seminal biog- Competition It is in the element of harmony where raphy of Peter Hill and Nigel Simeone for Messiaen evolves most in his last stylistic the fascinating circumstances surrounding Saturday, April 18, 2015 Open to individuals born after june 1, 1992

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 13 Reviews

³ page 13 525); Trio Sonata VI in G (BWV 530); (BWV 585); Neumeister Chorales (BWV Marcel Dupré of English academic Ger- Waltershausen, Germany: Clavierübung Fantasia and Fugue in g (BWV 542); 714, 719, 737, 742, 957, 1090–1120). ald Hendrie, follows, and convincingly Part III (BWV 552, 669–689, 802–805); Prelude and Fugue in b (BWV 544); evokes the sounds of some of Dupré’s Fantasia in G (BWV 572); Partita, ‘Sei ‘Wedge’ Prelude and Fugue in e (BWV This remarkable 16-disc set of the greatest organ music, particularly the gegrüßet’ (BWV 768). 548); Prelude and Fugue in G (BWV complete organ works of Johann Sebas- Trois Préludes et fugues. This is followed Volume IV (REGCD258-2)—1976 550); Toccata in E (BWV 566); Fugue in tian Bach is outstanding in absolutely by Marcel Dupré’s own Deux Esquisses Metzler organ (III/44) in Trinity Col- c, on a theme of Legrenzi (BWV 574); every way; there is simply no other way (No. 1 in E Minor and Esquisse No. 2 in lege Chapel, Cambridge, England: Trio ‘Gigue’ Fugue in G (BWV 577); Trio to say it. Margaret Phillips has long been B-fl at Major, op. 41)—the fi rst, a delight- Sonata III in d (BWV 527); Prelude in G (BWV 586); Concerto in G, after regarded as one of the most outstanding fully light, soft and bouncy scherzo; the and Fugue in f (BWV 534); Toccata in Johann Ernst (BWV 595); Concerto performers of her generation, and with second, a loud, fi ery piece featuring F (BWV 540); Prelude and Fugue in C in d, after Vivaldi (BWV 596); Chorale every note recorded in this series, the parallel octaves, and almost terrifying in (BWV 547); Fantasia and Fugue in a Preludes (BWV 690–691, 694-695, 712, listener can hear how deservedly she is its frenzied rage. Next comes the ever- (BWV 561); Aria in F (BWV 587); Pasto- 718, 720, 727, 735–736, 740, 744, 747). acclaimed throughout the world for her popular Trumpet Tune in D by Henry rale (BWV 590); Concerto in a, after Viv- Volume VII (REGCD308-2)—1728 refi ned, polished performances. Her Purcell (arr. Dupré), which is given a aldi (BWV 593); Seven Fughettas (BWV Hildebrandt organ (II/30) in St. Jaco- recordings here are the most elegant, spritely performance, before Sergei Pro- 696–704); Fantasia, Jesu Meine Freude bikirche, Sangerhausen, Germany; 1735 beautiful realizations of the works of kofi ev’s March from The Love of Three (BWV 713); Chorale Preludes (BWV Silbermann organ (II/32) in Petrikirche, the great master that I have ever had Oranges (transcr. Jean Guillou), which 700, 702, 710–711, 715–717, 722–724, Freiberg, Germany: Prelude and Fugue the pleasure to hear (and I own fi ve Carr presents in a colorful, stylish way 729, 732, 739, 751). in G (BWV 541); Prelude and Fugue in other complete Bach series!). There is with the most glistening, pin-sharp stac- Volume V (REGCD301-2)—1743 c (BWV 546); Prelude and Fugue in a absolutely nothing not to love about this cato you will ever hear. David Briggs is Hinsz organ (IV/56) in St. Nicolaas (BWV 551); Prelude in C (BWV 567); series: the performances range from renowned for his organ transcriptions, so Bovenkerk, Kampen, Holland; 1696 Prelude in G (BWV 568); Fantasia in magnifi cently grand and stately, to sub- it is good to see his arrangement here of Schnitger organ (II/24) in Hervormde C (BWV 570); Fugue in c (BWV 575); limely sensitive and delicate. Maurice Ravel’s Daphnis et Chloé [Lever Kerk, Noordbroek, Holland: Fugue in g Fugue in G (BWV 576); Fugue in D Each instrument has been very care- du jour; Pantomime; Danse Générale], (BWV 131a); Trio Sonata II in c (BWV (BWV 580); Fugue in G (BWV 581); fully selected, and the accompanying which showcases almost every possible 526); Trio Sonata V in C (BWV 529); Passacaglia in c (BWV 582); Kleines booklets are packed with information registration, particularly the lush strings Prelude and Fugue in g (BWV 535); Harmonisches Labyrinth (BWV 591); about the organs, the towns in which they and celestes, and some of the softer solo ‘Dorian’ Toccata and Fugue in d (BWV Concerto in C, after Vivaldi (BWV 594); are located, detailed information about colors. Briggs’s own original composi- 538); Prelude and Fugue in C (BWV Concerto in E-fl at (BWV 597); Partita, O the registrations used in every piece, and tion Variations on Greensleeves follows, 545); Toccata, Adagio, and Fugue in Gott du frommer Gott (BWV 767); Pre- several wonderful full-color photographs. a substantial work centered around the C (BWV 564); Toccata and Fugue in d lude in C (BWV 943); Fugue in C (BWV Regent have really out done themselves famous English folk melody, which is (BWV 565); Concerto in G, after Johann 946); Trio in G (BWV 1027a); Chorale in the presentation here, and it is simply given extraordinary treatment through- Ernst (BWV 592); Pedal-Exercitium Preludes (BWV 705–710, 726, 733, impossible to successfully single out one out this series of variations, and turned (BWV 598); Partita, Christ der du bist 749–750, 752, 756, 758, 762, 765, 1085). or two individual discs as the most deserv- into the theme for some of the most der helle Tag (BWV 766); Partita, Ach Volume VIII (REGCD328-2)—1727 ing of purchase—recordings of such colorful and powerful contemporary was soll ich Sünder machen (BWV 770); Christian Müller organ (III/38) in integrity and quality come along rarely French-styled variations (and all from Chorale Preludes (BWV 721, 725, 728, Grotekerk, Leeuwarden, Holland: Trio in a lifetime, and this series is one that an Englishman living in Massachusetts!). 730–731, 734, 741, 743, 745, 754–755, Sonata IV in e (BWV 528); Prelude and I simply would not wish to be without. If Hector Berlioz’s Hungarian March 757, 763). Fugue in D (BWV 532); ‘Fiddle’ Prelude you really cannot manage to acquire the (transcr. W. T. Best) is a nice example Volume VI (REGCD307-2)—1738 and Fugue in d (BWV 539); Prelude complete set at one time, perhaps treat of the Victorian town hall transcription Christian Müller organ (III/62) in St. and Fugue in a (BWV 543); Fantasia in yourself to Volume Seven at fi rst, and I style, and Gaston Litaize’s Scherzo from Bavo Grotekerk, Haarlem, Holland; c (BWV 562); Fantasia and Imitation in guarantee that the realization of O Gott Douze pièces makes for easy listening, 2004 Bernard Aubertin organ (III/51) b (BWV 563); Prelude in a (BWV 569); du frommer Gott (BWV 767) will leave with a musical style reaching back to in L’eglise Saint-Louis-en-l’Île, Paris, Fantasia in G (BWV 571); Fugue in g you craving the other discs in the series. the previous generation of great French France: Trio Sonata I in E-fl at (BWV (BWV 578); Trio in d (BWV 583); Trio in c Mortgage the farm, sell blood plasma, do organ composers. The fi nal piece of this whatever is necessary, but ‘The Sixteen’ all-too short disc is the Nuages ensoleil- belong in your collection! lés sur le Cap Nègre from Promenades en Provence by Eugène Reuchsel—a French Flavours (Paul Carr plays dramatic toccata in the grand French the Walker organ of St. Chad’s style, and the quantity of sound which Metropolitan Cathedral, Birming- Carr elicits from the instrument belies ham, England). Regent Records its mere 40 speaking stops to conjure up (REGCD384), P. O. Box 528, Wolver- the impression of an organ twice the size. hampton, WV3 9YW, England; Carr’s performance is stylish and www.regentrecords.com. classy throughout—his playing is nimble, If you have never heard of Paul Carr, subtle and musical, bursting with energy then this (both his, and the instrument’s) and panache, aided by a extraordinary première recording will serve as an technique; every phrase is imbued with introduction to one of the most talented his supreme musicianship, as he lifts the English organists I have heard in a very notes from off the page and turns them long time. The fi rst recording of this fi ne into the most skillful of performances. Walker organ (1990) is long overdue, The Walker organ sounds magnifi cent and Regent have captured a very fi ne throughout, and even the ff sections are sound in this reverberant, highly ornate extremely easy on the ear; the Diapason AW Pugin building with a program of chorus is clean and clear without lacking music that can accurately be described warmth, the reeds are rich and fi ery, the as “unusually colorful”. strings and celeste purr, and many of the Naji Hakim’s jazzy Ouverture mutation combinations make the organ Libanaise sounds extremely well in a sparkle and dance like a fairy in a perfor- dazzling, bright performance by Carr, mance of Peter Pan! With a playtime just and the Lebanese folk tunes that run shy of 64 minutes, this recording left me throughout the piece are given a dance- mourning the missed opportunity pre- like quality in this performance. The very sented by the unused quarter hour on French-sounding Toccata and Fugue the disc, as I could gladly listen to much in F-sharp Minor from Le Tombeau de more of Carr’s playing. Presentation is

Fruhauf Music Publications Fine Editions for Organ, Choir & Organ, Carillon Celebrating Year Ten www.FruMusPub.net ~ (805) 682-5727 ~ AMs Pacific Time with P.O. Box 22043 ~ Santa Barbara, California USA 93121-2043 Six Sampler Scores

14 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Reviews of the usual Regent quality—that is to Vox Humana. The fi nal piece opens with will reward scrutiny. Of great value are Steadfast Assurance, for 3–5 octaves say, a very high standard, with clear and a movement in 3/2, which begins in half the written-out cadenzas, which can act of handbells with optional 2 octaves interesting program notes, full details notes, but halfway through eighth-note as models for such requirements in the of handchimes, by Jason W. Krug. of performer and instrument, although passagework takes over. The second voluntaries of other contemporary com- Beckenhorst Press, Inc., HB429, sadly lacking a full shot of the splen- movement is for Swell, and the fi nal posers. The printing is of the usual high $3.95, Level 3- (M). didly-colorful Græbe case. But what is movement is described as for organ or standard of clarity now expected from The composer has written a lovely such a minor omission when the stars pianoforte. A bright binary form allegro David Patrick, with the editorial introduc- and apparently original composition have aligned so perfectly to produce a in mainly two voices, it contains Alberti tion containing a critical commentary. that is arranged in a gentle, fl ow- CD that is absolutely superb in every and murky basses such as would be These pieces make a further welcome ing style. It is written in the key of other way? decried by John Marsh in his Treatise addition to our knowledge of the English D-fl at major, with some beautiful —James M. Reed of ca. 1790; indistinguishable from the repertoire of the late 18th century. lush harmonic and melodic material. Bergen, Norway myriad contemporary lessons and sona- —John Collins Highly recommended. tinas for the harpsichord or pianoforte, Sussex, England it is, nevertheless, great fun and in itself Rejoice! Give Thanks and Sing, New Organ Music would make a good concluding voluntary arranged for 3, 4, or 5 octaves of William Jones of Nayland, Ten for a festival. New Handbell Music bells by Joshua Evanovich. GIA Church Pieces op. 2, edited by David While not having such a variety of Rejoice, Give Thanks and Ring!, Publications, G-7288, $4.95, Level Patrick. Fitzjohn Music; £11 plus registrations as many contemporary pub- arranged for 3–5 octaves of handbells 3, (M+). shipping from www.impulse-music. lications call for, the level of compositional by Lloyd Larson. Beckenhorst Press, This ambitious arrangement uses the co.uk/fi tzjohnmusic.htm. ability is consistently high enough to make Inc., HB433, $3.95, Level 3 (M). tunes Darwall’s 148th and Marion David Patrick continues to mine the the pieces interesting. The movements for This festive setting incorporates the interspersed with some luscious original rich seam of 18th-century English organ Swell contain detailed dynamic markings, hymn tunes Marion, The Ash Grove, material. The “Rejoice” chorus theme voluntaries; these ten pieces are by a including a rare use of hairpins in no. 3 and Nun Danket Alle Gott, and they from Marion is used as bookends for priest, writer, and composer who also and 5, which may take some practice to are brilliantly woven together to present the piece. There are several key changes wrote on various aspects of the church, execute cleanly without the “sawing back- a very satisfying musical treat for the upward, which bring the piece to a science, and music. Like many of his wards and forwards” lamented by Marsh ringer and the listener. The “Rejoice” resounding climax. contemporaries, Jones was a pupil of and the other treatise writers of the 1790s! theme begins and ends the piece, with —Leon Nelson Pepusch, and also of the Scottish com- Articulation marks are used sparingly, but the other melodies in between. Vernon Hills, Illinois poser James Oswald. These ten pieces date from 1789, when he was a curate at Nayland, Suffolk, and are dedicated to Lady Rushton, whose generosity had assisted in placing a good organ in the church; the title also tells us that they were written for the use of the church in Nayland and published for its benefi t. The original title mentions the organ only, and not the harpsichord and/or pianoforte, interesting and unusual in an age when the title-page of the great majority of publications of organ vol- North America’s Premier untaries or pieces also specifi ed these Pipe Organ Building and Service Firms two stringed instruments as alternative options for performance. The extensive preface, here published in full, gives us some interesting, not to say controver- sial, thoughts on Haydn’s compositional The Pipe Organ ability! Praised are Stanley and Keeble, but there is no mention of later compos- Performance measured ers such as Dupuis or the Goodwins. in centuries, not years His thoughts on registration are also worthy of careful perusing and show An affordable the declining reputation of the cornet, investment in pipes and, more surprisingly, of the trumpet. The original edition also included four church anthems. The sound that is often Of the ten pieces, four (nos. 1, 3, 4 and imitated - but never 6) are in only one movement, for the Dia- duplicated pasons, with no. 3 containing interludes including a close on the Swell, and no. The original “Green” 6 containing passages for the right hand solution on the “Swelling Hautboy.” Nos. 2, 5, and 7–9 are in two movements, with the opening movement in each case (apart A “sound” financial from no. 8) being for the Diapasons. No. investment 5 opens with a largo in 3/2, followed by an andante for Swell; no. 7 opens with an andante in D minor, which fi nishes in An asset to your the relative major, the second movement being a largo cantabile for “Soft “organ Worship Experience and swell. No. 8 is a two-movement & your Balance Sheet prelude and fugue, the opening switching between full organ and soft. No. 9 opens BUILDERS SUPPLIERS with a Diapason movement, followed by ANDOVER LÉTOURNEAU A.R. 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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 15 In the wind...

The high cost of beauty When the tomb of Pharaoh Tutankha- mun was discovered in 1922, the world went agog over the dazzling beauty of the artifacts that had been hidden since his death some 3,300 years earlier. There were large pieces of gilded furni- ture, ornate masks, jewelry, and lots of hieroglyphics and paintings. The level of craftsmanship was bewildering, given the degree of antiquity. Other mem- bers of Egyptian royalty were buried in similarly grand circumstances, in tombs located under the great pyramids. And who built the pyramids? Slaves. Big-time personal money always has and always will be part of the arts world. If there had been no Medici dynasty, we wouldn’t have had Michelangelo, Andrew Carnegie’s house on Fifth Avenue Joseph Pulitzer’s house on 73rd Street Leonardo, Brunelleschi, and Donatello, to name just a few. How did the Medici Henry Clay Frick installed a large Theatrical Stage Employees should not In the past several years, a number make their money? They were bankers, Aeolian in his gracious home on Fifth have such control. It’s probably not this of important orchestras have suffered the wealthiest family in Europe. They Avenue at 70th Street (now housing the simple, but should Theatrical Stage serious fi nancial stress leading to labor parlayed their wealth into political infl u- Frick Collection, commonly known as people control educational spaces? disputes, including the orchestras in ence, and many family members became “The Frick”). These guys really knew The New York Times reported that Philadelphia, Atlanta, San Francisco, important politicians. The family even how to build houses. Hank and Andy Carnegie Hall employs fi ve full-time Indianapolis, St. Louis, and Chicago. produced four popes in the sixteenth must have warmed each other’s hearts stagehands with average annual com- Eerily, on September 30, 2013, the century. If that implies it was possible to living just twenty blocks apart—an easy pensations of more than $400,000 a year, same drop-dead-date for Väskä’s resig- purchase a papacy, I’m surprised that Sil- twenty-minute walk, just long enough to with additional part-time union mem- nation, Norman Ebrecht of ArtsJour- vio Berlusconi didn’t try it. A family tree smoke a hundred-dollar cigar (six weeks bers brought in as needed. I know a lot nalBlogs reported that players in one I found online shows more than twenty for that Aeolian worker). Frick also built of organbuilders who would make great hundred German orchestras struck simul- generations of Medici between 1360 and a tremendous Aeolian in his summer stagehands, and Wendy was quick to say taneously to draw attention to the increas- about 1725. home at Manchester-by-the-Sea in Mas- that I missed my calling. ing number of orchestras closing because We’ve learned a lot about the ethics sachusetts and gave a four-manual job The strike was settled in time for us of dwindling government support. There of banking and investment in recent to Princeton University. That’s four big to hear Stephen play with the American were 168 orchestras in Germany at the years, where executives use their clients’ pipe organs built on the backs of striking Symphony Orchestra. The New York time of reunifi cation in 1991, and there money to leverage their own fortunes, steel workers. Times reported that the union backed are 131 today. It’s a big deal to lose nearly bring down institutions, and go home Three years before the Homestead off, as it seemed ridiculous to almost forty orchestras in twenty years. with bonuses that equal the annual wages Strike, Andrew Carnegie paid about anyone that a teenaged music student of hundreds of normal workers. I’m not $1,000,000 to buy the land and construct would not be allowed to move a music Do the numbers. setting about a researched dissertation the venerable Manhattan concert hall stand. You can read about that strike in I love to do goofy math. In the 1970s on the source of the Medici’s money, but that bears his name. The place was owned the New York Times at: www.nytimes. when I lived on a farm outside Oberlin, I’m willing to bet that much of it came at by the Carnegie family until 1925 when com/2013/10/05/arts/music/carnegie- Ohio, I wondered how much corn might the expense of others. they sold it to a real estate developer. hall-and-stagehands-settle-strike.html. grow in a day. I measured a couple dozen I’m giving Mr. Carnegie a hard time, It’s an exquisite irony that the October plants in the morning, then again in the Heavy metal because at least some of his business 2 concert cancelled because of the strike evening, and came up with an average The Carnegie Steel Company was one practices were mighty ruthless, and the was to be a gala celebratory fundraiser amount of growth. I measured and mul- of the country’s fi rst major producers of mind-boggling wealth that he accumu- for the Philadelphia Orchestra, recently tiplied to get the number of plants in an steel, and in the late 1880s and early 1890s, lated was not a refl ection on his largess. revitalized after years of labor disputes. acre, then again by the number of acres it developed important improvements But it’s important to remember that he Yannick Nézet-Séguin was to open his on the farm. Of course I can’t remember in the manufacturing process, including was also an important philanthropist and second season as music director in what the numbers, but I know it added up to open-hearth smelting and installation of the foundation that was founded on his was billed as the triumphant return many miles of growth in a day. You could advanced material handling systems like fortune is still a major source of grants of that great orchestra to its role as a almost hear it while lying in bed at night. overhead cranes and hoists. The result was for all sorts of educational programs, sci- national leader. I did that recently with the economics higher production levels using increasingly entifi c research, and artistic endeavors. of a symphony orchestra. I found a list less skilled labor, and the Amalgamated Visit the website at www.carnegie.org. Vänskä-daddle online of American orchestras with the Association of Iron and Steel Workers I served a church in Cleveland as On October 3, 2013, the Minne- largest operating budgets. Los Angeles struck against the Homestead Steel Works. music director for about ten years, where apolis Star Tribune reported that Osmo tops that list at $97,000,000. Boston is There were various waves of strikes, and at a four-manual Austin was installed as a Vänskä had resigned from his position second at $84,000,000. I stuck with Bos- fi rst the union prevailed. gift from the Carnegie Foundation in as music director of the Minneapolis ton because it’s home, and I got the rest Henry Clay Frick ran the Carnegie 1917. The Bach scholar Albert Riemen- Symphony Orchestra. His action was of the information I needed. The BSO Steel Company for his eponymous part- schneider of Baldwin-Wallace College anticipated. The musicians had been plays about a hundred concerts a year— ner. He announced on April 30, 1892, that was organist there when the instrument locked out by the Board of Directors for that’s $840,000 each. Symphony Hall he would keep negotiations open with was installed—the perfect organ for a more than a year in a dispute that pitted seats about 2,600 people. The average the union for thirty days, and on June 29, performance of Bach’s Orgelbüchlein. the player’s requests for salary increases ticket price is around $75, so ticket rev- he locked down the plant and the union Among many other projects, against the board’s decision to spend enue for a full house is about $195,000. announced a strike. Frick engaged the Andrew Carnegie and the Carnegie $52,000,000 renovating the concert hall That’s a shortfall of $645,000 per concert Pinkerton National Detective Agency Foundation installed more than 8,800 while claiming there were no funds to that must be made up by private and to provide security, and more than three pipe organs in America’s churches and increase salaries. corporate donations, campaigns, bar and hundred armed Pinkerton agents were founded more than 2,500 public librar- The orchestra had long planned to restaurant revenues, and heaven knows involved in bloody battles with striking ies. That’s important. play a series of concerts at Carnegie what else—if they sell out each concert. workers. The Pinkerton force surren- Hall in New York during the fall of 2013. Read the program booklet of the BSO dered, and the governor sent in the State Moving musical chairs. Ironically, Vänskä was widely celebrated and you’ll be surprised how many of Militia and declared martial law. There On Thursday, October 3, 2013, Wendy for having brought the MSO into new the orchestra’s chairs are “fully funded was a failed assassination attempt against and I attended a concert of the American prominence with several seasons of in perpetuity,” named for their donors. Frick. The union was broken and col- Symphony Orchestra at Carnegie Hall to brilliant performances and celebrated Three cheers for them. lapsed about ten years later. hear Stephen Tharp play the Symphony recordings, and the Carnegie Hall I know very well that this is bogus It was important to Andrew Carnegie for Organ and Orchestra of Aaron Cop- concerts were to celebrate the MSO’s math. There are many variables that and Henry Clay Frick to beat down the land. Until about three o’clock that after- bursting into the upper echelons of I’ve overlooked, and doubtless many of union because they had their lifestyles noon it was doubtful that the concert American symphony orchestras. Vänskä which I am not aware—but I think it’s a to maintain. Carnegie built a majestic would happen because Carnegie Hall’s had announced that the dispute must reasonable off-the-cuff illustration of the home on Fifth Avenue at 91st Street stagehands had struck the night before, be settled so rehearsals for those con- challenges of large-scale music-making in New York (now the Cooper-Hewitt causing the cancellation of the concert certs could begin on September 30. If in modern society. You can buy a pretty National Design Museum) in which he on October 2. They were striking over not, he would resign. It wasn’t, and he snazzy new pipe organ for the $645,000 installed a large Aeolian pipe organ. He the rules for soon-to-be-opened edu- did. Former Senator George Mitchell, that’s missing for each BSO concert after paid about $65,000 for the organ at the cational spaces above the hall, claiming famous for negotiating settlements of ticket sales. time when workers in the Aeolian factory that they should have the same jurisdic- disputes in Northern Ireland and steroid While I was surfi ng about looking for earned about $600 a year. Hmmm. The tion as in the great hall itself. Carnegie use in Major League Baseball, had been those numbers, I learned that the start- organ cost as much as the annual wages Hall’s management took the position enlisted to help with the MSO negotia- ing salary for a musician in the Boston of more than a hundred workers. Not as that as it would be an educational venue, tions—turned out that Northern Ireland Symphony Orchestra is about $135,000. bad as King Tut, but sounds about right. Local 1 of the International Alliance of had nothing on the MSO. That’s pretty good when compared to the

16 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM By John Bishop

happening in the family car driving home from a holiday celebration. The pro- duction was to include larger-than-life bunraku puppets that would provide the action less suited for the stage, conceived by the playwright, to be constructed by a New York-based puppeteer. Our friend was asked to fund the puppets, which were to cost nearly a hundred thousand dollars. He told us the story over dinner, saying that he hated the idea, was uncom- fortable with the subject, but thought he should provide the funds because he knew it was important.

