THE DIAPASON AUGUST 2018

Centennial Chapel at Christ Church Cathedral Cincinnati, Ohio Cover feature on pages 22–24 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 8, 2018–2019 Recitals, concerts, choral Evensongs, etc. Whole No. 1305 As we approach the end of the summer, many of our read- AUGUST 2018 ers are planning special music events for church and college/ Established in 1909 university for 2018–2019. Please send me your items such Stephen Schnurr ISSN 0012-2378 as organ/harpsichord/carillon recitals and choral events of 847/954-7989; [email protected] sacred music (concerts, Evensongs, Lessons & Carols, can- www.TheDiapason.com An International Monthly Devoted to the Organ, tatas, etc.) for our consideration for the Here & There and the Harpsichord, Carillon, and Church Music Calendar sections of the upcoming season. Not only are your Massachusetts, which we published in July, August, and Sep- events important to our community of musicians, but your tember 2017. Also, Anton Warde reviews for us a recent fest- CONTENTS attendance and participation at nearby programs at churches schrift in honor of Daniel Roth. FEATURES and universities is extremely important to ensure that these In “Harpsichord Notes,” Larry Palmer reviews a compact The 1864 William A. Johnson Opus 161, continue in future years! disc of the sonatas for violin and harpsichord by Bach, as Piru Community United Methodist Church, performed by Rachel Barton Pine and Jory Vinikour. Palmer Piru, California, Part 1 With a new academic and choir year . . . by Michael McNeil 16 reports on the death of Gordon Murry, professor of harpsi- As we approach the beginning of a new year for choirs and chord at the Vienna Academy of Music and the Performing Licht im Dunkel—Lumière dans les ténè- bres: Festschrift for Daniel Roth schools, remember that a subscription to The Diapason makes Arts. And he shares with us recent correspondence from our by Anton Warde 21 a great gift, especially for young students enrolled in high school, readers regarding the harpsichord. college, or graduate school. Our student subscription remains an John Bishop, in “In the Wind . . .,” muses on the marvels of NEWS & DEPARTMENTS incredible bargain at $20/year. Gift options for those not in an organ consoles of the present and a century ago. Gavin Black is Editor’s Notebook 3 academic program include our digital subscription (no mailed still on hiatus from “On Teaching,” but we expect him to return Here & There 3 Appointments 6 copy), also a bargain at only $35. To take out a new subscription with our September issue. Nunc Dimittis 8 or renew one for you or for a friend or student, visit www.the- Our Cover Feature is the new C. B. Fisk, Inc., Opus 148, Carillon News 9 diapason.com and click on Subscribe, or contact our subscription in Centennial Chapel at Christ Church Cathedral, Cincinnati, Harpsichord Notes by Larry Palmer 10 department at 847/481-6234 or [email protected]. If a friend Ohio. This fascinating instrument is built on Italian models, In the wind . . . by John Bishop 14 would like a complimentary sample copy, please notify me of making it a unique instrument for the metropolitan area, as their mailing information at [email protected]. well as the Midwest region. REVIEWS Book Reviews 11 In this issue Future cover features New Recordings 11 New Organ Music 12 With this issue, we begin a multi-installment feature on the Are you an organbuilder would like to feature a recent new, New Handbell Music 13 1864 William A. Johnson Opus 161 in the Piru Community rebuilt, or restored instrument for our readers? Are you a United Methodist Church, Piru, California, as thoroughly teacher in a college/university organ program who would like SUMMER CARILLON CALENDAR 24 documented by Michael McNeil. Many readers will recall to see your institution placed in the forefront of our readers’ CALENDAR 24 McNeil’s series of articles on E. & G. G. Hook Opus 322, for- minds? Please contact Jerome Butera about reserving a cover merly in the Church of the Immaculate Conception, Boston, feature for your use: 608/634-6253 or [email protected]. Q RECITAL PROGRAMS 28 CLASSIFIED ADVERTISING 30 Here & There