§ labor union. They were formed to con- Recently organist David Enlow and front real injustice, and in the strange Henry Clay Frick’s house harpist Grace Cloutier performed a and shaky state of our economy, injus- recital at David’s home church, Church tices are still fi rmly in place. But this is Alabama Symphony Orchestra where that they funded. I have to admit that of the Resurrection in Manhattan, where a time when they’ve gone too far. That the starting salary is more like $48,000. I when I’m standing in a museum looking the Organ Clearing House installed an kind of labor organizing can threaten the suppose that senior members of the BSO at a work of art, I’m not fretting about the instrument a couple years ago. At dinner future of live music in concert halls. must earn over $200,000. In the business suffering involved in its production. after the concert, we were discussing the The Organ Clearing House uses Bank world, concertmaster Malcolm Lowe Today’s system seems more just—con- instruments we play, and I noted that of America because we work all across would qualify as an Executive Vice Presi- cert-goers buy tickets, and corporate and with the exception of pianos and high- the country, and it’s convenient to be able dent and head of a department—worth individual sponsors theoretically make end violins, the harp is probably one to get to a bank pretty much anywhere $250,000 or $300,000, I’d say. But not as up the rest. That works as long as costs of the most expensive instruments that we go. But we were not bursting with much as a stagehand. are reasonably controlled, and donors musicians typically own privately. Organ- pride when Time magazine reported I guess I’m laboring under an old- can be kept happy. The problem with ists have to rely on the institutions for on November 9, 2013, that the bank fashioned concept that the artistic that is how it can affect programming. which they work to provide them with an was to be fi ned $865,000,000 for mort- content should be worth more than the If you listen regularly to a commercial instrument to play. And they sure have gage fraud related to the Countrywide support staff. Big-time stagehands are classical radio station anywhere in the gotten expensive. Financial scandal. At the same time, our hardworking people with important jobs. country, you would be able to list society’s I’ve always felt that a three-manual bank is a Global Sponsor of the Chicago It’s not just anyone who can be trusted to favorite pieces of music: Vivaldi’s Four organ with forty or fi fty stops is just Symphony Orchestra, Alvin Ailey Danc- fl ing high-end harps around a stage. But Seasons, Beethoven’s 3rd, 5th, 6th, and about right for a prominent suburban ers, and the Metropolitan Opera HD how many church choir directors would 9th, Mozart’s 40th Symphony and 23rd church with a sanctuary seating fi ve hun- Broadcasts in public schools. We thank like to have someone else available to set Piano Concerto, Respighi’s Ancient Airs dred people or more. But a fi rst quality them for all that. up the chairs? and Dances—you get the idea. Organ- organ of that size will push, and easily Bank of America is also a “Season If the cost of operating a symphony ists know how hard it is to get a bride to exceed, $1,000,000. It’s pretty hard for Sponsor” for Carnegie Hall, supporting orchestra seems high, get a load of the choose something other than the Taco- many parishes to justify such a whopping the Hall’s mission “to present extraordi- Metropolitan Opera. I found an article in Bell Canon, or Jesu, Joy of Man’s Desiring. expenditure. I grew up in the era when it nary music and musicians on the three the New York Times published on October Lots of serious classical music was all the rage for churches to replace stages of the legendary hall, to bring the 1, 2011, that put the Met’s annual budget ensembles, from local choruses to major fi fty-year-old electro-pneumatic organs transformative power of music to the wid- at $325,000,000, of which $182,000,000 is symphony orchestras, adjust their pro- with new trackers, and many organists est possible audience, to provide vision- from private donations. The Met had just gramming to please their patrons. The fell into the habit of getting what they ary education programs, and to foster the passed New York’s Metropolitan Museum box offi ce at Boston Symphony Hall has a asked for. Those days are largely over, future of music through the cultivation of Art as the arts organization with the long-standing tradition allowing people to because now that we really know how of new works, artists, and audiences,” as largest budget. (Counting baseball, New pass on their subscription seats to friends. to build good organs of any description, stated on Carnegie Hall’s website. York City has three Mets.) When James Levine came to town as we also know what they cost! We have So the concert hall that was built I found a page on the Met (opera) web- music director of the Boston Symphony to remember what a big deal it is for a on the backs of striking steel workers, site that listed the administrative staff, Orchestra, he increased dramatically the church to order a new instrument. whose schedule was recently interrupted which includes the General Manager amount of contemporary music on the by striking six-fi gure stagehands, is now (Peter Gelb), Musical Director (James programs, and friends of ours who had § supported largely by a bank guilty of Levine), and Principal Conductor (Fabio long held great seats on the balcony above major mortgage fraud. Luisi), along with twenty-fi ve assistant the stage asked if we wanted to take them I’m troubled by the striking stage- May the music keep playing. Sure general managers, artistic management, over because they couldn’t take all the hands. I believe in the concept of the hope it does. The stakes are high. Q design, production, fi nance, develop- modern music. We did. ment, human resources, house manage- And, in a related matter, the players of ment, stage directors, stage manage- the BSO made public the extra workload Scattered leaves ... from our Notebook ment, carpenters, electricians—a total of brought on by Levine’s energetic and more than three hundred administrative imaginative programming. On March employees. Add a symphony orchestra, 17, 2005, the Boston Globe reported costumes, make-up, custodians, ticket that orchestra players were concerned sellers, and—oh yes—singers, and you about longer concerts, extra rehearsals, wind up with a whopping payroll. and programming of exceptionally dif- Since I’m not a stagehand, I pretended fi cult music. You can read it online at I was going to buy one ticket online. I www.boston.com/news/globe/living/arti- chose a performance of La Bohème on cles/2005/03/17/levines_pace_proves_ Saturday, March 22, 2014, at 8:00 p.m. hard_on_bso?pg=full. They cited aggra- I couldn’t choose between a seat in Row vation of injuries and increased stress B of the Orchestra (down front, near and negotiated with Levine to alter some the stage) for $300, or one in Orchestra of the planned programs. And the BSO Row U for $250. And nearly half of the Trustees created a special fund to sup- operating budget is funded by donations. port the cost of the extra rehearsal time. If you take a date and have a nice dinner But smaller institutions with limited and a glass of wine at intermission, that’s resources would not be able to do the pretty much a thousand-dollar night, same. So it’s back to the crowd-pleasing something stagehands could afford if favorites at the cost of innovation. they could get the night off. I’ve often repeated a story about an experience Wendy and I had with artis- § tic patronage. An exceptionally wealthy friend, now deceased, was well known in The source of much of the money that his community as a generous supporter has funded the arts over many centuries is of the arts. He lived in a city that is home questionable, and it’s especially diffi cult to to a nationally prominent repertory accept how much of has been the product theater company that was mounting the Schoenstein & Co. of slavery. But scary as that is, I’m sure premiere production of Paula Vogel’s The glad we had the Medicis and hundreds Long Christmas Ride Home. The play of others like them. It would be a barren tells the story of a family’s gay son con- ❧ world without the art and architecture tracting AIDS, with the main dialogue

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 17 On Teaching

Organ Method XVI It has always struck me as interesting that changing fi ngers on repeated notes and substitution are so similar to one another in what they actually involve physically. Thus it makes sense to me to Example 1 use one of them to introduce the other. It Example 4 is also important to keep them straight: it is extremely common for students to fall into the habit of doing a substitution when they think that they are changing fi ngers from one note to the repetition of that note. Example 2 Example 5 This continues without a break from last month’s column.

A further practice step is to try pat- terns in which the hand plays more than one note at a time (Examples 1–4). The fi ngerings given above and below each line are alternates. There are other pos- Example 3 Example 6 sibilities, for example, involving pairs such as 1/4 and 2/5. You can adapt these the repeated notes in each group of four exercises in ways that occur to you, such sixteenth notes is actually necessary to as using black notes. Once again you permit the playing of the other sixteenth should experiment with articulation. notes. The same is true in the left hand You can make non-repeated chords sixteenth note pattern in the sixth varia- legato, and repeated chords any degree tion from the same piece (Example 8). of non-legato; or try to match, as nearly But in being necessary it also guides identically as possible, the articulation the shaping of all of the rest of the fi n- of each of the motions from one chord gering in such a way that the passages to the next; or use a variety of non-legato are actually quite natural and straight- articulations. Keep the hands light forward to play. Each decision about and relaxed, especially while releasing what fi ngers to use on the fi rst and notes. Pay attention to the direction second notes of each pair of repeated in which you release each fi nger when notes should be based on where your another fi nger is preparing to play that hand is coming from and where it is Example 7 same note: up, down, slightly (or fully) going. Example 9 shows one possible to one side or the other. These logistic fi ngering for the left hand part of the possibilities all have their place. They preceding example. work out differently for players with In Example 10, from the Brahms cho- varying relative fi nger lengths, and also rale Mein Jesu, der du mich, there is a for varying note patterns. It is your job moment, at the beginning of the second to pay attention as you work on these full measure, where the use of a differ- exercises and fi gure out the most com- ent fi nger on a repeated note makes it fortable ways. possible to set up a simple and effective Repeated notes often occur in the fi ngering for the succeeding passage. context of ornaments, especially trills. (My suggested fi ngering is not the only The exercise in Example 5 allows you way to do it.) to practice that, assuming that you start The musical advantages of using dif- each trill with the upper (auxiliary) note. ferent fi ngers to play repeated notes can You can play the opening note with 3 and only be heard and felt if the hand is very each of the trills in succession with 4-3, relaxed and the touch smooth and fl uid. Example 8 or play the opening note with 2 and each Any repeated-note moment (such as the of the trills with 3-2, or perhaps other one in this Brahms example) is a good patterns. You should adapt this exercise place to remember, recapture, and apply to other specifi c note patterns, including the feeling of lightness gained from the some involving black notes and the left trill exercise described above. hand. Do not worry about making the trills especially long or fast: the focus of Substitution practicing is the repeated note that initi- As opposed to changing fi ngers on ates each trill. repeated notes, the technique known as Another ornament-based repeated “substitution” is changing fi ngers on held note exercise, involving mordents, is notes. While these two techniques serve Example 9 shown in Example 6. You can play each very different musical and technical quarter note with 3 and each mordent purposes, and indeed are most typically with 2-3-2, or other fi ngering patterns. associated with different historical peri- For the purpose of this exercise it is only ods and repertoire, they have so much in necessary that the fi nal note of each mor- common technically as to be essentially dent be played with a different fi nger versions of one another. from that which you want to use to play There are several things to bear the following quarter note. Again, adapt in mind when beginning to work on this exercise to different specifi c note substitution: patterns and to the right hand. 1) A substitution can be either mea- Playing repeated notes with different sured—the new fi nger placed silently fi ngers, in addition to giving the player on the note at a predetermined time, more control over the timing, articula- probably defi ned in relation to the beat Example 10 tion, and sound of the repeated note pat- of the passage, or instant—that is, the terns, also gives the player a free chance new fi nger slides in to replace the origi- 2) In any substitution there is likely to fi ngers. It is not—since the substitution to re-position the hand. It can actually nal fi nger as part of the gesture whereby be something to observe about the spe- is silent in any case—something that clarify and simplify fi ngering patterns for the original fi nger played the note in cifi c direction in which the original fi nger affects the musical results. It is about the passage around the repeated notes the fi rst place. (Whereas the timing of departs and the direction from which the comfort and reliability. themselves. The excerpt from Rameau fi nger change in a repeated-note pas- new fi nger arrives. It may make sense to 3) Substitution is generally associ- shown in Example 7 (part of the fi fth of sage is determined by the timing of that get the original fi nger out of the way by ated with legato. The usual reason for six variations on a Gavotte in A Minor) passage’s notes.) A substitution can also lifting it up, moving it sideways, allowing introducing an extra gesture into the act is an example of this, so extreme that if be somewhat in-between: that is, not it to curve downward, or something else, of playing is to permit the hand to be in Rameau hadn’t written it, anyone dis- instant, not a one-gesture slide, but not or some combination. The new fi nger a position to play the next note or notes cussing the fi ngering of repeated notes specifi cally timed to be on a beat or sub- can slide in under the old, or from above without having to release the existing would have had to do so. division of a beat. This latter is probably it, or from one side or the other. All of note(s) in a way that creates an unwanted For all players except those with the the most common in practice, though all this affects or is affected by hand posi- break. Sometimes, however, substitution very largest hands, changing fi ngers on are quite useful. tion and by the relative lengths of the simply seems to make a passage easier.

18 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM By Gavin Black

Different players develop different degrees of comfort with substitution and School of MUSIC use it to differing extents. 4) Substitution is more likely to be necessary or to provide an appropriate Wade Weast, Dean solution for creating true legato in situ- ations in which a hand is playing more than one note: counterpoint or chords. In single line textures, substitution is rarely necessary to effect a particular musical result. (When it is necessary, that is usually a result of something having to do with very wide intervals.) That is not to say that it is not often comfortable or convenient. Sometimes it can serve the same function as changing fi ngers on repeated notes in that it can allow the And this same note pattern can be hand to reposition itself effi ciently. used with an extremely wide variety of 5) Substitution—unlike most of what fi ngerings, since in principle any substi- most performing musicians do while tution is possible and is worth practicing. playing—creates physical gestures that For example, the right hand fi ngering do not correspond to anything that the could be 3-4-5(1)-2-3-2-1(5)-4-3(5) (The player or the listener actually hears. parenthesis indicates substitution. In this This can break or weaken or generally fi ngering, the tied g’ going from the sec- interfere with the player’s ability to ond to the third measure does not have a experience the rhythmic vitality of the substitution.) Another possibility would music through the kinesthetic experi- be 1-2-3(1)-2-3(1)-4-3(1)-3-2(1). These Photography by Brent LaFever ence of playing. For some players this fi ngerings are musically random: their sense—almost of dancing to the music purpose is to help you get the feeling of while playing, but doing so with the play- different substitution patterns. CONCENTRATIONS ing gestures themselves rather than by The two-note chord exercises above literal dancing—is a real and valuable aid can also be adapted as substitution Brass, Collaborative Piano, Composition, to vivid and convincing performance. If exercises (Example 12). With the same- Guitar, Harp, Opera, Organ, Percussion, the feeling that the hands (and perhaps note chords tied, the fi ngerings would feet) are doing things that aren’t part of be carried out as substitutions rather Piano, Strings, Voice, Woodwind the rhythmic fl ow of the music seems, to than as changes of fi ngering on newly a particular player, like a problem, then played notes. This can be tried with FACULTY that player might well be inclined to other specifi c fi ngerings, and other use substitution less than other players. similar note patterns, and of course also Dr. Timothy Olsen, There are also ways of counteracting or in the left hand. UNCSA Kenan Professor of Organ compensating for that effect. At an early In carrying out substitutions with stage of learning organ, and of becom- multiple notes, it is important to do the ing comfortable with substitution, this is individual substitutions in the correct 2014 AUDITION DATES something to fi le away at the back of the order. The correct order is the one that Instrumental and Composition: mind, in case it seems like an issue to be is the most comfortable and natural dealt with later. physically. (Again, since the substitu- February 7*, 14*, 21*; April 4 6) Sometimes a tendency to rely on tions are silent, this is about physical *Scholarship Priority Auditions substitution as an all-purpose way of fi nd- comfort and reliability rather than any ing notes (scrambling for notes, in effect) audible result.) Usually that means the can lead a player—whether a student or order that keeps the hand small: that UNCSA SUMMER ORGAN WEEK FOR HIGH otherwise—to cut short the process of doesn’t stretch the hand out any more SCHOOL STUDENTS: JUNE 29 – JULY 11, 2014 working out good, effi cient fi ngerings than necessary. So, in the example and then practicing those fi ngerings with above, the substitutions on the lower In this newly formatted two-week summer session, enough focus and dedication to learn notes of the two note chords should be students will delve into injury-preventive technique them. In this way, a heavy reliance on done fi rst. It is always possible to fi gure substitution—especially by a beginning out by trial and error which way is best. through topics of service playing, repertoire, and basic improvisation. The magnificent collection of instruments in Winston-Salem will be utilized including organs by Fisk, Flentrop, Hook & Hastings, Noack, E.M. Skinner, and more. Limited tuition-reduction funds are available. WWW.UNCSA.EDU/SUMMER

Example 11

Sometimes it is also possible to fi gure it out in advance by analysis of hand posi- tion. Performing multiple substitutions in the correct order also has the effect of allowing the whole hand to move in one gesture towards the next note or Example 12 notes or towards its next position. It is extremely important to get this right. Your passion today. or “intermediate” student—can actually That can make the difference between a Your profession tomorrow. damage the learning process, sometimes substitution’s being easy and natural and seriously. This is far from being a reason its being both diffi cult and a potential not to learn and work on substitution, source of strain or even of real injury. since it is a valuable tool, and for some Next month’s column will continue WWW.UNCSA.EDU purposes a necessary one. It is simply with more exercises for substitution and something to watch out for. examples drawn from the repertoire. Q [email protected] The second exercise given above for 336-770-3290 changing fi ngers on repeated notes can Gavin Black is Director of the Prince- be adapted as a good beginning point for ton Early Keyboard Center in Princeton, Winston-Salem, NC practicing substitution, simply by tying New Jersey. He can be reached by e-mail the repeated notes, and keeping the at [email protected]. He writes a fi ngering the same (Example 11). blog at www.amorningfordreams.com.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 19 Organ seminars

British and French Organ Music Seminars 2013 By Cliff Varnon and Helen VanAbbema Rodgers

British Organ Music Seminar an exciting masterclass on French and this period, the organ is set consider- Westminster Abbey, or Westminster July 25–29, 2013 German works, played by members of ably sharper than modern concert Cathedral. The seminar ended with The ninth British Organ Music Semi- our group. Later in the day we attended pitch. David Humphreys, assistant a visit to Westminster Cathedral, just nar was held for four days in London, Evensong at Westminster Abbey, which director of music of the cathedral, gave down the street from the abbey. It con- beginning on July 25. The seminar began was sung by a visiting choir from Breda a brilliant demonstration, after which tains the Apse Organ built by T. C. Lewis with a train ride to Cambridge to visit Cathedral in the Netherlands. Follow- participants had ample playing time prior to World War I and the Grand the chapel of Emmanuel College, with ing the service, Peter Holder, organ on the instrument. In the afternoon, Organ, which is one of the two heroic its three-manual 1988 Kenneth Jones scholar of the Abbey, talked to the we traveled to Cambridge for some instruments built by Henry Willis III, tracker instrument, which used the case group about the history of the organ and free time, shopping in the local music the other being the Liverpool Anglican and some of the pipework of the original gave a demonstration of the stops. The store, and having afternoon tea. In the Cathedral. Peter Stevens, the assistant Father Smith instrument of 1688. Colin organ was originally built in 1727 by evening we attended Evensong at Ely master of music, talked about the history Walsh, organist laureate of Lincoln Schrider & Jordan, with several rebuilds Cathedral, followed by a demonstration of the instrument, gave a fi ne demon- Cathedral and a visiting organ teacher by William Hill in the 19th century and of the organ by assistant organist Jona- stration of the organ, and assisted par- at the University of Cambridge, was our most recently by Harrison & Harrison. than Lilley. The organ was fi rst built ticipants as they played this magnifi cent host. He conducted a workshop on litur- Afterwards, participants were given the in 1685 by Renatus Harris. Elliot and instrument, which made a spectacular gical improvisation with several reluctant chance to play the instrument. Hill installed a new organ with existing end to an eventful seminar. volunteers followed by a session of vari- We then went across the street to pipework in 1831, with William Hill —Cliff Varnon ous British organ works, performed by Central Methodist Hall. The organ, with doing restoration work in 1850. In 1908, Church of the Holy Comforter members of the group. its imposing 32-foot façade, was built by Harrison & Harrison built a mostly new Cleburne, Texas On July 26, we visited the French Hill & Son in 1912 and was later rebuilt organ, using pipework from the previ- Church of Notre Dame de France, by Rushworth & Dreaper in 1970. A ous instruments, with a restoration in French Organ Music Seminar where we attended classes all day. The major rebuild by Harrison & Harrison 1974–1975 supervised by Arthur Wills, July 29–August 7, 2013 church, which serves a large French in 2011 was based on the original Hill who was then the cathedral organist. population in London, is located near scheme. Gerard Brooks, the director The fi nal day of the seminar was Sun- “If you listen, you will learn.” Leicester Square and dates back to of music, is associated with French rep- day, so participants attended services at —Thomas LaCôte, La Trinité, Paris 1861. The organ was originally built ertoire and has recorded the complete various churches, including St. Paul’s Organ builder Aristide Cavaillé-Coll by August Gern, who had worked works of Gigout. His class for the eve- Cathedral. In the afternoon we visited listened to the sounds in his head before with Cavaillé-Coll. It has undergone ning was on the organ works of Gigout All Soul’s Langham Place, which is a he started building the romantic organ. several rebuilds, most recently by B. (other than the well-known Dix Pièces), familiar landmark at the end of Regent Louis Robilliard of Lyon told us that if C. Shepherd & Son in 1986. Duncan along with works of Saint-Saëns. Street. In 1913, Alfred Hunter installed there had been no Cavaillé-Coll, there Middleton, the organiste titulaire at On July 27, we traveled to Peter- a new instrument in this church, replac- would be no romantic organ music. the church since 1989, had studied borough Cathedral to play one of the ing the original organ built by Bishop When Widor sat at the Cavaillé-Coll, liturgical and concert improvisation fi nest William Hill organs in the coun- in 1824. This Hunter instrument was he listened, and came up with ideas for in Bordeaux and Lourdes; he led us in try. Built in 1894, Hill, one of the two rebuilt and enlarged by Henry Willis III his symphonies. Vierne and Guilmant the opening session on improvisation. most celebrated organ builders of the in 1951, with the most recent restoration listened and did the same. A stunning In the next masterclass, participants nineteenth century, incorporated the by Harrison & Harrison in 1976. Gerard reminder to the organist: the dream organ played British organ works with John existing pipework in his four-manual Brooks conducted a masterclass, played came before the compositions. Here’s a Hosking, assistant organist of St. Asaph organ masterpiece of 86 stops. Its last by the members of our group. Later dream: to travel back in time, attend a Cathedral in Wales. In the afternoon restoration took place after a fi re in in the afternoon, participants could concert at the Palais du Trocadéro, and session, Dame Gillian Weir conducted 2001. Like other Hill instruments of attend recitals at St. Paul’s Cathedral, listen to the now-extinct Cavaillé-Coll as Widor conducts his Third Symphony with Vierne at the organ! Thanks and appreciation are due to Christina Harmon, Dallas organist, teacher, and composer who led this group of American organists. Through her well-established FOMS program, we are privileged to experience the French tradition. Additional indispens- able co-directors this year were Cliff Varnon and Masako Gaskin. All three worked hard to keep this group of organists, organ students, and organ lovers happy and informed. For more information and notice of future events, see www.bfoms.com. Participants varied from virtuosos with ever-expanding organ repertoire to lifelong students who treasure their favorite pieces and still look for interpre- tation ideas from close connections to the source. In addition to masterclasses, there were classes in improvisation and ample opportunities for private lessons. Our youngest organist was 15 and the oldest 83! How fortunate for this group that there are still essentially unaltered romantic organs in existence that we are able to touch and play. The fi rst on this trip was the Cavaillé-Coll in Lyon at St. Francois de Sales, the Widor family par- ish, where Charles-Marie was baptized Jean-Baptiste Robin teaching at the Royal Chapel of Versailles Peter Holder talks to the group at Westminster Abbey and later fi rst performed Symphony V.

20 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM John Hosking with Lynnette McGee at the French French Organ Music Seminar participants at the organ Jill Hunt listens to Gillian Weir at London’s Church of Church of Notre Dame de France in London of Manigod, built in 1996 by Italian fi rm B. Formentelli Notre Dame de France

July 29–30: Lyon and Chambéry August 4–7: Paris Blanc told us that Durufl é was not a one of four titular organists. The others The perfect warm-up act to the In Paris we visited the always-amazing man for big chords, but rather the musi- are Michel Bouvard, François Espinasse, frenzied pace of Paris was the time organ at St. Sulpice (suffering from the cal line. He favored fl utes and celestes. and Frédéric Desenclos, with Michel spent in Lyon and the Alps, organized unusual heat of Paris in August), as well He also told us that the famous story of Chapuis serving as honorary titulaire. by the organist of Chambéry Cathe- as the Cavaillé-Coll of Notre-Dame des Durufl é not liking his Toccata was not To be in France and therefore in the dral, Thibaut Duret, with the help Champs, Aristide Cavaillé-Coll’s own necessarily true, but that at the time he center of the vital and enduring infl uence of François Espinasse, professor of parish, built in 1877. This organ was was very tired and had composed this of the world’s greatest organ tradition is organ at the National Conservatory of extensively altered by Schwenkedel, piece during a very stressful period in as fascinating and transforming as ever. Lyon. Françoise Webb, the charming although, fortunately, the Barker action his life. The spirits of Widor, Vierne, Messiaen, French native who spent her youth was retained. Thanks to Cavaillé-Coll, Our last day was spent with Jean- et al. continue to permeate the sensibili- in Reims, assisted with the prepara- who was on the building committee for Baptiste Robin in Versailles and ties and ethos of this beautiful part of the tions and organization. Our fi rst day the church, also built in 1877, the acous- included a concert by him on the Clic- world through the brilliant French artists was spent with Louis Robilliard at tics for the organ are some of the best quot organ (modifi ed by Cavaillé-Coll) at of the present. There is no more amazing the great Cavaillé-Coll organ of Saint- in Paris. the Versailles Cathedral, a masterclass at experience, or better pilgrimage, for an François-de-Sales. Built in 1880, it was At Notre-Dame des Champs, we had the church of Notre Dame des Armées organist. Teach us to listen, and learn… restored in 1964 and is still in its origi- stimulating masterclasses with Sophie- of Versailles, and playing at the Royal —Helen VanAbbema Rodgers nal and unaltered state. Véronique Cauchefer-Choplin, Bea- Chapel organ of Versailles Palace. The Director of Music, Time spent with François Espinasse trice Piertot, and Yannick Merlin. palace organ was originally built by St. James Episcopal Church and Thibaut Duret and two concerts In the masterclass with Dupré expert Robert Clicquot in 1710. After severe Fairhope, Alabama on the marvelous 1847 Augustin Zeiger Cauchefer-Choplin, three participants damage during the French Revolution organ at Chambéry Cathedral allowed enabled us to delve into segments of it was rebuilt as a two-manual organ by Cliff Varnon is a director of the British each of us a performance turn, fol- the Symphonie-Passion, the composer’s Cavaillé-Coll in 1873. In 1936 it was sold Organ Music Seminar and has been an lowed by a third inspiring performance Wanamaker improvisation that he later to the seminary in Châteaugiron and assistant with the French Organ Music by our regional host Thibaut Duret. wrote down after returning to France. later to St. Martin Church in Rennes, Seminar since 1996. He is organist and Duret is a brilliant young organist and Cauchefer-Choplin said Dupré loved where a reconstruction was attempted choirmaster at the Church of the Holy improviser who studied with François the sound of the gambe alone because it by Victor Gonzalez. In 1995 a completely Comforter in Cleburne, Texas, and a Henry Houbart at Rueil Malmaison was mysterious. new instrument was made by the fi rms piano and voice instructor at the Dallas and with François Espinasse and Loïc Stimulating duo-organ performances of Boisseau and Cattiaux, which not only School of Performing Arts in Garland, Mallié at the Lyon Conservatoire, where and masterclasses by upcoming organ- reconstructed Robert Clicquot’s creation Texas. He has served numerous churches he received a master’s degree in organ. ists Beatrice Piertot and Yannick Merlin but also reconstructed the additions of in the Dallas area, including 14 years With the Alps as backdrop, we spent also took place at this church during the Louis-Alexander and Francois-Henry as music director at John Calvin Pres- Wednesday and Thursday playing the week in Paris. These two brilliant young Clicquot as well. This result was amaz- byterian Church. For over 12 years he organs in St. Pierre d’Albigny, Manigod, organists also helped in this year’s plan- ingly successful and stands today in the owned a retail music store specializing Thônes, Grand Bornand, and Annecy. ning and gave classes at the beautiful, Royal Versailles Chapel as a proud trib- in choral, handbell, and keyboard music. Each organ had a particular charm, and unaltered Merklin organ at the church ute to Clicquot’s genius. He holds a Bachelor of Music degree in more information is available about each of St. Laurent. As a protégé of Marie-Claire Alain, organ from Henderson State University of them on the FOMS website (www. Daniel Roth entertained and enlight- Jean-Baptiste Robin gave an intense in Arkadelphia, Arkansas, and a Master bfoms.com). ened us at St-Sulpice with historical class on Jehan Alain. Robin told us that of Music degree in choral conducting anecdotes about the organ and stories of after the trauma of World War I, artists from Texas A&M University-Commerce.. August 2: Dole and Dijon Franck, Widor, and Dupré that organists turned to the past, and Alain was the On Thursday, after a 2½-hour never tire of hearing. Cavaillé-Coll kept fi rst to go to early music, layering it with Helen VanAbbema Rodgers has served bus ride, we arrived in Dijon. While more than 40% of the 1781 Clicquot orientalism and with jazz that had been as director of music at St. James Episco- there we played the much-restored organ pipework, never intending to brought by Americans during the war. pal Church in Fairhope, Alabama, where Daublaine-Callinet organ at the Cathè- make an exclusive change to a romantic Alain was fascinated by the cornet, a she directs the choirs, plays a large drale St. Bénigne in Dole and the organ. In fact, Widor’s colleague Albert sonority he explored extensively. Tutti, or Schlicker pipe organ, a 14-rank 1896 particular highlight: the untouched, Schweitzer said the organ was great for massive sound, is seldom found in Alain’s Hook & Hastings, and adminsters the St. undusted, very much in tune 1754 Karl baroque music. Roth clarifi ed that the music. Our day ended with palace organ- James Concert Series. A regular BFOMS Riepp organ at the Collégiale Notre transition from Baroque to Romantic ist Robin demonstrating French Classi- participant, her organ and choral reper- Dame de Dole. With a Louis XV oak was abrupt in Germany, whereas in cal music on the beautiful chapel organ toire has been greatly inspired by organ case, this was the largest organ in pro- France, it was gradual. To see more of of the palace. Participants were actually playing trips to England, France, Ger- vincial France, with 45 stops over four Roth’s mesmerizing history of French able to play the chapel organ! Robin is many, and Spain. manuals and pedal and a 32′ Montre organ music and organs, you can fi nd in the Grand-Orgue. In 1860 the 32′ numerous DVDs of Roth’s St-Sulpice Montre was moved to the pedal and in a lectures and performances on YouTube, Saving organs throughout 20th-century renovation it made its way all produced by Christina Harmon. Bet- back to the Grand-Orgue, the organ ter still, break down and buy the DVDs now being fi ve manuals with 73 stops. from the Organ Historical Society! America....affordably! One room on the way to the organ gal- It still takes my breath away to sit in lery housed a museum that traced its the loft with Olivier Latry at Notre fascinating history. Dame during Mass. His playing for four Sunday services allowed all 29 organists August 3: Reims and students a chance to be at the organ, By Saturday, August 3, we were in complete with a console containing the Reims, where we played the Cathédral latest organ technology and design. Notre-Dame de Reims organ. Unfor- Classes and playing time were offered tunately, on our way that morning we by Thomas LaCôte at La Trinité (the received a call from Benjamin Steens, organ of Messiaen), at Sainte-Clotilde our excellent host in Reims, who told with Nicolas Pichon, La Madeleine, us a fi re had broken out in the organ with Andy Dewar at the American of St-Remi (Cattiaux, 2000), where we Cathedral, and at Notre Dame d’Auteil were to spend the afternoon. A visit to with Frédéric Blanc (living conduit 1-800-621-2624 the famous champagne caves helped us to the music of Durufl é). LaCôte told to cope with our disappointment at not us Messiaen liked the sound of ice and foleybaker.com being able to play at the basilica. crystal, 16′ & 2′ (Messe de la Pentecôte).

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 21 Pipe Organs in Canada The organ at St. James United Church, Montréal The genealogy of a restored instrument

By Andrew Forrest

he present pipe organ at St. James construction was ongoing in the work- T United Church is unique among shops of Samuel and Claver Casavant Montréal’s many interesting organs of a 73-stop instrument for Montréal’s because much of the organ’s pipework Basilique Notre-Dame; the price for the dates back to an 1889 instrument by Casavant organ was some $24,800. E.D. Wadsworth & Brothers, Organ With a 32′ fl ue stop in the pedal divi- Builders. Edward Wadsworth opened sion and two divisions on each of the his own organbuilding company in three manuals, the Wadsworth organ Manchester, England, in 1861 after was a novel and complex instrument. apprenticing with Kirtland & Jardine; The two divisions per manual could be his family subsequently continued in the played separately, or coupled together by organbuilding trade under various forms the touch of a thumb piston under each of the Wadsworth name until 1946, when manual. In addition, each manual had the company was absorbed by Jardine & its own drawknobs for appropriate pedal Company of Manchester. Present-day stops and a dedicated “pedalier” thumb British organbuilding colleagues have piston to bring the selected registration suggested that earlier Wadsworth organs into play as one moved from manual to with mechanical actions are superior manual. The middle manual controlled to the later pneumatic examples, but it the Great and Back Great divisions, Façade pipes (from Great 16′ Double Open Diapason) and casework are original to remains clear that the Wadsworth name while the Solo—in its own swell box— the 1889 Wadsworth organ, though the façade pipes were initially stencilled and never achieved the status of other British was partnered on the lowest manual with later painted. (Photo credit: Andrew Forrest) builders during the latter half of the 19th the unenclosed Choir. The Swell and century, such as William Hill, “Father” Echo divisions, playable from the third Lynnwood Farnam served as organist Torrance, Secretary to the Trustees of St. Henry Willis, or T.C. Lewis. manual, were enclosed together. for St. James Methodist Church from James Methodist Church: Perhaps sensing new business oppor- A comparison of the 1888 contract to 1904 to 1905, and was well acquainted tunities, Edward Wadsworth moved to the instrument’s fi nal specifi cation shows with the Wadsworth instrument. His My dear Sir, ′ I have this day examined in detail the Montréal in 1887 to establish a branch that two optional stops—a 16 Lieblich notebook entry on the organ provides organ erected by Mr. E. Wadsworth in St. offi ce of the family company at 298 Gedackt for the Choir and a 16′ Contra many details on the as-built stoplist and James Church, Montreal with the follow- Craig Street (which today is called rue Fagotto for the Solo—were added as forms the basis for our understanding ing results. St-Antoine). The company built two the organ was being built. Stops were of the completed 1889–91 Wadsworth I fi nd the wind supply is now ample for every possible purpose, its transmission to instruments in Canada, the fi rst being equally rearranged within the specifi ca- instrument. Though Farnham’s pages every junction of the instrument with un- a small tracker organ of ten stops for tion, presumably for a better musical on the St. James organ are typically interrupted “steadiness”. The wind trunks, Trivett Memorial Church in Exeter, result: The 16′ Contra Fagotto was meticulous, it is unclear what kind of sound boards, etc. are perfectly air tight Ontario, in 1888. The second project moved to the Back Great division with key action or key actions Wadsworth and the whole of the mechanism is in thor- ′ ′ oughly satisfactory condition. for St. James Methodist Church (as the the Great 8 and 4 reeds, permitting the employed in his instrument; but it The repairs have been carefully and church was originally known) was on a reeds to be brought in or retired col- seems highly unlikely that the organ had substantially done in full accordance with grander scale; the handwritten contract lectively in a ventil-like fashion via the purely mechanical key action. At the the agreement entered into with him in dated June of 1888 was for a grand thumb pistons under the Great manual. least, some form of pneumatic action June last, and with ordinary care and at- ′ tention, the instrument will, to the best of pipe organ of 49 stops with “tractile” The 8 Vox Humana likewise migrated would have been employed to manage my knowledge and belief, be now found key action. The price for the new organ from the Solo division to the Echo, the complexity of two divisions per entirely adequate to all legitimate demands was established at $11,550, less $2,375 while the 8′ Gamba and 8′ Voix Celeste manual. Farnam does list all couplers as made on it. for the church’s old pipe organ. For stops came together in the Solo from operating pneumatically, with the con- . . . I am pleased to be able to report so favourably, but as Mr. Wadsworth has reference, the signing of the Wadsworth their separated locations in the Swell sole having the six usual unison couplers evidently done his work of renovation in so contract took place at the same time as and Echo divisions respectively. along with sub and octave couplers for conscientious and thorough a manner, it is the Swell manual, and a Swell to Great but one to him that I could bear witness Sub coupler. of the fact. Unfortunately, the luster literally

Follow us on wore off the Wadsworth instrument at Archer was a renowned English St. James Church within two years of organist and choral conductor living in its completion in 1889. The new organ the United States, with a reputation as an Photo: Michael Timms Facebook was frequently crippled by problems expert on pipe organs that extended as arising from humidity and heating within far as Montréal; he played three dedica- ORGUES LÉTOURNEAU LTÉE the new church building. The church tory concerts on the Casavant organ at la acknowledged this in an indenture docu- Basilique Notre-Dame in May of 1891. ment signed with Wadsworth in June If the Wadsworth instrument was CANADA UNITED STATES 1891, wherein the complaint was also indeed playing as early as 1889, this 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 lodged that the organ’s “exterior has not raises questions about how such a large St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 Tel: 450-774-2698 Tel: 800-625-PIPE preserved its absolutely fresh appear- pipe organ was built within a year by [email protected] [email protected] ance.” The agreement offered Wads- an organ builder who had only arrived worth an additional $1,000 to repair in Montréal a few years earlier. For and otherwise complete his instrument, example, from where did Wadsworth Photo: David Morrison which, according to the document, had obtain his pipework for the new St. already been in place for two years. James organ? One distinct possibility is letourneauorgans.com The results of this remedial work were that he purchased pipes from another proclaimed satisfactory in a letter dated builder such as S.R. Warren & Sons or September 23, 1891, from the agreed- from a supply house. Similarly, Wads- upon arbiter, Frederick Archer, to John worth may have ordered pipes from

22 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM View from the Great division at the very top of the organ, overlooking the 1,200- Restored Choir division, front to back: 8′ Clarinet, 1-3/5′ Tierce (hidden), 2′ Piccolo, seat sanctuary. St. James United Church is in the midst of a multimillion-dollar 8′ Lieblich Flute, 8′ Dulciana, 8′ Flute Celeste; 1938 electro-pneumatic harp in back- building restoration. (Photo credit: Andrew Forrest) ground (Photo credit: Andrew Forrest) the family workshops in Manchester, scaled pipes sounding on generous wind A RUBENSTEIN FAMILY ORGAN RECITAL England, and had them shipped to pressures and having been voiced to fi ll a Canada. Having said that, Wadsworth large room is one of surprising brilliance was accused of using old pipework in and great clarity. the new organ for St. James Church, Wadsworth’s wooden stops throughout including the Pedal 16′ Trombone and the organ were unvarying, with stopped “ONE OF THE MOST the Echo 8′ Hautbois. Our survey of the bass and tenor octaves that transition SUPREMELY GIFTED organ’s present pipework suggests that to open pipes with inverted mouths at ORGANISTS OF HIS some ranks pre-date 1889: the f#19 pipe c25, similar to a Melodia. The Solo 8′ of the Great 16′ Double Diapason, for Concert Flute and the Choir 8′ Lieblich GENERATION” example, is clearly scribed “1881”, some Flute are traditional in the sense that the —The Chicago Tribune seven years before the organ’s contract open pipe bodies are deeper than they was signed. are wide, but the proportions for the Considering the spatial volume of Great 8′ and 4′ fl utes are notably wide the sanctuary at St. James’ Church and and shallow. The present Choir 8′ Flute the organ’s recessed location within the Celeste originally served as Wadsworth’s chancel, the scaling of the Wadsworth 8′ Echo Flute and also features this type pipework is surprisingly modest in of wide mouth construction. Like the comparison with the large organs of, say, metal pipes, the quality of construction William Hill. The original Great 8′ Open is adequate but unexceptional; the thick- Diapason approaches the Normalmensur ness of the wood is consistently thinner (NM) standard around 4′ C and again in than the later Warren pipes, and the the 1′ octave but never exceeds it. The quality of the joinery is slightly coarse Great 4′ Principal is consistently two to and uneven. three pipes smaller than the 8′, and it is Though E.D. Wadsworth & Bros. only in their uppermost octaves that the was still advertising in the Montréal 2 Great 2 ⁄3′ Twelfth (a tapered rank) and area as late as 1902, it is unclear what 2′ Fifteenth ranks exceed NM. These happened to Edward Wadsworth after statements are slightly complicated the completion of the St. James organ by Warren’s re-scaling and re-pitching in 1891. Wadsworth did not achieve of the original pipework in their later fame or fortune with the St. James’ reconstruction, but it remains that the organ: within days of Frederick Archer’s scalings of Wadsworth’s principals and note pronouncing the organ complete choruses were unexpectedly reticent. in September 1891, Wadsworth sent The quality of the Wadsworth pipes the church trustees a handwritten note is unremarkable when compared with requesting an advance of $30 as he the later Warren and Casavant pipes, found himself “rather short.” WEDNESDAY, FEBRUARY 5 AT 8 | CONCERT HALL and while most of Wadsworth’s metal The Wadsworth organ served the pipes were made from spotted metal, church for eighteen years, a period that the metal itself is quite thin. The Swell included Lynnwood Farnam’s tenure as 8′ Viola Ætheria is an extreme example: organist. It was replaced in 1909 with the spotted metal in the bass octaves is so a pipe organ by the Warren Church thin that lifting the pipe carelessly from Organ Company, reusing a majority of the top can easily deform the pipe’s body. the Wadsworth pipes, at a cost of $6,000. The effect produced by these moderately The Warren Church Organ Company

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 23 Pipe Organs in Canada

E.D. Wadsworth & Bros. (1888) E.D. Wadsworth & Bros. (1889) Warren Church Organ Co. (1909) Casavant Frères (1938) source: Contract dated 1888 source: Lynnwood Farnam notebooks source: Lynnwood Farnam notebooks source: Contract dated July 1938

Great (II) pipes Great (II) pipes Great (II) pipes Great (II) pipes 16′ Double Open Diapason 61 16′ Double Open Diapason 61 16′ Double Open Diapason A 61 16′ Double Open Diapason 68 8′ Open Diapason 61 8′ Open Diapason 61 8′ Open Diapason I (new stop) A 61 8′ Open Diapason I 68 8′ Hohl Flute 61 8′ Hohl Flute 61 8′ Open Diapason II A 61 8′ Open Diapason II 68 8′ Gamba 61 8′ Gamba 61 8′ Hohl Flute G 61 8′ Hohl Flute 68 4′ Principal 61 4′ Principal 61 8′ Rohr Flute G 61 8′ Rohr Flute 68 2 2 2⁄3′ Twelfth 61 2⁄3′ Twelfth + Fifteenth 122 8′ Gemshorn A 61 8′ Gemshorn 68 2′ Fifteenth 61 IV Mixture 244 8′ Gamba (new bass) A 61 4′ Principal 68 IV Mixture 244 III Mixture 183 4′ Octave G 61 4′ Flute 68 2 8′ Trumpet 61 854 4′ Flute G 61 2⁄3′ Twelfth 61 2 4′ Clarion 61 2⁄3′ Twelfth G 61 2′ Fifteenth 61 793 Back Great (II) pipes 2′ Fifteenth G 61 IV Mixture * 244 8′ Gemshorn 61 IV Mixture G 244 III Mixture * 183 Back Great (II) pipes 8′ Rohr Gedackt 61 III Mixture G 183 16′ Contra Fagotto 68 8′ Gemshorn 61 6′ Quint 61 16′ Contra Fagotto (new bass) A 61 8′ Trumpet 68 8′ Rohr Gedackt 61 4′ Flute 61 8′ Trumpet (new stop) A 61 4′ Clarion 68 4′ Viola 61 16′ Contra Fagotto (tenor C) 49 4′ Clarion G 61 1,297 4′ Clear Flute 61 8′ Trumpet 61 1,281 * new stop, 2012 III Mixture 183 4′ Clarion 61 (A = Aigu, can be coupled up an octave; 427 415 G= Grave, can be coupled an octave below)

Swell (III) expressive pipes Swell (III) expressive pipes Swell (III) expressive pipes Swell (III) expressive pipes 16′ Lieblich Bourdon 61 16′ Lieblich Bourdon 61 16′ Lieblick [sic] Bourdon 61 16′ Lieblich Bourdon 68 8′ Open Diapason 61 8′ Open Diapason 61 8′ Open Diapason 61 8′ Open Diapason 68 8′ Harmonic Flute 61 8′ Harmonique [sic] Flute 61 8′ Harmonic Flute 61 8′ Harmonic Flute 68 8′ Gamba 61 8′ Viol Ætheria 61 8′ Viol di Gamba (new stop) 61 8′ Lieblich Gedackt (fr. Choir) 68 4′ Octave 61 4′ Octave 61 8′ Viola Ætheria 61 8′ Viola da Gamba 68 2′ Fifteenth 61 2′ Flautina 61 4′ Octave 61 8′ Voix Celeste (fr. Choir) 68 III Mixture 183 III Mixture 183 2′ Flautina 61 8′ Viola Ætheria 68 16′ Bassoon 61 16′ Bassoon 61 III Mixture 183 4′ Octave 68 8′ Cornopean 61 8′ Cornopean 61 16′ Bassoon (fr. Great, 1–12 new) 61 4′ Flute (fr. Echo) 68 4′ Clarion 61 4′ Clarion 61 8′ Cornopean 61 2′ Flautino 61 732 732 8′ Oboe (new stop) 61 III Mixture 183 8′ Vox Humana (fr. Echo) 61 16′ Bassoon 68 4′ Clarion 61 8′ Cornopean 68 915 8′ Oboe 68 8′ Vox Humana * 68 4′ Clarion 68 1,196 * new stop, 2012

Choir (I) pipes Choir (I) pipes Choir (I) (expressive with Swell) Choir (I) expressive pipes 8′ Principal 61 16′ Lieblich Gedackt 61 pipes 16′ Lieblich Gedackt 68 8′ Dulciana 61 8′ Principal 61 16′ Lieblick [sic] Gedackt 61 8′ Gamba (fr. Great) 68 8′ Lieblich Gedackt 61 8′ Dulciana 61 8′ Lieblick Flute (new bass) 61 8′ Spitz Flute (fr. Echo) 68 4′ Spitz Flute 61 8′ Lieblich Gedackt 61 8′ Dulciana 61 8′ Lieblich Flute 68 4′ Lieblich Flute 61 4′ Spitz Flute 61 8′ Lieblick Gedackt 61 8′ Flute Celeste (fr. Echo) § 68 2′ Piccolo 61 4′ Lieblich Flute 61 8′ Voix Celeste (fr. Solo, new bass) 61 8′ Dulciana 68 366 2′ Flautina 61 4′ Flute Octaviante (fr. Echo) 61 4′ Flute Octaviante 68 2 Optional stops: 427 2′ Piccolo (ex. Flautino) 61 2⁄3′ Nazard (new stop) 61 16′ Lieblich Gedackt 61 8′ Clarionet (rebuilt stop) 61 2′ Piccolo 61 3 III Echo Cornet 183 8′ Cor Anglais (new stop) 61 1⁄5′ Tierce (fr. Echo) * 61 549 8′ Clarinet 68 727 § old 8′ Echo Flute from the Echo division * old 2′ Piccolo from the Echo division

Solo (I) pipes Solo (I) pipes Solo (IV) expressive pipes Solo (IV) expressive pipes 8′ Concert Flute 61 8′ Concert Flute 61 8′ Stentorphone (new stop) 61 8′ Stentorphone 68 8′ Unda maris 49 8′ Gamba 61 8′ Doppel Flute (new stop) 61 8′ Doppel Flute 68 8′ Vox Humana 61 8′ Voix Celestes 49 8′ German Gamba (new stop) 61 8′ German Gamba 68 8′ Clarionet 49 4′ Octave Flute 61 8′ Tuba (new stop) 61 8′ Concert Flute (fr. Echo) 68 8′ Orchestral Oboe 61 2′ Piccolo 61 244 4′ Violina (new stop) 68 281 8′ Clarionet (tenor C) 49 8′ Cor Anglais (fr. Choir) 68 Optional stop: 8′ Orchestral Oboe (tenor C) 49 8′ Orchestral Oboe (fr. Echo) 68 16′ Contra Fagotto (from a#10) 51 391 8′ Tuba 68 544

Echo (III) pipes Echo (III) pipes Echo (IV) (expressive with Solo) 8′ Viol Ætheria 61 8′ Echo Flute 61 pipes 8′ Vox Celeste 49 [spare slide] 8′ Spitz Flute (fr. Ch, new bass) 61 4′ Flute Octaviante 61 4′ Flute Octaviante 61 8′ Concert Flute (fr. Solo) 61 2′ Piccolo 61 8′ Hautbois 61 8′ Echo Flute (new bass) 61 8′ Hautbois 61 8′ Vox Humana 61 4′ Octave Flute (fr. Solo) 61 293 244 2′ Piccolo (fr. Solo) 61 8′ Orchestral Oboe (new stop) 61 366 Pedal pipes Pedal pipes Pedal pipes Pedal pipes 32′ Open Diapason (wood) † 30 32′ Open Diapason (wood) † 30 32′ Double Open Diapason 30 32′ Acoustic Bass (new quint pipes) 12 16′ Principal Bass (wood, ext) † 12 16′ Principal Bass (wood, ext) † 12 16′ Open Diapason (ext 32′) 12 16′ Open Diapason 32 16′ Violon 30 16′ Violone 30 16′ Violone 30 16′ Violone (new stop) 32 16′ Bourdon (wood) 30 16′ Bourdon (wood) 30 16′ Bourdon 30 16′ Bourdon 32 8′ Viola (ext) 12 8′ Viola (ext) 12 16′ Lieblich Bourdon (Swell) 16′ Gemshorn (ext Great 8′) 12 8′ Flute Bass (wood, ext) ‡ 12 8′ Flute Bass (wood, ext) ‡ 12 8′ Bass Flute (ext Open 16′) 12 16′ Lieblich Bourdon (Swell) 16′ Trombone * 30 16′ Trombone † 30 8′ Viola (ext Violone 16′) 12 8′ Bass Flute (ext Open 16′) 12 8′ Trumpet (ext) † 12 8′ Trumpet (ext) † 12 16′ Trombone 30 8′ Viola (ext Violone 16′) 12 168 168 8′ Trumpet (ext Trombone 16′) 12 8′ Stopped Flute (new ext) 12 168 4′ Flute (new ext Bass Flute 8′) 12 † available only on Great “pédalier” † available only on Great “pédalier” 32′ Bombarde (new ext 16′) 12 ‡ available only on Choir “pédalier” ‡ available on Choir and Swell “pédaliers” 16′ Trombone 32 * available on Great and Swell “pédaliers” 16′ Bassoon (Swell) 8′ Trumpet (ext Trombone 16′) 12 224

24 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM 1 2

34

1. Interior of St. James Methodist Church around 1892 (photo by Wm. Notman and Son; photo credit: McCord Museum V2459)

2. View of the organ today (photo credit: Andrew Forrest) 3. St. James Methodist Church as seen from the other side of St. Catherine Street in Montréal, circa 1890 (photo by Wm. Notman and Son; photo credit: McCord Museum V2532-A) 4. A photo from 1901 showing the spacious green surrounding St. James Methodist Church (photo by Wm. Notman and Son; photo credit: McCord Museum V4263) was established in Woodstock, Ontario, expressive enclosure as the Swell, and Echo 8′ Echo Flute, Choir 8′ Dulciana, larger scale. The original 8′ Trumpet in 1907 by Frank, Mansfi eld, and Russell likewise the Echo with the Solo, is fur- and the Choir 8′ Voix Celeste. was reworked into a 16′ Bassoon for Warren, and can be considered the last ther confi rmation that the 1909 instru- Warren went beyond re-pitching the the Swell division, with Warren pro- vestige of the once-proud Warren name ment represented substantial change organ in some cases and rescaled several viding twelve new half-length pipes in Canadian organbuilding. behind the original Wadsworth façade. ranks, likely to achieve a fuller sound. for the bottom octave. Warren also The Warren organ added a number of The new Warren console of four man- It is equally possible that Wadsworth added eighteen new full-length pipes new stops and redistributed most of the uals provided a new level of fl exibility for himself may have engaged in some re- to complete the missing bass of the Wadsworth ranks throughout the instru- organists, with each piston being adjust- scaling to suit his purposes, if one allows Great 16′ Contra Fagotto. In fact, the ment. A massively scaled 8′ Open Dia- able by drawing the desired stop combi- he recycled older pipework in his 1889 only Wadsworth reed stops to emerge pason was added to the Great, displac- nation and then pulling the piston head instrument. For instance, the Choir 4′ from the Warren workshops relatively ing Wadsworth’s original to secondary out by a fraction of an inch. There were Flûte Octaviante and Great 4′ Principal untouched—beyond being shifted status. The Choir division was enhanced a total of four pistons operating on the ranks both have many pipes marked with up one pipe as part of re-pitching the by a new 8′ Cor anglais with free reeds; entire organ and between three and fi ve three successive pitches, suggesting that organ—were the Swell 8′ Cornopean, this stop was likely purchased from a pistons operating on each division. The the original scale was too small. In the the Great and Swell 4′ Clarions and supplier, as its construction details are console also featured a pédale à bascule same way, the Swell 8′ Open Diapason possibly the Swell 8′ Vox Humana unlike anything else in the organ. A new (a balanced pedal) providing a general and 4′ Octave stops have been rescaled (which disappeared in 1956). Most of Solo division was also provided on some crescendo and diminuendo effect. no less than three times by their fourth Wadsworth’s color stops were replaced 10′′ of wind and included new Stentor- Our examination of the pipework sug- octave. As with adjusting the scales of outright, though the 8′ Clarionet was phone, Doppelfl öte, German Gamba, gests that the pitch of the Wadsworth various stops, there is no reason to think rebuilt with new shallots, blocks, and and Tuba stops. pipes was sharp of modern concert pitch Warren would have hesitated to increase boots, as well as equipped with new It appears Warren provided all-new (A=440Hz). To lower the pitch, Warren wind pressures and/or revoice the Wads- adjustable bells for tonal regulation. wind chests rather than reusing the moved all of the Wadsworth stops up worth pipework as needed. The 1889 organ had two oboe stops— Wadsworth chests; this conclusion is by one note and provided a new low C The Warren company was equally the Solo 8′ Orchestral Oboe and the based on Farnam’s description of the pipe for each stop; this served to increase revisionist with the organ’s reed stops. Echo 8′ Hautbois—though Farnam’s operation of the sub octave (G) and the scale of each stop by one pipe in the The scales for Wadsworth’s original notes state that the Orchestral Oboe’s octave (A) couplers for the Great division process. The Warren company also fi lled Great reed chorus were surprisingly pipes had been “taken out” by the time and the general increase in the number out the gaps in Wadsworth’s numerous thin—notably smaller than the Swell of his visit. Neither stop survived; the of stops per division. The rearranging short-compass stops, such as the Great chorus—so Warren replaced the pipes for both the present Swell 8′ of the Choir to reside within the same 16′ Contra Fagotto, Choir 8′ Clarionet, Great 8′ Trumpet with a new stop of Oboe and the Solo 8′ Orchestral Oboe

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 25 Pipe Organs in Canada are consistent in terms of construction and materials with Warren’s other work. Farnam returned to St. James Meth- odist Church on February 15, 1910, to play the new Warren organ, and his notes again provide useful details about the changes that were wrought. Farnam did not seem entirely pleased with all of the changes made to the instrument, noting that the “32-foot has been quite ruined…” and all of the 2′ stops seemed very “spiky,” especially the 2′ Fifteenth in the Great. He praised the new electric key action, though went on to mention the Swell action was very noisy from inside the instrument. After nearly thirty years of service from the Warren organ, St. James United Church—note the change in Solo division, with 8′ Orchestral Oboe (1909), 8′ Concert Flute, The 1938 console, rebuilt to include modern playing conve- 4′ Violina and the narrow 8′ German Gamba. Background: 8′ niences; elements such as the air-driven Wind and Full Organ name—signed a contract with Casavant ′′ Frères in July 1938 for an organ that Tuba stop, speaking on 10 pressure (Photo credit: Andrew Forrest) indicators, plus the rotary crescendo indicator, were retained and restored (Photo credit: Andrew Forrest) reused almost all of the old pipework on new windchests. As stipulated in the purchase agreement, the organ would be wooden shallots was extended downward and to the sides of the Wadsworth façade, The restored organ was fi rst heard in installed by December 18, 1938—some by twelve full-length pipes to create the serving to hide the windchests and pipes concert during the church’s annual fi ve months later—at a cost of $16,000. 32′ Bombarde stop, with the entire rank from the Great and Pedal divisions. This noon-hour series throughout the follow- Wadsworth’s 16′ façade was to be pre- sounding on 7′′ wind pressure. The Car- drape was in place until possibly the early ing summer, and as autumn approached, served, though Casavant successfully illon (or Chimes) tubes were maintained 1980s but it is unclear when exactly it the organ served as the “home” instru- lobbied to have the façade moved two from the 1909 instrument but provided disappeared; Philip Crozier, Director ment for the annual Orgues et Couleurs feet towards the nave to accommodate with a new striker rail, and a new 61-note of Music at St. James, relates the drape festival, with two major solo concerts the enlarged instrument. The short Harp was added. Finally, whatever was had been removed by the time he was performed by Johann Vexo and Philip amount of time between the contract left of Wadsworth’s “ruined” 32′ Open hired in 1986. The drape’s disappearance Crozier. Since Mr. Crozier’s appointment signing and the project’s anticipated Diapason was eliminated, and a new 32′ would have surely had some effect on as Director of Music, the organ has been completion may refl ect the lingering Acoustic Bass stop was provided with the sound of the organ, tilting the organ’s heard in a continuous series of summer effects of the Great Depression; it is twelve independent pipes sounding at tonal balance towards an even more pres- recitals over the past 26 years, with the likewise indicative that Casavant agreed the fi fth to create the 32′ effect. ent and brilliant sound—though to what single exception being the summer of to fi nance nearly half of the contract The Wadsworth-Warren instrument degree can only be guessed. 2011, when the instrument was being amount over a three-year period after would have been a comfortable fi t with The restoration work undertaken restored in the Létourneau workshops. the organ had been completed! the tonal inclinations of Stephen Stoot, by Orgues Létourneau Limitée over An instrument in the English Town Casavant’s Opus 1608 incorporated Casavant’s technical director in 1938. An a twelve-month period included re- Hall tradition, the pipe organ at St. James their state-of-the-art electro-pneumatic Englishman, many of Stoot’s instruments leathering all of the electro-pneumatic United Church has played an important windchests with pitman-type stop drew from this heritage, and in this sense windchest actions; restoring all of the role in Montréal’s organ scene and has actions built into the pouchboards for the Wadsworth and Warren materials wind reservoirs and other wind system hosted concerts by renowned organists instantaneous registration changes. The would not have seemed particularly for- components; and documenting in detail such as Lynnwood Farnam, Fernando compasses of the manual divisions were eign—though there may have been some the instrument’s pipework. Forty ranks Germani, Raymond Daveluy, André increased from 61 notes to 68 notes, and disappointment with their quality. As from the original Wadsworth instrument Marchal, Bernard Lagacé, E. Power the number of pedals increased from 30 one example, the placement of reed cho- have survived, though many ranks have Biggs, Francis Jackson, and Simon Pres- to 32 notes. The organ’s wind system was ruses on separate windchests was a trend been subsequently rescaled or rear- ton. More recently, the instrument has comprehensively redesigned, reusing in English organbuilding during the late ranged as described above. been heard in performances by Joseph old wind reservoirs and their cone-valve Victorian and Edwardian eras, enabling As part of the restoration effort, two Nolan and Sietze de Vries. All of us at regulators where practical. A new four- higher wind pressures for the reed stops new mixtures were built for the Great Létourneau Pipe Organs remain hon- manual console was also provided, incor- for a smoother tone. At St. James, the division to replace the unsuitable exam- ored to have been entrusted with this porating Casavant’s pneumatic combina- Great and Swell reed choruses were ples added in the 1980s. In the absence signifi cant restoration project and are tion action and trademark furnishings. indeed separated in this manner, but the of information regarding their original pleased to see this pipe organ reclaim- Like Warren, Casavant consolidated similar wind pressures between fl ues and compositions, the new mixtures’ breaks ing its rightful place as one of Montréal’s the instrument’s specifi cation from fi ve reeds ultimately made this something of follow English examples contemporary most noteworthy instruments. Q manual divisions to four—eliminating a hollow gesture. to the Wadsworth instrument, while —Andrew Forrest, Artistic Director, the Echo division—and transferred After 1938, the organ saw a few the scalings follow progressions estab- Orgues Létourneau Limitée several stops between divisions in the changes prior to the restoration under- lished by the Great 2′ Fifteenth and the process. The Swell, Choir, and Solo divi- taken in 2011–12. The 8′ Vox Humana original Swell mixture. The mild Swell The author would like to thank the following individuals for their assistance in preparing sions were furnished with independent in the Swell division was replaced during mixture (containing a tierce rank) was this article: John Mander, Mark Venning, 2 ′ expressive enclosures, each operated by the mid-1950s with a stopped 2 ⁄3 Nazard restored to its original specifi cation, David Wood, Karl Raudsepp, Bill Vineer Casavant’s 8-stage pneumatic motors. rank. In the 1980s, the original Great mix- with the two breaks returning to their (The Vineer Organ Library), Allen Fuller, 2 A new Nazard 2 ⁄3′ made up of stopped tures were replaced with two new stops original places at c25 and f#31. Finally, Philip Crozier, Fernand Létourneau, and pipes was added to the Choir, while a 4′ that were poorly suited to the instru- a new slotted 8′ Vox Humana in the Dany Nault. Violina—made up largely from repur- ment’s aesthetic. Likewise, the Great style of Father Willis was developed and posed pipework—was added to the Solo and Swell reed choruses were modifi ed installed in the Swell division. Andrew Forrest began with Orgues division. The Pedal division was aug- to give a brighter tone, with the resona- After nearly 75 years of service, the Létourneau Limitée in February 1999 mented through new extensions to the tors being cut to length after the original four-manual console was thoroughly and in his current position as Artistic existing stops, though the Wadsworth regulating slots had been soldered shut. rebuilt to discreetly incorporate mod- Director, oversees all of the company’s 16′–8′ Violone rank appears to have been One other signifi cant change relates to ern playing conveniences, including projects. He travels regularly to meet entirely replaced in 1938 with new pipes. the instrument’s appearance: church multiple memory levels, additional with clients, architects, and acousticians, The original Pedal 16′ Trombone with its photos show a heavy drape hung above thumb pistons, and a general piston as well as to supervise the company’s sequencer. The organ’s switching system on-site tonal fi nishing. Mr. Forrest has and wiring—much of it dating back a keen interest in the art of pipe scaling Whole & Fast to 1938—was entirely replaced with a and has completed studies of the String Half Sizes Shipping! new state-of-the-art system. Beyond the division of Philadelphia’s Wanamaker in 3 Widths Wadsworth pipework from 1889, some Organ and the 1955 Aeolian-Skinner of the instrument’s more intriguing tonal pipe organ at Winthrop University Try our suede soles and experience features include the full-length 32′ Bom- among others. He served on the local barde, the Solo 8′ Stentorphone with its organizing committee for the joint AIO- the perfect combination of leathered upper lips, the free-reed 8′ ISO 2010 convention held in Montréal, slide and grip Cor Anglais, and the 61-note Harp stop and in October 2011, Forrest was elected on the pedals! in the Choir division. to the American Institute of Organbuild- The organ was tonally regulated ers’ Board of Directors for a three-year Mens & Unisex within the church by a team of Létour- term. He holds a bachelor of arts degree Women’s Mary Oxford $60.50* and up Jane $52.50* neau voicers over the course of several in political science and economics from *plus postage weeks in early 2012. Shortly thereafter, Carleton University in Ottawa, Ontario. TOLL FREE: 1 (888) 773-0066 organmastershoes.com the church’s offi ces and meeting spaces An organist himself, Andrew Forrest has 44 Montague City Rd, Greenfield, MA 01301 USA were heavily damaged in a fi re, though two children and lives in Mont-Saint- the sanctuary and the organ were spared. Hilaire, Québec.

26 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Organ projects Scottish Chamber Organ The resurrection of a John Renton organ

By Thomas R. Thomas

rare instance of a Scottish chamber A organ (the only known example in the U.S.), with case and works by John Renton of Edinburgh, has found new life in the home of Thomas R. Thomas in Deering, New Hampshire. Initial research suggested that the instrument may have been built for Fin- gass Castle around 1860–70 and moved to a church in Halkirk in the 1930s. According to the Scottish organ historian Alan Buchan, vandals broke into the church in the 1970s and smashed most of the pipework. An American organ builder purchased the organ in 1996 and had it crated and sent to Maine, with the intention of rebuilding it for a local church. The project seems to have been beyond his capabilities and he sent it to a local auction house in Concord, New Hampshire, where it was bought by Thom Thomas. The organ case, chest Inner workings Finished product and some mechanism parts were in Thomas’s barn for several years before pipes came together at the end of the he assembled the case. summer of 2013, and the organ once Jeremy Cooper, a local organ builder, again speaks from John Renton’s mag- was enthralled with the elegance of the nifi cent casework. Q case and convinced Thomas he could restore the chest, fabricate action parts, Height 11′ 3′′ and bring the organ back to life. The Depth 2′ 9′′ chest and other parts were moved to Width 5′ 3′′ Cooper’s shop and the case sent to a 300 pipes local furniture maker to be restored. Self-contained Laukhuff .25 hp blower Stopknobs matching a few remaining ones were fabricated in England and MANUAL (CC to g3; 56 notes) engraved in the original nomenclature. Left Jamb The keydesk was given to a craftsman 8′ Open Diapason Treble 8′ Stopd Diapason Treble in Vermont to replace two missing keys, 8′ Aeoline Treble recover naturals, rebush, and adjust. A 8′ Stopd Diapason Bass new reservoir was fabricated by Jeremy Cooper, and pipes from several 19th- Right Jamb 4′ Principal century New England organ builders 4′ Flute Treble were racked on the chest. The mahog- 2′ Fifteenth any and gilt trim case, mechanics, and Wind Left jamb Right jamb

www.pipe-organ.com

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 27 Cover feature

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois Opus 42, St. Bridget Catholic Church, Richmond, Virginia From the builder The new organ at St. Bridget Catholic Church in Richmond, Virginia, is the 42nd new organ to come from the work- shop of John-Paul Buzard Pipe Organ Builders in Champaign, Illinois. It was completed on October 1, 2013, and inaugurated by Ken Cowan in concert on November 15. The organ’s visual design was guided by the parish’s desire to reclaim a large stained glass window, which the for- mer organ completely blocked. Pastor St. Bridget, previous pipe organ Monsignor William Carr, who began his clerical career at St. Bridget as the assis- space would have otherwise held. With tant pastor in the 1970s, remembered the new organ in place, the gallery has an the beauty of the occluded window additional 100 square feet of usable fl oor and began discussions with John-Paul space for the choir and other musicians, Buzard in 2005 about the possibilities. which it did not have previously. The deteriorating mechanical condition This is indeed a three-manual organ. and musical limitations of the previous The three-division design evolved from instrument hastened the desire to pro- the original two-manual divided Swell ceed. The Great Recession delayed the concept. The introduction of the 8′ Clar- start of the project until the parish raised ibel Flute into what became a somewhat all the funds to purchase the organ, as untraditional Choir division allowed the Computer rendering their bishop required. instrument to take on its three-manual The gallery’s fl oor space is quite lim- identity. The organ exhibits a far greater the room with sound even when played John-Paul Buzard, Artistic Director ited and the window is large. But, the variety of tone colors and pitch ranges softly. An entire congregation can be Brian K. Davis, Tonal Director church’s acoustical volume and musical than is typical of many instruments of supported in its singing with a single 8′ Charles Eames, Vice President and needs required an instrument of a larger its size. And it has the uncanny ability to Diapason; the strings are voluptuous and Chief Engineer tonal size than that which would have take on the appropriate tonal character- shimmering; the haunting Flute Cœles- Keith Williams, Director, Service been possible with a traditional design. istics of various historical and national tis provides an air of mystery; the Choir Department This required some outside-the-box cre- styles to fi t the character of the musical reeds provide some of the most beautiful Shane Rhoades, Foreman, Production ative thinking, and resulted in our rec- composition. All of history informs and cantabile colors imaginable; the smooth Department and Cabinetmaker ommendation that the Great division be directs us in the evolution of our singular and stately Tuba soars above full organ. David Brown, Foreman, Service suspended over the gallery rail, and that “Classically Symphonic” tonal style. Nearly every stop can be used with any Department the enclosed divisions be thought of as The engineering, mechanical sys- other to create a new musical color. Christopher Goodnight, Master more a divided Swell than independent tems, and pipe-making all support the Superior tonal design, sensitive voic- Cabinetmaker Swell and Choir divisions. Area organist artistic end result. The main manual ing, and painstaking tonal fi nishing John Jordan, Service Technician Grant Hellmers was invited to consult, windchests are all electrically operated result in the exquisite blend and balance Michael Meyer, Cabinetmaker and enthusiastically agreed that the slider and pallet chests. The chests for of the individual stops and their cho- Dennis Northway, Chicago area rep- design met both musical and architec- the unit stops have expansion chambers ruses, relating to both themselves and resentative and Service Technician tural requirements. The Great’s profi le is built into the very thick toe-boards, to to the room. And, as Ken Cowan dem- Jay Salmon, Offi ce Manager kept low in order to keep this portion of replicate the winding characteristics of onstrated to the delight of his audience, Stuart Weber, Senior Service the organ below the fi eld of glass. The the slider chests. All of the pipes are there are many ways that this instru- Technician former heavy wood railing was replaced made of high tin content pipe metal, ment can render seamless dynamic John Wiegand, Service Technician with a more transparent wrought-iron even in the bass, rather than zinc. The changes. As is the case with all Buzard Ray Wiggs, Console and Windchest rail. The two enclosed divisions are large pipes play promptly without hav- organs, symphonic color and romantic specialist located in matching cases on either side ing to use beards. The result is fullness warmth never sacrifi ce sprightly clarity Jonathan Young, Tonal Department of the window. The cases’ designs utilize and warmth without any hardness or and transparency of tone for rendering Associate shapes and details found elsewhere in inelegance of tone quality, all the way to polyphonic music. —John-Paul Buzard the Tudor-revival building. The result is the bottom of the compass. The church’s growing music program that the organ cherishes the window, and The church’s acoustics change drasti- is under the direction of Allen Bean. As a fi rst-time voicer on any project, the gallery and organ are architecturally cally when the room is fi lled with people, The children’s program, which Bean let alone one of this size, the installation integrated into the entire worship space and the church is nearly full every time instituted and includes both boy and girl of the St. Bridget’s organ was an eye- rather than being set apart. the organ is used. Tonal Director Brian choirs, has performed at the Kennedy opening experience for me. The tonal Executive Vice-President and Chief Davis ably met the challenges that this Center in Washington, D.C., and Alice design of the instrument was set before Engineer Charles Eames created an condition presents by scaling and voicing Tully Hall in New York City. I was brought onto the Buzard team, but instrument whose physical essence truly the instrument for optimal performance Thanks to the staff of Buzard Pipe I had the opportunity to voice several fl ows from the building, therein creating when the room is full. The result is that Organ Builders whose professionalism stops under the tutelage of Tonal Direc- room for a larger instrument than the the organ is never too loud, but it fi lls shines forth in all the work we undertake! tor Brian Davis. Because of the acoustical

John-Paul Buzard Pipe Organ Builders Opus 42, St. Bridget Catholic Church, Richmond, Virginia

GREAT, 3.5′′ wind pressure CHOIR, 4′′ wind pressure SWELL, 4′′ wind pressure PEDAL, 4′′ & 6′′ wind pressures Manual II (Case over gallery rail; Manual I (Expressive; gallery case Manual III (Expressive; gallery case In both gallery cases expressive as noted) left side) right side) 32′ Subbass (digital) 16′ Lieblich Gedeckt 73 pipes 16′ Lieblich Gedeckt (Gt) 8′ English Open Diapason 61 pipes 32′ Lieblich Gedeckt (Gt, 1–12 digital) 8′ Open Diapason (tin in façade) 8′ Viola da Gamba (Gt) 8′ Salicional 61 pipes 16′ Open Diapason (dig. & tin) 26 pipes 61 pipes 8′ Claribel Flute 61 pipes 8′ Voix Celeste (tc) 49 pipes 16′ Bourdon 56 pipes 8′ Flûte à Bibéron 61 pipes 8′ Gedeckt Flute (Gt) 8′ Gedeckt Flute (Gt) 16′ Lieblich Gedeckt (Gt) 8′ Viola da Gamba (in Ch box) 61 pipes 8′ Flûte Cœlestis II 80 pipes 4′ Principal 61 pipes 8′ Principal (tin in façade) 44 pipes 8′ Gedeckt Flute (in Ch box) (Double mouths and bodies in single 2′ Doublette (derived from Rank II of 8′ Violoncello (Gt) 4′ Principal (tin in façade) 61 pipes wood pipes) Grave Mixture) 8′ Bourdon (ext) 2 4′ Spire Flute 61 pipes 4′ Harmonic Flute 61 pipes 2⁄3′ Grave Mixture II 122 pipes 8′ Gedeckt Flute (Gt) 2 2 2⁄3′ Twelfth 61 pipes 2⁄3′ Nazard 61 pipes 1′ Plein Jeu III 183 pipes 4′ Choral Bass (ext) 2′ Fifteenth 61 pipes 2′ Recorder 61 pipes 16′ Bassoon 104 pipes 4′ Open Flute (ext) 3 3 1⁄5′ Seventeenth 61 pipes 1⁄5′ Tierce 61 pipes 8′ Trompette 68 pipes 16′ Trombone 104 pipes 1 1⁄3′ Fourniture IV 244 pipes 16′ English Horn 61 pipes 8′ Oboe 61 pipes 16′ Bassoon (Sw) Tremulant 8′ Clarinet 61 pipes 4′ Clarion (from 16′) 8′ Trumpet (ext) 8′ Tromba (Ped) Tremulant Tremulant 4′ Clarion (ext) 4′ Tromba Clarion (Ped) 8′ Tromba (Ped) Cymbalstern 8′ Major Tuba (Gt) 8′ Major Tuba (15′′ w.p.) 61 pipes 8′ Major Tuba (Gt) 8′ Tromba (Ped) Great to Pedal 8-4 Great to Great 16-UO-4 Choir to Choir 16-UO-4 8′ Major Tuba (Gt) Swell to Pedal 8-4 Swell to Great 16-8-4 Swell to Choir 16-8-4 Swell to Swell 16-8-4 Choir to Pedal 8-4 Choir to Great 16-8-4 Nave Shutters Off Nave Shutters Off 32 stops, 38 ranks, across three manuals and pedal

28 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Charles Eames and Shane Rhoades install the Great

Console Great division case

Casework detail characteristics of the room, the organ had to have plenty of treble ascendancy while still maintaining warm foundations and good blend. Thus, the higher pitches “sang out” a bit in the voicing room, but the effect in the church is a lively sound, not at all top-heavy but not dark or muffl ed. The organ proved an overwhelming success—clear choruses and the prox- imity of the Great case to the seating area mean contrapuntal music can be rendered quite effectively; the variety of reed colors available lend themselves to solo work as well as forming a strik- ing Swell reed chorus; two contrasting strings in separate boxes add variety to the foundations; and the presence of two cornets, one in the Great, enables the organ to reproduce French Classical Tonal Department Associate Jonathan Young Façade pipes awaiting their gold leaf music particularly well. However, it is equally adept at handling more modern a clear but rich sound, and one which I transplanted E. M. Skinner organ, which depending on the number of worship- literature and orchestral transcriptions, hope the congregation will treasure for was ¼-step fl at and in need of restora- pers in the church. as was demonstrated by Ken Cowan at years to come. tion, and a mid-1920s Steinway M, also The installation of our new instrument the inaugural recital. —Jonathan Young, Tonal Associate in poor condition. The Parish Adult evolved out of conversation between Throughout the process of voicing and Buzard Pipe Organ Builders Choir of about 20 singers sang for one Monsignor Carr and me in August 2005. tonal fi nishing, I was struck by how each Mass on Sunday morning, and the other The 1920s E. M. Skinner organ that so installed stop expanded the ability of the From the director of music Masses were led by volunteer cantors. nobly served this parish since the 1970s, organ as a vehicle for improvisation and St. Bridget Parish, a Roman Catholic Since then, the music ministry has brought here from the now deconsecrated interpretation of literature. The body parish of about 7,000 registered mem- grown. The Parish Adult Choir has Monumental Church in downtown Rich- of music this instrument will render is bers, is among the largest in the Catholic grown to 35 voices, and choirs for chil- mond, was in need of restoration. Con- indeed large, and with that in mind I Diocese of Richmond. Established in dren (absent from the music ministry for versation quickly turned to action. Within went back to Richmond at the beginning 1949, with the building completed and more than 30 years) include a Boy Choir a few months we had explored restoring of November to record enough music consecrated in 1950, the parish has of 11 singers, and a Girl Choir of nearly and enlarging the Skinner organ, with to demonstrate some of its capabilities, thrived since its inception. 30 choristers. The Boy and Girl Choirs, additions that would give it the fl exibility including pieces by Guilmant, Langlais, The church building is Tudor style with using the RSCM Voice for Life Program, required for our growing program. We de Grigny, and several major Bach Gothic elements. Seating only 500, the have established themselves as important also received from John-Paul Buzard a works. All came off admirably, a testa- church provides fi ve regular Masses every and valued ensembles, and distinguished proposal for a new instrument, one that ment to the versatility of the instrument weekend to accommodate parishioners. themselves in performances at the Ken- would be tonally designed for our acousti- and the integration of colors not usually Four Masses are led by organ and cantor, nedy Center in Washington, D.C. and cal space, give us the fl exibility we need to found on American organs, such as the with assistance from choral ensembles. Alice Tully Hall in New York City. support choirs, cantors, and congregation, large Pedal 4′ open fl ute. The Sunday evening Mass is led by piano, As the parish’s music ministry has and uncover a great west window that is The St. Bridget’s organ represents a guitars, and a contemporary choir. grown, so has the need for an organ an architectural feature of the church. tremendous outlay of time, energy, and I became Music Minister at St. Bridget that could accompany an ever increas- The original design proposed by Mr. planning in pursuit of an instrument that in October 2005. The primary accompa- ingly diverse music ministry, in a church Buzard underwent several modifi ca- will handle repertoire of any period with nying instruments at that time were a whose acoustics change dramatically tions over the following months. The

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 29 Cover feature New Organs stoplist was refi ned, as the organ became labor bought and paid for, it was a labor slightly smaller in scope than we origi- of love, and that the Buzard shop always nally envisioned, yet considerably more acted with a sense of vocation. fl exible. Mechanical components were St. Bridget parishioners gave freely also addressed in this process (another of their time to make sure the church nod to fl exibility), including indepen- was ready to receive the instrument. dent swell shades on two sides of each John McCulla coordinated our efforts enclosed division. The design process of with the Buzard shop. Richard Lewis this instrument was a delight for me as designed the mechanical and electrical parish musician. The parish is forever components the church provided. Ter- grateful for the work of our Organ Proj- rence Kerner arranged for the addition ect Consultant, Grant Hellmers, whose of HVAC for the organ gallery. Patrick wisdom and experience helped defi ne Ross and the St. Bridget maintenance the parish’s needs in an instrument, staff were always on hand to help sub- and brought clarity to the process as St. contractors and the Buzard crew with Bridget personnel and I worked with the whatever they needed. These parishio- Buzard shop in the design phase. ners have remained involved even after Once the design was fi nalized, the the organ’s completion to assure the Casework Console Buzard shop began to plan the physical project is truly complete and in keeping design of the instrument, and, under the with the church’s beautiful architecture. Marceau Pipe Organ Builders, fl ute chorus (including independent direction of Tonal Director Brian Davis, Several enabling gifts allowed this Inc., Seattle, Washington mutations) and two Gemshorns to began to envision the tonal color of project to move forward. In all, some The Episcopal Church of the complement the Swell strings. The Swell each and every stop in the instrument. 265 parishioners, a relatively small num- Incarnation, Trumpet was relocated to this chamber Mr. Davis’s ability to take the numbers ber of our many parishioners, made this Great Falls, Montana and installed on unit windchests. This that represented the (ever-changing) instrument a gift to the parish. Addition- change made it possible to provide much- acoustical properties of the church, and ally, still more parishioners have contrib- Marceau Pipe Organbuilders of Seat- needed duplexing (extended to the 16′ to determine scale and timbre of each uted to the Friends of Music Fund at St. tle, Washington, has completed a major Posaune in the Pedal) for this very versa- of more than 2,000 pipes in 38 ranks, Bridget, to enable an inaugural concert project to the M.P. Möller pipe organ tile stop. The Swell 8′ Oboe was located in producing more than 48 stops, proved series, so that we can make it a gift to the at this historic Great Falls church. The place of the 8′ Trumpet. to be remarkable. Charles Eames also Richmond community. original instrument was installed in 1949, The tonal transition was profound. worked magic, engineering the organ Because this platform is here for me as Möller’s Opus 7821, in two expressive The original Diapason chorus, aggressive that John-Paul and Brian envisioned to to do so, I want to express my special chambers. The Great and Choir were and colorless, was replaced with brighter, fi t into a relatively small space. gratitude to our Pastor, Monsignor Carr, located in the right chamber, the Swell more transparent sounds, including the Several weeks of voicing accomplished who began this conversation more than and Pedal in the left chamber. The tonal Mixture. The Choir became a stand- by John-Paul Buzard, Brian Davis, and eight years ago. He envisioned a pipe design was typical of the period, with a alone division that not only provides Jonathan Young brought St. Bridget organ for St. Bridget Parish. He let bold-sounding Diapason chorus on the added color but a secondary chorus to Parish’s organ to completion. The instru- the donors to the project know of our Great, a rather timid-sounding Choir, and the Great. The twin cases bring a visual ment’s design, its pipes, its mechanicals, need. He guided Parish Council, Par- a Swell that provided the most successful complement to the chancel that was so the construction of the instrument’s ish Finance Council, and all who made variety of chorus and solo stops. Since the lacking with the original organ. In addi- beautiful casework, its installation, its decisions about the organ throughout organ lacked for visual character, it was tion, the console was completely rebuilt, voicing, the work of St. Bridget Church’s the process. And, if there is anyone who decided that this detail would be explored and a new Syndyne control system was own organ project committee, build- delights more in this instrument than I to determine what could be done. A num- installed, expanding not only the combi- ing committee, and staff, altogether do, it is Monsignor Carr. ber of design options were presented, and nation action, but also allowing for MIDI required more than 20,000 hours of —Allen Bean the choice by the organ committee was a and transposing options. labor. I believe that even when it was Minister of Music, St. Bridget Parish more classically designed case that would Many thanks to the following: Frans blend with the architecture of the nave. Bosman worked with me in the design The grillework of the chancel open- of the twin cases and fabricated all of the ings was removed to incorporate the twin elegant parts at his Mosier, Oregon, shop. cases of the Great. Given the shallow He also worked on site to insure a quality Albert Schweitzer depth of these spaces, a modest four-stop installation. Sean Haley was responsible Great was realized. The façades contain for the console rebuild, including the pipes from the Great 8′ Principal and 4′ installation of the new Syndyne electrical Organ Festival Octave. The right case contains interior system. He was also a critical fi gure in pipes of the 4′ Octave and Mixture; the all electrical aspects of the installation. I left case contains the interior pipes of thank the artisans at A. R. Schopp’s Sons, the 8′ Principal and 8′ Open Flute. The Inc. for the exquisite façade pipes and the right chamber was repurposed to become Syndyne Corporation for working with us High School Division First Prize: $2,000 the enclosed Choir. The existing Great in all facets of their newest systems. windchest became the added Choir —René A. Marceau Other prizes also awarded windchest, thus allowing for a complete President and Tonal Director

Marceau Pipe Organ Builders, Inc. Episcopal Church of the Incarnation, Great Falls, Montana M.P. Möller Opus 7821, 1949 Marceau Opus XXVIII, 2011

GREAT (unenclosed) CHOIR (right chamber) 16′ Rohr Bourdon (Sw) 16′ Gemshorn (ext) 8′ Principal 8′ Holzgedeckt 8′ Open Flute 8′ Gemshorn 8′ Rohrfl ute (Sw) 8′ Gemshorn Celeste, TC 8′ Gemshorn (Ch) 4′ Principal 4′ Octave 4′ Spillfl ute 2 4′ Open Flute (ext) 2⁄3′ Nasard 2′ Fifteenth (ext) 2′ Blockfl ute 1 3 1⁄3′ Mixture IV 1⁄5′ Tierce 8′ Trumpet (Ch) 8′ Trumpet 8′ Clarinet SWELL (left chamber) Tremolo 16′ Rohr Bourdon (ext) 8′ Rohrfl ute PEDAL (right & left chambers) First Church 8′ Harmonic Flute 32′ Resultant 8′ Gamba 16′ Bourdon of Christ 8′ Gamba Celeste, TC 16′ Rohr Bourdon (Sw) 4′ Principal 16′ Gemshorn (Ch) 4′ Rohrfl ute (ext) 8′ Principal (Gt) 4′ Gambette (ext) 8′ Bourdon (ext) 2 2⁄3′ Nazard (ext) 8′ Gemshorn (Ch) 2′ Flautino (ext) 4′ Principal (Gt) 8′ Trumpet (Ch) 4′ Rohr Flöte (Sw) 8′ Oboe 16′ Posaune (ext, Ch) Tremolo 8′ Trumpet (Ch) 4′ Clarion (Ch) Three manuals, 45 stops, 24 ranks, 1,591 pipes

30 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Kirsten Uhlenberg; Como Park Luther- Park Ridge Presbyterian Church This calendar runs from the 15th of the month an, St. Paul, MN 12:35 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline David Cherwien; Lutheran Church of Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ the Resurrection, Roseville, MN 4 pm Bloomingdale, IL recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO 27 JANUARY chapter event, • •=RCCO centre event, +=new organ Andrea Handley; Elliott Chapel, Presby- terian Homes, Evanston, IL 1:30 pm dedication, ++= OHS event. Christopher Babcock Information cannot be accepted unless it specifi es artist name, date, location, and hour in 28 JANUARY writing. Multiple listings should be in chronological Katherine Burk; Church of St. Louis, St. Andrew’s by the Sea, order; please do not send duplicate listings. King of France, St. Paul, MN 12:35 pm Hyannis Port THE DIAPASON regrets that it cannot assume responsibility for the accuracy of calendar entries. 29 JANUARY Gregory Eaton; St. Ann & the Holy Trin- ity, New York, NY 1:10 pm UNITED STATES East of the Mississippi 30 JANUARY Dean W. Billmeyer GAVIN BLACK St. Thomas Choir of Men and Boys, with Princeton Early Keyboard Center 15 JANUARY Juilliard415; St. Thomas Church Fifth Av- University of Minnesota Gregory Eaton; St. Ann & the Holy Trin- enue, New York, NY 7:30 pm 732/599-0392 ity, New York, NY 1:10 pm Concitato; St. Bartholomew’s Episcopal, Minneapolis 55455 • [email protected] www.pekc.org New York, NY 1:15 pm 18 JANUARY Carrollton Chorale; United Methodist 31 JANUARY Church (on the Green), Morristown, NJ Tom Trenney, recital & silent fi lm; Faith Byron L. Blackmore THOMAS BROWN 7:30 pm Presbyterian, Cape Coral, FL 7 pm UNIVERSITY Martin Jean; Lutheran Church of the Re- Baroque Chamber Orchestra; Christ Crown of Life Lutheran Church PRESBYTERIAN CHURCH Church, Bradenton, FL 7:30 pm deemer, Atlanta, GA 7:30 pm Luther College Nordic Choir; St. Mary’s Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA 19 JANUARY Episcopal Cathedral, Memphis, TN 7 pm 623/214-4903 ThomasBrownMusic.com Karen Beaumont; Calvary Baptist, New Montevallo Early Music Ensemble; Ca- York, NY 3 pm thedral Church of the Advent, Birmingham, Benjamin Sheen; Cathedral of the In- AL 12:30 pm carnation, Garden City, NY 4 pm Charles Kennedy; Cathedral Church of •Jens Korndoerfer; St. Thomas Church the Advent, Birmingham, AL 3 pm ROBERT CLARK DELBERT DISSELHORST Fifth Avenue, New York, NY 5:15 pm Houston Texas Carrollton Chorale; Calvary Lutheran, 1 FEBRUARY Master Classes, Consultation Professor Emeritus [email protected] Cranford, NJ 3 pm Chelsea Chen; Arnold T. Olson Chapel, University of Iowa–Iowa City Alan Morrison; Verizon Hall, Kimmel Trinity International University, Deerfi eld, IL 513/478-0079 Center, Philadelphia, PA 2:30 pm 7:30 pm The Philadelphia Singers; Church of the Clark Wilson; Phipps Center for the Arts, Holy Trinity, Philadelphia, PA 3:30 pm Hudson, WI 2 pm Dexter Kennedy; Washington National JAMES DORROH, AAGO, PhD STEVEN EGLER Cathedral, Washington, DC 5:15 pm 2 FEBRUARY Central Michigan University Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Baroque Chamber Orchestra; Church of Bach, Cantata 125; Holy Trinity Lutheran, the Redeemer, Sarasota, FL 5:15 pm Samford University Artist in Residence New York, NY 5 pm First Congregational Church Josh Brodbeck; All Saints Lutheran, Benjamin Straley; Washington National Birmingham, Alabama Saginaw, Michigan Worthington, OH 3 pm Cathedral, Washington, DC 5:15 pm Organ Consultant Organ Recitals [email protected] Bruce Neswick; Christ Church Cathe- Jack Mitchener; Shandon United Meth- dral, Cincinnati, OH 5 pm odist, Columbia, SC 7:30 pm The Chenaults; Legacy Hall, RiverCent- Charles Kennedy; Cathedral Church of er for Music, Columbus, GA 4 pm the Advent, Birmingham, AL 3 pm JOHN FENSTERMAKER STEPHEN HAMILTON Choral Evensong; Cathedral Church of Gail Archer; St. John Cantius, Chicago, the Advent, Birmingham, AL 3 pm IL 2 pm TRINITY-BY-THE-COVE recitalist–clinician–educator Choral Evensong; Christ Church Grosse Don VerKuilen; United Church of Hyde Pointe, Grosse Pointe Farms, MI 4:30 pm Park, Chicago, IL 4 pm www.stephenjonhamilton.com Keith McNabb & Leon Nelson NAPLES, FLORIDA ; South- Joseph & Erin Ripka; Hope Presbyte- minster Presbyterian, Arlington Heights, IL rian, St. Paul, MN 4 pm 4 pm 4 FEBRUARY 21 JANUARY Margaret Burk; Church of St. Louis, King ANDREW HENDERSON, DMA David Jenkins; Church of St. Louis, King WILL HEADLEE of France, St. Paul, MN 12:35 pm of France, St. Paul, MN 12:35 pm 1650 James Street Madison Avenue Presbyterian Church New York, NY 5 FEBRUARY 22 JANUARY Syracuse, NY 13203-2816 Gregory Eaton; St. Ann & the Holy Trin- •David McConnell; Trinity Lutheran, (315) 471-8451 www.andrewhenderson.net ity, New York, NY 1:10 pm Reading, PA 12:05 pm Students of Paul Jacobs; Church of St. Beth & Ron Sider; Camp Hill Presbyte- Mary the Virgin, New York, NY 8 pm rian, Camp Hill, PA 12:15 pm Paul Jacobs; Kennedy Center Concert 23 JANUARY Hall, Washington, DC 8 pm David Shuler; St. Luke in the Fields, Kris Ward, handbells; First Presbyterian, David Herman New York, NY 8 pm Arlington Heights, IL 12 noon Trustees Distinguished Professor Emeritus of Music and University Organist Ken Cowan, masterclass; Trinity United Methodist, Huntsville, AL 4 pm 6 FEBRUARY The University of Delaware Q [email protected] Opera Feroce; St. Bartholomew’s Epis- 24 JANUARY copal, New York, NY 1:15 pm Ken Cowan, with choir; Trinity United Methodist, Huntsville, AL 7:30 pm 8 FEBRUARY A Professional Card in David Hughes; St. Agnes, New York, NY 25 JANUARY 4:30 pm Evensong; Christ & St. Stephen’s Episco- Hymn Festival of Anglican Divines; Christ The Diapason pal, New York, NY 5 pm & St. Stephen’s Episcopal, New York, NY For rates and digital specifi cations, contact Jerome Butera 5 pm 847/391-1045; [email protected] 26 JANUARY Super Bell XXII Handbell Concert; First 9 FEBRUARY Church of Christ, Wethersfi eld, CT 4 pm Bradley Hunter Welch; South Congre- •Colin Fowler; Calvary Baptist, New gational, New Britain, CT 4 pm LORRAINE BRUGH, Ph.D. York, NY 3 pm Bach, Cantata 84; Holy Trinity Lutheran, Junior Choristers; Grace Church, New New York, NY 5 pm Associate Professor York, NY 4 pm Craig Cramer; Pasquerilla Spiritual Cen- John Scott; St. Thomas Church Fifth Av- ter, Penn State University, State College, University Organist enue, New York, NY 5:15 pm PA 3 pm Impulse Handbell Ensemble; Doylestown •Ken Cowan; Trinity Lutheran, Reading, Valparaiso University Presbyterian, Doylestown, PA 4 pm PA 4 pm Valparaiso, IN Paul Jacobs; Prince of Peace Lutheran, Simon Thomas Jacobs; Episcopal Church www.valpo.edu Largo, FL 3 pm of the Redeemer, Bethesda, MD 5 pm David Arcus; Duke University Chapel, Mark King; St. John’s Episcopal, Hager- Durham, NC 5 pm stown, MD 7 pm 219-464-5084 Donald VerKuilen; St. Mary of the Lake, Christopher Houlihan; John Knox Pres- [email protected] Gary, IN 3 pm byterian, Greenville, SC 3 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 31 Gary L. Jenkins CALIFORNIA LUTHERAN UNIVERSITY Calendar Central Presbyterian Church Director, Schmidt Concert Series Kyle Johnson, DMA Christian Lane; Christ Church, Pensac- James O’Donnell; Christ Church Chris- Carmelite Monastery University Organist ola, FL 4 pm tiana Hundred, Wilmington, DE 7:30 pm Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV Huw Lewis; Christ Church, Bradenton, Hector Olivera; Levy Performing Arts Rose-Hulman Institute of Technology FL 4 pm www.callutheran.edu Center, Lake City, FL 7:30 pm Terre Haute, Indiana Hector Olivera; First Presbyterian, Na- Todd Wilson, with silent fi lm; Painesville ples, FL 4 pm United Methodist, Painesville, OH 7:30 pm Organized Rhythm; Hyde Park Commu- Daryl Robinson; St. Luke’s Episcopal, Brian Jones KIM R. KASLING nity United Methodist, Cincinnati, OH 4 pm Evanston, IL 8 pm D.M.A. Martin Jean; Concordia University, Ann Director of Music Emeritus Arbor, MI 4 pm 22 FEBRUARY St. John’s University CONCORA; St. Thomas the Apostle, TRINITY CHURCH Lynne Davis; First Congregational, Bat- West Hartford, CT 7:30 pm Collegeville, MN 56321 tle Creek, MI 4 pm BOSTON Evensong; Christ Church Schola; Christ Isabelle Demers; Longwood Gardens, Church Grosse Pointe, Grosse Pointe, MI Kennett Square, PA 8 pm 4:30 pm James O’Donnell, open choral rehears- Paul Jacobs; Wabash College, Craw- al; Christ Church Christiana Hundred, JAMES KIBBIE fordsville, IN 3 pm Wilmington, DE 10 am, lecture 2 pm The University of Michigan 29th Annual Organ Fest; First Presbyte- Mitzi Meyerson, harpsichord; Coolidge Ann Arbor, MI 48109-2085 rian, Arlington Heights, IL 4 pm Auditorium, Library of Congress, Washing- ORGAN CONSULTANT Tom Ferry; Como Park Lutheran, St. ton, DC 2 pm 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com Paul, MN 4 pm email: [email protected] 23 FEBRUARY 10 FEBRUARY Colin Lynch & Richard Webster; Trinity Organized Rhythm, workshop; Westmin- Church, Boston, MA 3 pm David K. Lamb, D.Mus. A Professional Card in ster Presbyterian, Rockford, IL 7 pm Gail Archer; Orchard Park Presbyterian, The Diapason Orchard Park, NY 4 pm Director of Music/Organist 11 FEBRUARY Bach, Cantata 77; Holy Trinity Lutheran, For rates and digital specifi cations, First United Methodist Church Schuyler Robinson; Ransdell Chapel, New York, NY 5 pm contact Jerome Butera Campbellsville University, Campbellsville, Columbus, Indiana 608/634-6253 Evensong; Bryn Mawr Presbyterian, 812/372-2851 [email protected] KY 12 noon Bryn Mawr, PA 4 pm Organized Rhythm; Westminster Presby- Nathan Laube; Wayne Presbyterian, terian, Rockford, IL 7 pm Wayne, PA 7:30 pm Christopher Wallace; Church of St. Lou- James O’Donnell; Christ Church Chris- is, King of France, St. Paul, MN 12:35 pm tiana Hundred, Wilmington, DE 11 am Elmo Cosentini; Washington National 12 FEBRUARY Cathedral, Washington, DC 5:15 pm Manhattan School of Music Symphony, Christopher Houlihan; Evangelical Lu- Symphonic Chorus, and Chamber Choir; theran, Frederick, MD 3 pm Manhattan School of Music, New York, NY Dorothy Papadakos, silent fi lm accom- 7:30 pm paniment; Duke University Chapel, Dur- •Michael Baal; Trinity Lutheran, Read- ham, NC 5 pm ing, PA 12:05 pm Hector Olivera; St. Paul Lutheran, Lake- land, FL 3 pm ANDREW PAUL MOORE 13 FEBRUARY Ring Sarasota, handbell ensemble; A.S.C.A.P. Abendmusik; St. Bartholomew’s Episco- Christ Church, Bradenton, FL 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS pal, New York, NY 1:15 pm CHRIST CHURCH Silviya Mateva; Advent Lutheran, Mel- 345 SADDLE LAKE DRIVE bourne, FL 3 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS 16 FEBRUARY (770) 594-0949 Christian Schmitt; Holy Cross College, Mozart, Requiem; First Presbyterian, Worcester, MA 3 pm Pompano Beach, FL 4 pm Bach, Cantata 9; Holy Trinity Lutheran, Aaron David Miller, with piano; Monroe New York, NY 5 pm Street United Methodist, Toledo, OH 4 pm LEON NELSON Visit The Diapason Alan Morrison; Abington Presbyterian, Christophe Mantoux; St. Joseph Cathe- dral, Columbus, OH 3 pm Director of Traditional Music website: Abington, PA 4 pm Brink Bush; Washington National Ca- Christopher Young; Emerson Concert Southminster Presbyterian Church www.TheDiapason.com thedral, Washington, DC 5:15 pm Hall, Emory University, Atlanta, GA 4 pm Arlington Heights, IL 60005 Boyd Jones; Westminster-by-the-Sea Evensong; Christ Church Grosse Pointe, Presbyterian, Port Orange, FL 3 pm Grosse Pointe, MI 4:30 pm Gainesville Civic Chorus, with orchestra; Choir of St. Chrysostom’s Church; St. MARILYN MASON First United Methodist, Ocala, FL 3 pm Chrysostom’s, Chicago, IL 2:30 pm Douglas Cleveland; First Congregation- CHAIRMAN, DEPARTMENT OF ORGAN 24 FEBRUARY UNIVERSITY OF MICHIGAN al, Sarasota, FL 4 pm James O’Donnell; St. Paul’s Episcopal, James O’Donnell, masterclass; Bristol ANN ARBOR Chapel, Princeton, NJ 3:20 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Akron, OH 4 pm Evensong; Christ Church Grosse Pointe, Christopher Young, masterclass; Em- with awesome technique and a thrilling command of its daring writing.” erson Concert Hall, Emory University, At- The American Organist, 1980 Grosse Pointe, MI 4:30 pm Craig Cramer; DeBartolo Center for lanta, GA, 9 am Arts, University of Notre Dame, Notre Brett Zumsteg; Elliott Chapel, Evanston, Dame, IN 4 pm IL 1:30 pm Choral Evensong; Cathedral Church of SYLVIE POIRIER 25 FEBRUARY LARRY PALMER the Advent, Birmingham, AL 3 pm Karen Beaumont; St. Mary’s Harlem, Dee Anne Crossley; Como Park Luther- Professor of PHILIP CROZIER New York, NY 5 pm an, St. Paul, MN 4 pm ORGAN DUO Christophe Mantoux; Christ Episcopal Harpsichord and Organ 18 FEBRUARY Church, Macon, GA 7 pm 3355 Queen Mary Road, Apt 424 Dean Billmeyer; Church of St. Louis, Meadows School of the Arts Elizabeth & Raymond Chenault, Jeffer- Montreal, H3V 1A5, P. Quebec son McConnaughey, & Michael Crowe; King of France, St. Paul, MN 12:35 pm Simon Johnson; Cathedral of St. Paul, SOUTHERN METHODIST UNIVERSITY Canada All Saints’ Episcopal, Atlanta, GA 7:30 pm St. Paul, MN 7:30 pm (514) 739-8696 Russell Draeger; Church of St. Louis, Dallas, Texas 75275 King of France, St. Paul, MN 12:35 pm Fax: (514) 739-4752 27 FEBRUARY Ensemble Breve; St. Bartholomew’s Musical Heritage Society recordings [email protected] 19 FEBRUARY Cathedral Choir and Rose of the Com- Episcopal, New York, NY 1:15 pm pass; Cathedral of St. John the Divine, New York, NY 9 pm 28 FEBRUARY James O’Donnell, masterclass; Field Jonathan Ryan; Christ Church, Green- Concert Hall, Curtis Institute of Music, wich, CT 7:30 pm Philadelphia, PA 1 pm Christopher Jacobson; St. Paul’s Epis- Christopher Young; Edman Chapel, copal, Greenville, NC 7:30 pm Wheaton College, Wheaton, IL 7:30 pm Choirs of St. Peter in Chains Cathedral, Xavier University, Collegium Cincinnati, 20 FEBRUARY and Cincinnati Christian Hills Academy; St. WARREN D. HOOD II, DSM Siren Baroque; St. Bartholomew’s Epis- Peter in Chains Cathedral, Cincinnati, OH copal, New York, NY 1:15 pm 3 pm Organist and Director of Music Passion Music; St. Luke in the Fields, Olivier Latry; Church of the Good Shep- Th e Historic Sharon Baptist Church New York, NY 8 pm herd, Lexington, KY 7 pm Christopher Houlihan; Christ Church Baltimore, MD 21217 21 FEBRUARY Cathedral, Nashville, TN 7:30 pm Benjamin Sheen; Trinity College, Hart- Leon Couch; Cathedral Church of the ford, CT 7:30 pm Advent, Birmingham, AL 12:30 pm

32 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar A Professional Card in BRUCE POWER The Diapason UNITED STATES Melody Steed, with trumpet; Samuel- For rates and digital specifi cations, Organist West of the Mississippi son Chapel, California Lutheran University, contact Jerome Butera Christ Church Cathedral Thousand Oaks, CA 7:30 pm 608/634-6253 17 JANUARY [email protected] Houston Douglas Cleveland; First Congregation- 2 FEBRUARY al, Boulder, CO 7:30 pm Jeannine Jordan, with media artist; St. Jonathan Wohlers; Christ Episcopal, Paul’s Lutheran, Des Peres, MO 7 pm Stephen G. Schaeffer Tacoma, WA 12:10 pm Martin Schmeding; Bates Recital Hall, Nicholas E. Schmelter University of Texas, Austin, TX 4 pm Recitals – Consultations 18 JANUARY John Stuntebeck, with fl ute; St. Mark’s Director of Music Emeritus Director of Music and Organist Silviya Mateva; Sharp Hall, University of Cathedral, Seattle, WA 2 pm First Congregational Church Christoph Tietze; St. Mary’s Cathedral, Cathedral Church of the Advent Oklahoma, Norman, OK 8 pm Saginaw, Michigan +Ken Cowan; Lord of Life Lutheran, Sun San Francisco, CA 3:30 pm Birmingham, Alabama City West, AZ 2 pm 7 FEBRUARY 19 JANUARY John Schwandt; St. Philip the Deacon Martha Sandford; St. John’s Cathedral, Lutheran, Plymouth, MN 8 pm ROBERT L. Stephen Tappe Denver, CO 3 pm Christoph Bull; Northridge United Meth- Organist and Director of Music +Ken Cowan; Lord of Life Lutheran, Sun odist, Northridge, CA 7:30 pm SIMPSON Saint John's Cathedral City West, AZ 3 pm 8 FEBRUARY Christ Church Cathedral Denver, Colorado Jeremy Filsell; Our Lady of Lourdes, 1117 Texas Avenue Sun City West, AZ 3 pm Kathy Borgen, with soprano and violin; Houston, Texas 77002 www.sjcathedral.org •Anthony Williams; St. Mary’s Cathe- St. Olaf Catholic, Minneapolis, MN 1:30 pm dral, San Francisco, CA 3:30 pm Cantus; Cathedral Basilica of St. Louis, St. Louis, MO 8 pm ORGAN MUSIC OF THE SPANISH BAROQUE 24 JANUARY Ars Lyrica Houston; Hobby Center for the •Aaron David Miller, silent fi lm accom- Performing Arts, Houston, TX 9 pm David Troiano Joe Utterback paniment; First Lutheran, Duluth, MN 7 pm DMA MAPM COMMISSIONS & CONCERTS •Jonathan Dimmock; Doc Rando Re- 9 FEBRUARY cital Hall, University of Nevada, Las Vegas, Gail Archer; Bethel Lutheran, Roches- 586.778.8035 732 . 747 . 5227 NV 7:30 pm ter, MN 3 pm [email protected] Lee Afdahl, with friends; First Presbyte- 25 JANUARY rian, Rochester, MN 4 pm Nathan Laube; Augustana Lutheran, Jeannine Jordan, with media artist; St. Denver, CO 7:30 pm Paul’s Lutheran, Des Peres, MO 7 pm Marcia Van Oyen David Wagner George Baker, improvisation workshop; Nathan Laube; American Lutheran, DMA St. Edmund’s Episcopal, San Marino, CA Prescott, AZ 3 pm First United Methodist Church Madonna University 11 am, 2 pm Christoph Tietze; St. Mary’s Cathedral, Plymouth, Michigan Livonia, Michigan San Francisco, CA 3:30 pm 26 JANUARY mvanoyen.com [email protected] Brent Nolte; Martin Luther College, New 10 FEBRUARY Ulm, MN 4 pm Vicki Shaeffer; Gothic Hall, University of Craig Cramer; First & Calvary Presbyte- Oklahoma, Norman, OK 8 pm rian, Springfi eld, MO 2:30 pm Janette Fishell; Episcopal Church of the 11 FEBRUARY Kevin Walters KARL WATSON Transfi guration, Dallas, TX 7 pm Hans Hielscher; St. John’s Cathedral, M.A., F.A.G.O. University of Texas at Arlington A Cap- Denver, CO 12 noon SAINT LUKE’S pella Choir; St. Stephen Presbyterian, Fort Rye, New York ETUCHEN Worth, TX 7 pm 13 FEBRUARY M Benjamin Sheen; St. Philip’s Episcopal, Jean Krinke; St. Barnabas Lutheran, Beeville, TX 3 pm Plymouth, MN 12:30 pm Sharon Porter Shull; Trinity Lutheran, Clive Driskill-Smith; Boston Avenue Lynnwood, WA 7 pm United Methodist, Tulsa, OK 7 pm Alan G Woolley PhD Davis Wortman

Musical Instrument Research 28 JANUARY 14 FEBRUARY Edinburgh St. James’ Church Ken Cowan; St. Margaret’s Episcopal, John Schwandt, silent fi lm accompani- [email protected] Palm Desert, CA 7 pm ment; Sharp Hall, University of Oklahoma, New York Norman, OK 8 pm 31 JANUARY Michael Hey; St. John’s Cathedral, Den- Ars Lyrica Houston; First Presbyterian, ver, CO 7:30 pm Zilkha Hall, Hobby Center for the Perform- ing Arts, Houston, TX 9 pm 16 FEBRUARY RUDOLF ZUIDERVELD James Welch; The Mormon Tabernacle, Clive Driskill-Smith; St. Mark’s Episco- RONALD WYATT Salt Lake City, UT 5:30 pm pal Cathedral, Minneapolis, MN 3 pm Trinity Church Illinois College, Jacksonville Galveston First Presbyterian Church, Springfi eld

Charles Dodsley Walker, FAGO Artist-in-Residence Founder/Conductor Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 1 (917) 628-7650 (212) 222-9458 ( 5 < A two-inch Professional Card ( in The Diapason For information on rates and specifi cations, contact Jerome Butera: 9 [email protected] 608/634-6253 @ ArtistArtist Spotlights Spotlightspotlight s DAVID SPICER  Artist Spotlights First Church of Christ  are available on Wethersfi eld, Connecticut  The Diapason  website and e-mail newsletter. Contact Jerome Butera for rates and specifi cations. 608/634-6253 House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 33 Calendar Organ Recitals

Peter Mark Scott, with voice and piano; Christoph Tietze; St. Mary’s Cathedral, Nicholas Morris; Westminster Abbey, FEDERICO ANDREONI, St. James St. Stephen Presbyterian, Fort Worth, TX San Francisco, CA 3:30 pm London, UK 5:45 pm United Church, Montreal, QC, Canada, Au- 3 pm gust 13: Deux Danses à Agni Yavishta, Alain; Paul Jacobs; Davies Symphony Hall, 25 FEBRUARY 4 FEBRUARY Allegro vivace (Symphony No. 1 in d, op. 14), San Francisco, CA 3 pm David Briggs; Luther College, Decorah, Maîtrise Notre-Dame de Paris, Grego- Vierne; Ciaccona in C (Selva di varie compo- Hans Uwe Hielscher; St. Mary’s Cathe- IA 7:30 pm rian chant; Notre-Dame Cathedral, Paris, sizioni), Storace; Prélude, fugue et variation, dral, San Francisco, CA 3:30 pm France 8:30 pm op. 18, Franck; Finale (Symphony No. 6 in g, Carol Williams; Spreckels Organ Soci- 28 FEBRUARY Ann Elise Smoot; St. George’s, Hanover op. 42, no. 2), Widor. ety, Balboa Park, San Diego, CA 2 pm Marian Metson & Rexphil Rallanka; St. Square, London, UK 1:10 pm Christophe Mantoux; All Souls Episco- Andrew’s Episcopal, Antelope, CA 7 pm AGNES ARMSTRONG, with Samantha pal, San Diego, CA 4 pm Christoph Bull; Modesto First Christian 6 FEBRUARY Crouse, oboe and fl ute, Megan Crouse, viola Reformed, Modesto, CA 7:30 pm Hartmut Leuschner-Rostoski; St. Mar- and piano, Round Lake Auditorium, Round 17 FEBRUARY garet Lothbury, London, UK 1:10 pm Lake, NY, August 4 & 5: Grand choeur en Tom Trenney; Wilshire Boulevard Tem- INTERNATIONAL forme de marche, op. 52, no. 2, Guilmant; ple, Los Angeles, CA 10:30 am 8 FEBRUARY Prayer of Saint Gregory, Hovhaness; Duetto Nick Gale; St. George’s Cathedral 19 JANUARY I, Fiala; Ciacona f-moll, Pachelbel; Sonate, Southwark, London, UK 1:15 pm 18 FEBRUARY Martin Ford; Westminster Cathedral, op. 166, Saint-Saëns; Romanze, op. 85, Bruch; Organized Rhythm; Grinnell College, Duetto II, Fiala; Sarabande, Corelli; Lotus, London, UK 4:45 pm 9 FEBRUARY Grinnell, IA 7:30 pm Martin Welzel; Westminster Abbey, Lon- Strayhorn, transcr. Wyton; Choral, Arabesque Peter Holder; Westminster Cathedral, don, UK 5:45 pm (24 Pièces en style libre, op. 36), Vierne; In- 19 FEBRUARY London, UK 4:45 pm terlude, Ibert; Prière en fa, op. 16, Guilmant; Christophe Mantoux; Memorial Church, 22 JANUARY Martin Ford; Westminster Abbey, Lon- Bourée, The Rejoicing (Music for the Royal Stanford University, Stanford, CA 7:30 pm Berlioz, Requiem; Notre-Dame Cathe- don, UK 5:45 pm Fireworks), Handel. dral, Paris, France 9 pm Alan John Philips; Christ’s Chapel, Dul- 21 FEBRUARY Eleni Keventsidou; Concert Hall, Read- wich, London, UK 7:45 pm BRUCE A. BENGTSON, Sinsinawa Janette Fishell; McCray Recital Hall, ing, UK 1 pm Mound, Sinsinawa, WI, August 21: Two Pittsburg State University, Pittsburg, KS 11 FEBRUARY Pieces for the Organ, Sibelius; Ach wir armen 7:30 pm 23 JANUARY Maîtrise Notre-Dame de Paris, 20th-cen- Sünder, Weckmann; Works for Flute Clock, Clive Driskill-Smith; All Saints’ Episco- Martin Baker; St. John’s Smith Square, tury works; Notre-Dame Cathedral, Paris, Haydn; Sonata No. 3 in d, Fink; O Lamm pal, Fort Worth, TX 7:30 pm London, UK 1:05 pm France 8:30 pm Gottes unschuldig, Bach; Romanian Folk Ars Lyrica Houston; First Presbyterian, Daniel Chappuis; St. Margaret Lothbury, Richard Pearce; St. Lawrence, Alton, UK Dances, Bartók; Ten Pieces, Gigout. Austin, TX 8 pm London, UK 1:10 pm 8 pm Tomoko Miyamoto; Christ Episcopal, YOLLANDA BORNHOFF and MI- 26 JANUARY Tacoma, WA 12:10 pm 16 FEBRUARY CHAEL SURRATT, with William Chin, nar- Richard Moore; Westminster Cathedral, Christoph Bull & Norton Wisdom; First Jonathan Lilley; Westminster Cathe- rator, First United Church of Oak Park, Oak London, UK 4:45 pm Congregational, Long Beach, CA 8 pm dral, London, UK 4:45 pm Park, IL, September 29: Concerto No. 3 in James O’Donnell; Westminster Abbey, Anthony Hammond; Westminster Ab- London, UK 5:45 pm G, Soler; Rex: The King of Instruments, Bur- 23 FEBRUARY bey, London, UK 5:45 pm ton; Sonata Da Circo, Toot Suite for Calliope Nathan Laube o Craig Cramer; Faith Lutheran Church, 31 JANUARY ; Westminster United, or Organ, Four Hands, S. 212 , P.D.Q. Bach; Clive, IA 4 pm Charles Andrews; St. Stephen Wal- Winnipeg, MB, Canada 2:30 pm Dialog for Organ and Piano, Sowerby; He’s Gereon Krahforst, with St. Louis Sym- brook, London, UK 12:30 pm Got the Whole World in His Hands, Raney. phony Brass; Cathedral Basilica of St. Lou- Ay-Laung Wang, with trumpet; Holy Ro- 18 FEBRUARY is, St. Louis, MO 2:30 pm sary Cathedral, Vancouver, BC 8 pm Richard Hobson; Bromley Parish, Lon- JACQUES BOUCHER, St. James United Rosalind Mohnsen; Westminster Pres- don, UK 1 pm Church, Montreal, QC, Canada, August 27: byterian, Lincoln, NE 3 pm 2 FEBRUARY Fantasia, Choral Magnifi cat, Pachelbel; Ap- Clive Driskill-Smith; Christ Church Martin Baker; Westminster Cathedral, 20 FEBRUARY parition de l’église éternelle, Messiaen; Offer- Episcopal, Eureka, CA 3 pm London, UK 4:45 pm Betty Maisonnat; St. Margaret Lothbury, toire sur O Filii et fi liae, op. 49, no. 2, Prière, London, UK 1:10 pm op. 56, no. 2, Marche en ré majeur, op. 39, no. 3, Sonata No. 4 in d, op. 61, Guilmant. ORGAN BUILDERS 22 FEBRUARY Thomas Trotter; Haileybury College, ANDREAS CAVELIUS, St. James United Hertford Heath, UK 5:30 pm Church, Montreal, QC, Canada, August 20: L. W. BLACKINTON THE NOACK ORGAN CO., INC. Allegro con brio (Sonate No. 7 en fa mineur, and associates, inc. MAIN AND SCHOOL STREETS 23 FEBRUARY GEORGETOWN, MA 01833 op. 127), Rheinberger; Choral No. 1 en mi www.noackorgan.com Peter Stevens; Westminster Cathedral, majeur, Franck; Suite pour orgue, le Roy; 380 FRONT ST. London, UK 4:45 pm Tempo di Menuetto (Quatrième Symphonie EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Peter Holder; Westminster Abbey, Lon- en sol mineur, op. 32), Vierne; Allegro appas- don, UK 5:45 pm sionato (Sonata No. 5 in c, op. 80), Guilmant.

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34 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM Organ Recitals

Pastorale, Fricker; Fantasie Choral No. 2 in lassen, Matter; Tre Tonestykker, op. 22, Gade; son; Spiritual Set, Da Costa; We Shall Over- E-fl at, op. 65), Parker; Etude Symphonique, f, Whitlock; Chant de Mai, op. 53, no. 1, Toc- Sonata II, Hindemith; Prelude und Fuge in e, come, Willis. op. 78, Bossi. cata, op. 104, Jongen. BWV 548, Bach. Collégiale de Neuchâtel, Neuchâtel, Viborg Dom, Viborg, Denmark, July 17: ERICA JOHNSON, Old West Church, STEPHEN A. STEELY, Sinsinawa Switzerland, July 26: Suite du deuxième ton, Prélude et Fuge en bé majeur, Dupré; Nun Boston, MA, August 20: Toccata quinta, Muf- Mound, Sinsinawa, WI, August 28: Triumphal Bédard; Epiphania Domini (L’Orgue Mys- bitten wir den Heiligen Geist, BuxWV 209, fat; Aria allemagna con alcune variazioni so- March, op. 56, no. 3, Grieg; Two Pieces, Wes- tique, op. 55, no.7), Tournemire; A Gigge Buxtehude; Sonata II, Hindemith; Prière, op. pra l’età della Maestà Vostra, Poglietti; Scher- ley; Two Chorale Preludes on All Glory Be to (Doctor Bull’s my selfe), Bull; Kyrie (Gott hei- 37, no. 3, Jongen; Prelude und Fuge in e, BWV zetto, Cantabile, Jongen; Prelude and Fugue God on High, Bach; Praeludium in f, BuxWV liger Geist, BWV 671), Bach; Rhapsody on a 548, Bach; The peace may be exchanged, The in C Major, Krebs. 146, Buxtehude; Processional Music, Berlin- Ground, Statham; Grand Choeur, Reed. people respond ‘Amen’ (Rubrics), Locklair. ski; Three Improvisations, Vierne; Seven Im- Eglise Saint-Just, Arbois, France, July MARK MCDONALD, St. James United provisations, op. 150, Saint-Saëns. 28; Ave Maris Stella, Titelouze; Variations ALICE FIEDLEROVÁ and JOAN Church, Montreal, QC, Canada, August 6: (Cantilena Anglica Fortunae), Scheidt; Of- DEVEE DIXON, Sinsinawa Mound, Sin- Praeludium in d, Magnifi cat XIII. Toni, Fan- JEREMY DAVID TARRANT, Cathedral fertoire sur les Grands jeux (Messe pour les sinawa, WI, August 14: Festive Trumpet Tune, tasia, Praeludium in G, Scheidemann; Con- Church of St. Paul, Detroit, MI, August 19: Paroisses), Couperin; Bergamasca (Fiori Martin; God of Our Fathers, Innes; Mine fi temini Domino, di Lasso; Onder een linde Fantasia and Fugue in g, BWV 542, Wa- Musicali), Frescobaldi; Kyrie (Messe Dou- Eyes Have Seen the Glory, Smith; Fanta- groen, Sweelinck; In Nomine, Bull; Omnia chet auf! ruft uns die Stimme, BWV 645, ble), Plein Jeu (Premier Kyrie), Fugue sia on America the Beautiful, Koury; Come quae fecisti nobis Domine, di Lasso. Bach; Andante with variations, Mendels- grave (Deuxième Kyrie), Duo (Troisième Thou Fount of Every Blessing, Church in the sohn; Elegy, J. Biery; Toccata, op. 53, no. 6, Kyrie), Pour la basse de trompette Wildwood, I’ve Got Shoes, Wade in the Wa- GREGORY PETERSON, Sinsinawa Vierne; Scherzo, op. 2, Prélude, Adagio et (Quatrième Kyrie), Plein Jeu, Cinquième et ter, Saints-Hallelujah, Dixon; Suite for Piano, Mound, Sinsinawa, WI, August 7: Praeludium Choral varié sur le thème du Veni creator, dernier Kyrie, Anonymous; Récit de Tierce Slavicky; Slavonic Dances, op. 72, Dvorák. en taille (Gloria—Premier Livre d’Orgue), in G Major, Bruhns; Three Chorale Preludes, op. 4, Durufl é. Bach; Passacaglia, Cassler; Psalm-Prelude, de Grigny; Suite du deuxième ton, Bédard; STEPHEN HAMILTON, Grace Cathe- op. 32, no. 2, Howells; Nef, Rosace, Toccata: STEPHEN THARP, Cathedral Church Voluntary for Double Organ, Purcell; Sym- dral, San Francisco, CA, August 4: Choral Tu es Petra et portae inferi non praevalebunt of the Advent, Birmingham, AL, Septem- phonie sur le bémol fa (Troisième Livre Variations on Veni Creator, Durufl é; Prelude, adversus te (Esquisses Byzantines), Mulet. ber 20: Orchestral Suite No. 3, BWV 1068, d’Orgue), Lebègue. Fugue and Variation, Franck; Choral in E, Bach; Prose sur le “Stabat Mater Dolorosa,” Franck; Joie et Clarté des Corps Glorieux NAOMI ROWLEY, Memorial Presbyte- ROBERT DELCAMP, St. John’s Episco- (Les Corps Glorieux), Messiaen; Prelude and L’Organiste Liturgiste, op. 65, Guilmant; Straf pal Cathedral, Jacksonville, FL, September 6: Fugue in B Major, op. 7, no. 1, Dupré. rian Church, Appleton, WI, August 1: Prelude mich nicht in deinem Zorn, op. 40, no. 2, Re- Grand choeur dialogué, Gigout; Allegretto in in c, op. 60, no. 15, Lange; Two Noëls, Daquin; ger; Variations, Symphonie VIII pour Grand b, op. 19, no. 1, Guilmant; Trois Pièces, op. 29, PAUL JACOBS, Madonna della Strada Prélude et fughetta, Böely; Berceuse, Fauré; Orgue, op. 42, no. 4, Widor; Lamento, Mi- Pierné; Andantino (Deuxième Suite, op. 27), Chapel, Chicago, IL, August 18: Symphony Variations on ‘Amazing Grace,’ Bédard. chael, Baker; Paean for Organ Duet, Paulus. Boëllmann; Choral No. 2 in b, Franck; Scher- No. 1, op. 14, Vierne; Prelude in F, Boulanger; zo (Symphony No. 2, op. 20), Vierne; Allegro Suite, op. 5, Durufl é; Le Dieu caché, La JONATHAN SCHAKEL, Old West THOMAS WIKMAN, Lutheran School of (Symphony No. 6, op. 42), Widor. Présence multipliée, Prière après la commu- Church, Boston, MA, August 27: Pre- Theology, Chicago, IL, September 3: Grand nion (Livre du Saint Sacrement), Messiaen; lude and Fugue in c, Mendelssohn; Psalm Dialogue in C, Marchand; Partita on Vater JONATHAN DIMMOCK, Brunswick Sonata in d, op. 42, Guilmant. 36: ‘Des boosdoenderswille seer quaet,’ unser in Himmelreich, Buxtehude; Prelude Cathedral, Braunschweig, Germany, July 14: Sweelinck; Salamanca (Trois Préludes Ham- and Fugue in e, BWV 548, Bach. Sonata IV in D, op. 65, no. 5, Mendelssohn; CALVERT JOHNSON, First Baptist bourgeois), Bovet; Psalm 124 (after David Unter der Linden grüne, Sweelinck; Von Gott Church, Marietta, GA, August 4: Suite No. Peebles), Davies; Prelude and Fugue in D, JAN WORDEN-LACKEY, harpsichord, will ich nicht lassen,” Matter; Passacaglia in 1, Price; Obangiji, Joshua Fit de Battle ob BWV 532, Bach. First Presbyterian Church, Santa Fe, NM, d, Kerll; Three Dances (Suzanne van Soldt Jericho, Sowande; Nuptial Song (The Nuptial September 6: Fantasia, Strogers; The Bells, Manuscript), Anonymous; Prelude and Fugue Suite), King; Impromptu in F, op. 78/1 (Three STEPHEN SCHNURR, Basilica of Saints Byrd; The Leaves bee greene, Inglot; Le Cou- in e, BWV 548, Bach; Salamanca, Bovet. Impromptus), Coleridge-Taylor; Toccata on a Peter and Paul, Lewiston, ME, August 30: In- coû, Daquin; Musette en rondeau (Pièces Dom, Odense, Denmark, July 16; Ciacona Spiritual, Braithwaite; Meditation on ‘Were troduction and Passacaglia in d, Reger; Varia- de Clavecin), Rameau; Prelude and Fugue in e, BuxWV 160, Buxtehude; Unter der Lin- You There’, Simpson-Curenton; Fantasy and tions on HYFRYDOL, Northway; Symphonie V in g, BWV 885, Bach; Passacaille (Suite VII den grüne, Sweelinck; Von Gott will ich nicht Fugue on ‘My Lord, What a Mourning’, Simp- in f, op. 42, no. 1, Widor; Allegretto (Sonata in in g), Handel.

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Of special Visit the OHS online catalog for over 5,000 full-time organ restorer and technician with at Pacifi c Time). interest is the recently published Atlas from the organ-related books, recordings, and sheet least 5 years experience and skills in organ tuning 58th convention of the OHS in 2013 celebrating music: www.ohscatalog.org. and maintenance. Other duties include general the bicentennial of the pipe organ in Vermont, 2014 OHS Organ Calendar featuring beautiful restoration work and on-site removal and instal- 1814–2014. Researched and written by archivist lation. We are a small shop looking for a person color photographs of diverse instruments of HYBRID ORGANS FOR SALE Stephen Pinel, this 235-page publication includes Syracuse area, including six instruments that who is enthusiastic and good-natured, works eas- evocative writing about the state of music-making have been awarded OHS Citations. 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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2014 Q 37 2013 In Review—An Index

Articles, Reports, and Reviews — by author (boldface) and subject Alain, Marie-Claire. See Christie. Aug 16–17+, Sept 16–17+, Oct 18–19+, Collins, John. Early Organ Composers’ Owen, Barbara. OHS 2013: In the Green Albert Schweitzer Organ Festival. See Nov 18–19+, Dec 18–19+ Anniversaries in 2013. Feb 21 Mountain State, Burlington, Vermont, Spicer. Book Reviews. See Bullard, Herman, ———. New Organ Music. Feb 17–18, June 24–29, 2013. Dec 22–25* American Guild of Organists. See August. Speller, Warde, Zoller. March 17–18, April 15, May 15, July 15, Ascension Organ Academy. See Goldray. Bullard, John M. Book Reviews. Feb Aug 14–15, Sept 14–15, Oct 15, Nov 15, Palmer, Larry. Harpsichord News. Feb August, Robert. American Guild of 15–16, May 13–14, June 12, Nov 12–13 Dec 14–15 20*, April 11–12*, May 11–12*, Dec 12* Organists National Convention 2012: Butera, Jerome. Editor’s Notebook. Jan ———. New Recordings. Sept 12–13, Nov Pedagogy. See Black. Confessions of a Puritan. Jan 20–22* 3, Feb 3, March 3, April 3, May 3, June 13–14 Perry, Roy. See Campbell. August, Robert Jan. New Organ Music. 3, July 3 Composers’ anniversaries. See Collins. Pipe organ action. See Woolley. June 16, Dec 15 Continuo playing. See Willis. Polish pipe organs. See Thoene. Campbell, Neal. 2012 East Texas Pipe Copenhagen. See Kolodziej. Powell, Robert. See Egler. Bach, J.S. See Hall. Organ Festival: Kilgore, Longview, and Baroque. See Serebrennikov. Nacogdoches, Texas. Feb 22–25* East Texas Pipe Organ Festival. See Reed, Douglas. Robert Clark, Master Bedient, Gene. New Recordings. July Canadian pipe organs. See Goulding and Campbell. Teacher: An Interview. Aug 20–23* 13–14. Vineer, Stretton. Editor’s Notebook. See Butera, Robinson. Reed, James M. New Recordings. Feb Bishop, John. In the wind . . . Jan 12–13*, Carillon News. See Swager. Egler, Steven. A conversation with Robert 16, March 16–17, April 14–15, May Feb 12–13, March 12–13*, April 18–19*, Choral music. See McCray, Smith. Powell: Celebrating his 80th birthday. 14–15, June 14–15, July 14–15, Aug 14, May 18–19*, June 18–19, July 18–19*, Christie, James David. Marie-Claire Sept 20–23* Oct 14–15, Dec 14 Aug 18–19*, Sept 18–19*, Oct 16–17*, Alain: August 10, 1926–February 26, Resseler, Frank. Anglo-Dutch Organ Nov 16–17*, Dec 16–17* 2013. April 23* Goldray, Martin. Ascension Organ Acad- Transplant: A Henry Willis organ in Black, Gavin. On Teaching. Jan 14–15, Church of the Ascension. See Goldray. emy, June 11–15, 2012, Church of the Leiden, the Netherlands. Dec 20*† Feb 14, March 14–15*, April 16–17+, Clark, Robert. See Douglas Reed. Ascension, New York. March 29* Rippl, Frank. Organ Historical Society May 16–17+, June 17–18+, July 16–17, Goulding, Lester, and Vineer, William. National Convention, Chicago, July The British Invasion Lives On! Pipe 8–13, 2012. March 20–25* Organs of Newfoundland and Labrador. Robinson, Joyce. Editor’s Notebook. July Canada July 22–25*# 3, Aug 3, Sep 3, Oct 3, Nov 3, Dec 3 Rumsey, David. In Search of the Secrets Hall, Jonathan B. BWV 565: Composer of Medieval Organs: The European Found?* Jan 24–27+ Summer of 2012—A Report and Some Harpsichord News. See Palmer. Refl ections. May 20–25* Herman, David. New Organ Music. March 18–19, June 15–16, July 15, Serebrennikov, Maxim. Fugal Improvi- Sept 15 sation in the Baroque Era—Revisited. ———. Book Reviews. Oct 12–13, Dec Sept 24–29+ 12–13 Sewanee Church Music Conference. See Hustad, Donald P. See Naegele. Smedley. Smedley, Jane Scharding. Sewanee Improvisation. See Serebrennikov. Church Music Conference, July 14–21 In the wind . . . . See Bishop. 2013. Nov 24–25* Smith, Domecq. 17th National Choral Karg-Elert, Sigfrid. See Stallsmith. Conference, Princeton, New Jersey, Knijff, Jan-Piet. New Organ Music. Feb September 27–29, 2012. June 20–21* 18 Speller, John L. Book Reviews. April Kolodziej, Benjamin A. Copenhagen’s 13–14, June 12–13, July 12–13 Orgelsamling: A Treasury of Danish ———. New Recordings. Jan 16–17, Feb Organ Building. Feb 26–29* 16–17, July 13, Aug 13 Korndörfer, Jens. Franz Liszt and Johann Spicer, David. Albert Schweitzer Organ Gottlob Töpfer: A Fruitful Relationship Festival, Fifteenth Anniversary. Jan 23* in Weimar. Aug 24–25* ———. Albert Schweitzer Organ Festival, Kraaz, Sarah. New Recordings. Nov. 14 Sixteenth Anniversary. Dec 21* Kramer, Gale. New Organ Music. Nov Stallsmith, John A. Beyond the Nun Dan- 14–15 ket of Sigfrid Karg-Elert: On the 80th anniversary of the composer’s death. Labrador, Canada. See Goulding and April 20–22*+ Vineer. Stretton, Ross. Second Annual Church Leiden, Netherlands. See Resseler. & Organ Tour: April 27, Hamilton, Letters to the Editor. Jan 3, Feb 3, March Ontario, Canada. Oct 22* 3, May 3, June 3, July 3, Oct 3, Dec 3 Swager, Brian. Carillon News. Jan 10–11*, Appointments Liszt. See Korndörfer. Feb 10*, April 12, Sept 11, Oct 11 Lowry, David. New Recordings. April 15, ———. 2013 Summer Carillon Concert Ball, Steven,* to resident organist, Board- Robinson, Joyce,* to editorial director, May 15 Calendar. June 28–30, July 28–29, Aug 29 walk Hall, Atlantic City, NJ. Aug 6 The Diapason. Aug 3 Bartosiewicz, Ryan, to apprentice Roth, Daniel,* to visiting artist, University McCray, James. Music for Voices and Thoene, Marijim. A Brief Glimpse organbuilder, Andover Organ Com- of Michigan, Ann Arbor, MI. July 8 Organ. Jan 16, Feb 15, March 16, April of Organs and Churches in Warsaw, pany. April 10 Rudewicz, Peter, to intern, Andover 13, May 13, June 11–12, July 12, August Białystok, Białowieza, and Kraków. June Bull, Christoph,* to organist-in-resi- Organ Company. April 10 12, Sept 12, Oct 12, Nov 12, Dec 13–14 22–25*† dence, First Congregational Church, Schaeffer, Stephen G.,* to Regional Mechanical action. See Woolley. Thoene, Marijim, and Gale Kramer. Los Angeles, CA. Dec 6 Sales Representative for Alabama and Medieval organs. See Rumsey. The University of Michigan 52nd Con- Butera, Jerome, to sales director, The western Georgia, Reuter Organ Com- ference on Organ Music. March 26–28* Diapason. Aug 3 pany, Lawrence, KS. Oct 6 Naegele, Elizabeth M. A Life in Church Töpfer, Johann Gottlob. See Korndörfer. Buzard, Stephen,* to assistant organist, Schleff, Jeffrey, to Director of Par- Music: Donald P. Hustad (1918–2013). St. Thomas Church and Choir School, ish Music and Organist, Immanuel Nov 20–23* Udy, Kenneth. New Organ Music. Feb New York, NY. May 6 Lutheran Church, Des Plaines, IL. Oct 6 National Choral Conference. See Smith. 18–19, April 15–16, July 15–16, Oct 15, Cienniwa, Paul,* to chorus master, New Schnurr, Stephen,* to editor-at-large, Nelson, Leon. New Handbell Music. Feb Dec 15 Bedford Symphony Orchestra. Jan 10 The Diapason. Aug 3 19, March 19, July 16, Aug 15, Dec 15 University of Michigan. See Thoene and Dubois, Vincent,* to visiting artist, Univer- Schrock, Karl,* to visiting artist, Univer- Ness, Marjorie. New Organ Music. July 15 Kramer. sity of Michigan, Ann Arbor, MI. July 8 sity of Michigan, Ann Arbor, MI. July 8 New Handbell Music. See Nelson. Eaton, Michael,* to treasurer, Andover Schultz, Graham,* to assistant organist, New Organ Music. See August, Collins, Wagner, David. New Recordings. June Organ Company. April 10 Church of the Incarnation, Dallas, TX. Herman, Knijff, Kramer, Ness, Udy, 13–14 Ewell, Jessica Bachicha,* to the Sacred Oct 6 Zoller Warde, Anton. Book Reviews. Jan 17–19, Music Program, Franciscan University, Sheen, Benjamin,* to assistant organist, New Recordings. See Bedient, Collins, Aug 12–13 Steubenville, OH. Nov 6 St. Thomas Church and Choir School, Kraaz, Lowry, Reed, Speller, Wagner, Webster, Richard. See Overall. Han, Ahreum,* to lecturer in organ, Iowa New York, NY. May 6 Zoller Willis, Andrew. Continuo: The Art of Cre- State University, Ames, IA. April 10 Truitt, Gordon E., to interim coordinator, Newfoundland, Canada. See Goulding and ative Collaboration. July 20–21 Henderson, Benjamin,* to youth assis- National Association of Pastoral Musi- Vineer. Willis, Henry. See Resseler. tant, First Church of Christ, Wethers- cians, Silver Spring, MD. Sept 10 Woolley, Alan G. The Organ: A Danger- fi eld, CT. Aug 6 Vogel, Marianne,* to associate organist, On Teaching. See Black. ously Inexpressive Musical Instrument? Hill, David,* to Professor (Adj.) of Choral First Church of Christ, Wethersfi eld, Ontario, Canada. See Stretton. Oct 23–29*# Conducting, Yale Institute of Sacred CT. Aug 6 Organ building. See Bishop. Wunderlich, Heinz. See Zoller. Music. Mar 6 Will, Nicholas,* to the Sacred Music Organ Historical Society. See Owen, Rippl. Machnik, Megan M., to executive direc- Program, Franciscan University, Steu- Organ pedagogy. See Black. Zoller, Jay. Heinz Wunderlich: A Remem- tor of the Philadelphia Singers. Aug 6 benville, OH. Nov 6 Organ Recitals. Jan 34–35, Feb 37, March brance One Year Later. April 24–25* Mague, Benjamin, to president, Andover Wondemagegnehu, Tesfa,* to assistant 37, April 32–33, May 32–33, June 33, ———. Book Reviews. Sept 12, Dec 14 Organ Company. April 10 artistic director, First Church of Christ, July 33, Aug 33, Sept 36–37, Oct 37, Nov ———. New Recordings. Sept 13–14 Quinn, Iain,* to assistant professor of Wethersfi eld, CT. Aug 6 32–33, Dec 32–33 ———. New Organ Music. Jan 17, Feb 19, organ, Florida State University, Tallahas- Young, Jonathan, * to Associate to Tonal Overall, Jason. In the footsteps of Rich- March 18, April 15 see, FL. Nov 6 Director, John-Paul Buzard Pipe Organ ard Webster. Oct 20–21* Builders. Nov 6

38 Q THE DIAPASON Q JANUARY 2014 WWW.THEDIAPASON.COM *=picture +=musical examples †=stoplist #=diagrams

Honors and Competitions Baltrusch, Anna-Victoria,* awarded sec- Henley, Christopher,* wins 2013 Uni- Song, Jihoon,* awarded Peter Hurford Thomas, Paul,* awarded second prize, ond prize in interpretation, St. Albans versity of Alabama Organ Scholarship Prize, St. Albans Organ Competition. Schoenstein Competition in the Art of Organ Competition. Oct 6 Competition. April 4 Oct 6 Organ Accompaniment. April 4 Binkley, David H.,* honored by Camp Hill Jacobs, Simon Thomas,* awarded Stover, Harold,* retires as organist and Thomas, Shawn,* awarded third place, Presbyterian Church on his 40th anniver- interpretation prize, St. Albans Organ director of music, Woodfords Congrega- 2013 University of Alabama Organ Schol- sary as organist/choirmaster. July 6 Competition, and audience prize for tional Church, United Church of Christ, arship Competition. April 4 Buzard, Stephen,* awarded second prize, improvisation. Oct 6 Portland, ME. March 8 Titsch, Günter, awarded Federal Cross Schoenstein Competition in the Art of Keiser, Marilyn,* honored by the Ameri- Sturdy, Carina,* awarded second prize, of Merit of the Federal Republic of Ger- Organ Accompaniment. April 4 can Guild of Organists, New York, NY. 7th Annual Young Artists Competition in many. June 6, 8 Cassan, David,* receives awarded the April 8 Organ Performance. June 6 Welch, James,* honored for twenty years Douglas May Award in improvisation, LeGrand, Michael,* wins 7th Annual Sturm, Martin,* awarded Tournemire as organist, St. Mark’s Episcopal Church, St. Albans Organ Competition. Oct 6 Young Artists Competition in Organ Per- Prize in improvisation, St. Albans Organ Palo Alto, CA. June 8 Coffey, Richard,* honored by CONCORA formance. June 6 Competition. Oct 6 Werling, Anita Eggert,* honored at with endowment fund. June 6 Marle-Ouvrard, Baptiste-Florian,* Tan, Aaron,* wins 37th Arthur Poister retirement from Western Illinois Uni- Dalles, Rev. Dr. John A., wins 17th awarded third prize, Longwood Gar- Competition 2013. June 4 versity, Macomb, IL. May 8 annual Macalester Plymouth United dens International Organ Competition. Church hymn contest. April 6 Aug 6 Davis (Firmin-Didot), Lynne,* awarded Miller, Kenneth,* wins Schoenstein Com- Obituaries Chevalier de l’Ordre des Arts et des petition in the Art of Organ Accompani- Lettres, Republic of France. April 8 ment. April 4 Barber, Elinore Louise. Nov 8 Mills, William “Bill” Brant. Mar 11 DeWitt, Thomas A.,* honored at retire- Olson, Don, retires from Andover Organ Basch, Peter J. Feb 10 Mittelsteadt, Elizabeth “Betty.” ment from Morrison United Methodist Company. April 10 Broome, David Albert John.* June 10 April 11 Church, Leesburg, FL. June 6 Olson, Michael,* awarded third prize, Brubeck, David Warren “Dave.” Moe, Lawrence Henry.* Nov 10 Edwards, Matthew,* awarded second 7th Annual Young Artists Competition in April 10 Mondello, Edward. Jan 11 place, 2013 University of Alabama Organ Organ Performance. June 6 Bush, Douglas E. “Doug.”* Dec 10 Morris, James Richard.* Nov 10 Scholarship Competition. April 4 Pajan, Adam,* awarded second prize, Byers, Thomas W. April 11 Peek, Elizabeth “Betty” Lankford.* Garven, Richard,* honored for thirty Longwood Gardens International Organ Clark, Eugene Hoyne “Gene.” July 11 June 10 years as organist-choirmaster, St. Clem- Competition. Aug 6 Corbett, Donald “Don.” April 11 Puyana, Rafael.* May 11–12 ent’s Church, El Paso, TX. July 6 Perkins, Scott,* wins seventh annual Cross, Ronald. July 11 Rafter, Douglas L.* Sept 6 Gary, Roberta,* retires from the College- anthem competition, First Baptist Cunningham, Walker Evans.* Sept 6 Rowe, Michael A.* Dec 10 Conservatory of Music of the University Church, Worcester, MA. May 8 Gluck, Fred.* May 10 Saman, Delbert.* May 10 of Cincinnati. Aug 6 Ramsey, Dale, wins Kansas City AGO Gyuratz, Ferenc (Frank).* May 10 Sawyer, Jane Elizabeth. June 10 Gaynor, Thomas,* awarded second place, Chapter’s 75th Anniversary Year Compo- Hain, William C.* Mar 11 Schantz, John A.* Sep 6 37th Arthur Poister Competition 2013. sition Competition. April 6 Harris, Carl G. Jr. Nov 8 Sewell, Nancy S. Oct 11 June 4 Rilling, Helmuth, honored at 80th birth- Hawk, Carol Newton.* Sept 6 Sly, David D. Mar 11 Gress, Richie,* awarded inaugural C. Pen- day by Oregon Bach Festival. May 6 Hines, Toni Desiree. Aug 11 Smith, Joseph William “Joey.” Dec 10 nington Brown Memorial Scholarship for Scheck, Thomas,* honored at 50th Howes, Arlene Heywood. July 11 Smith, W. Lindsay III. Feb 10 Advanced Organ Study by Young Organ- anniversary as a church musician, Trin- Lanier-Keosaian, Linda. June 10 Stodola, Elizabeth Abeler. April 11 ist Collaborative. Jan 6 ity Episcopal Church, Upperville, VA. Larson, Donald G. Aug 11 Tate, William Robert. Nov 10 Gudger, William, retires from Cathedral Sept 10 Latta, Howard Milton. Oct 11 Teutsch, Walter S.* Dec 10 Church of St. Luke and St. Paul, Charles- Sheen, Benjamin,* awarded fi rst prize, Ledger, Philip.* Jan 11 Ward, Robert Eugene. Aug 11 ton, SC. June 6 Longwood Gardens International Organ Malone, Lee Whelpley.* Nov 8 Wolfe, Randel Lynn. Aug 11 Guinaldo, Norberto,* honored for fi fty Competition. Aug 6 Maynard, Judson Dana.* Nov 10 Woods, Zella Mae. Aug 11 years as organist of Temple Ner Tamid, ———. Awarded second prize in interpre- McCreary, John Swan.* Oct 11 Young, Lawrence Allen. Oct 11 Downey, CA. July 8 tation and Jon Laukvik Prize, St. Albans Miller, Max Burdorf.* Mar 11 Organ Competition. Oct 6

Organ Stoplists Austin Létourneau First Baptist Church, Washington, DC. Opus 125, St. Paul’s Episcopal Church, 5/118*, June 1, 26–28 Murfreesboro, TN. 2/26*, Aug 1, 26–27*

Berghaus Mander Luther Memorial Chapel, Shorewood, WI. The Mansion House Organ, London, Eng- 2/34*, Sept 32* land. 2/13*, Mar 32 Pilgrim Lutheran Church, St. Paul, MN. WWW.ORGANSOCIETY.ORG/2014 2/31*, Jan 30 Parkey Trinity Lutheran Church, Auburn, IL. Providence United Methodist Church, 2/13*, May 28 Duluth, GA. 3/64*, Oct 1, 30–31 Bigelow Peragallo 2014 The Cathedral Church of St. Mark (Epis- Paul Creston Memorial Pipe Organ, St. copal), Salt Lake City, UT. 3/40*, July 28 Malachy’s Church, New York, NY. 3/43*, E. POWER BIGGS St. Ambrose Catholic Church, Salt Lake July 1, 26–27 City, UT. 3/50*, Dec 28 Quimby FELLOWSHIP Buzard Samford University, Reid Chapel, Birming- Trinity Lutheran Church, Sheboygan, WI. ham, AL. 3/48*, Nov 1, 26–27 3/52*, Mar 1, 30–32 HONORING A NOTABLE ADVOCATE FOR Russell Meyer examining and understanding the pipe Fabry The Catholic Community of St. Charles Immanuel Presbyterian Church, Milwau- Borromeo, Skillman, NJ. 3/27*, Aug 28 organ, this year’s E. Power Biggs Fellows kee, WI. 3/69*, Oct 32* will attend the OHS 59th Annual Convention Schoenstein in the Finger Lakes Region of New York Foley-Baker Fordham University Church, New York St. Mark’s Episcopal Cathedral, Minneapo- City, NY. 3/35*, Dec 1, 26–27 State, with headquarters in Syracuse, lis, MN. 4/77*, Jan 1, 28–30 August 11–14, 2014. Hear and experience a Schlueter Goulding & Wood Advent Lutheran Church, Melbourne, FL. wide variety of pipe organs in the company The Episcopal Church of the Good Shep- 3/36*, April 1, 26–27 of professional musicians and enthusiasts. herd, Lexington, KY. 4/58*, Sept 1, 30–32 Scott Smith The Fellowship includes a two-year Newman Residence, Clio, MI. 2/7, Feb 32 membership in the OHS and covers these DEADLINE FOR APPLICATIONS Glück convention costs: Mayfl ower Congregational United Church Siedle is February 28, 2014. Open to women of Christ, Oklahoma City, OK. 3/29*, Queen of the World Church, St. Mary’s, x Travel x Meals and men of all ages. To apply, go to Feb 1, 30–32 Pittsburgh, PA. 3/28*, Nov 28 x Hotel x Registration www.organsociety.org. Juget-Sinclair (Beckerath 1960) St. Joseph’s Oratory, Montréal, QC, Can- 2013 FELLOWS ada. 4/118*, May 1, 26–28 SARAH JOHNSON TIFFANY NG ORGAN HISTORICAL SOCIETY CHRISTOPHER KEADY MICHAEL PLAGERMAN SAMANTHA KOCH PETER RUDEWICZ WWW.ORGANSOCIETY.ORG SILVIYA MATEVA ALEX SMITH

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George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Saint Thomas Church, NYC John Scott, Director March 2014

The Choir of Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Westminster Abbey, UK James O’Donnell, Director October 2014

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Jonathan Ryan Ann Elise Smoot Donald Sutherland

Celebrating Our 92nd Season!

*=Artists based outside the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young