THE Events and Kaukauna, Wisconsin, organized by Ogg, harpsichord, and Jaap ter Linden, DIAPASON Frank Rippl, concludes its 2018 series, gamba; 8/2, Marc Levine, violin, Tami AUGUST 2018 Wednesdays at 12:15, in Appleton, unless Morse, harpsichord, and Tulio Rondón; otherwise noted: August 1, 6:30 p.m., Mat- 8/4, Twin Cities Early Music Collective; thew Buller, Zion Lutheran Church; 8/8, 8/5, Baroque Instrumental Program Final Jared Stellmacher, First English Lutheran Concert; 8/8, Jaap ter Linden, bass viol Church; 8/9, David Bohn, St. Joseph Cath- and baroque cello, Julie Elhard, bass viol olic Church; 8/15, Mario Buchanan, with and basse de violone, Tulio Rondón, bass Alexandra Piepenbrink, English horn, viol and baroque cello, Sara Thompson, First United Methodist Church; 8/22, violone, and Tami Morse, harpsichord; Vashni Seitzer, Faith Lutheran Church; 8/9, Donald Livingston, harpsichord, Cléa 8/23, Thursday, Mitchell Miller, First Pres- Galhano, recorder, and Tulio Rondón, byterian Church, Neenah; 8/29, Ralph cello; 8/10, Mirandola Ensemble; 8/11, Centennial Chapel at Christ Church Cathedral Cincinnati, Ohio Cover feature on pages 22–23 and Marilyn Freeman, St. Paul Lutheran Sungyun Cho, Donald Livingston, and Church, Neenah. For information: Jacques Ogg, keyboards. For information: www.lunchtimeorganrecital.org. www.tcearlymusic.org. COVER Christ Church, Michigan City, Indiana, C. B. Fisk, Inc., Gloucester, Massachusetts; Roosevelt organ Centennial Chapel at Christ Church Cathedral, Cincinnati, Ohio 22 The Roosevelt Organ Summer Recital Series concludes recitals for Editorial Director STEPHEN SCHNURR summer 2018, hosted by Christ Church, and Publisher [email protected] Michigan City, Indiana, Wednesdays at 847/954-7989 12:15 p.m.: August 1, Jeremy Kiolbassa; President RICK SCHWER 8/8, Kent Jager; 8/15, Lee Meyer; 8/22, [email protected] Derek Nickels. Roosevelt Opus 506 is an 847/391-1048 instrument of three manuals, 28 ranks. For Casavant organ, Sinsinawa Mound, Sin- information: [email protected]. sinawa, Wisconsin Editor-at-Large ANDREW SCHAEFFER [email protected] Sinsinawa Mound, Sinsinawa, Wis- Sales Director JEROME BUTERA consin, concludes its summer organ con- [email protected] 608/634-6253 cert series, featuring the Casavant organ, Circulation/ designed by Lawrence Phelps, in the Subscriptions KIM SMAGA Queen of the Rosary Chapel, Wednesdays [email protected] 847/481-6234 at 7:00 p.m.: August 1, David Troiano; 8/8, Joan DeVee Dixon and Alice Designer KIMBERLY PELLIKAN Fiedlerova; 8/15, Marijim Thoene; 8/22, [email protected] Northfi eld United Methodist Church, 847/391-1024 Marie Rubis Bauer; 8/29, David Jonies. First English Lutheran Church, Apple- For information: www.sinsinawa.org. Northfi eld, Minnesota, Kney organ Contributing Editors LARRY PALMER ton, Wisconsin, Wahl organ Harpsichord Twin Cities Early Music Festival, The 2018 Northfi eld Noontime BRIAN SWAGER The Lunchtime Organ Recital St. Paul, Minnesota, announces its pro- Organ Recital series concludes its Carillon Series of Appleton, Neenah, Menasha, gramming for 2018: August 1, Jacques ³ page 4

JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $42 + $30 shipping; 2 yr. $75 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Reviewers Steven Betancourt 3 yr. $100 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading John L. Speller only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Joyce Johnson Robinson Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. Jay Zoller POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 3 Here & There

³ page 3 and Lorena Garcia. The conference will twelfth year of programs, Wednesdays include performance opportunities. For at 12:15 p.m.: August 1, Stephen May, information: www.sanmarinoartist.com. First Congregational United Church of Christ; 8/8, Joanne Rodland, St. John’s VocalEssence announces its 2018– Lutheran Church; 8/15, Janean Hall and 2019 season, the group’s 50th: August Larry Archbold, Skinner Chapel, Car- 31, The Wizard of Oz Movie Sing-Along; leton College. For information: October 7, 50th Anniversary Concert; [email protected]. 10/28, Music for a Grand Cathedral, including Vaughan Williams’s Mass in G Minor; November 8, Identity, includ- ing a performance by VocalEssence’s youth choir, VocalEssence Singers Of This Age; December 1, 7–9, Welcome Christmas, including two new carols by winners of the 21st annual Welcome Christmas Carol Contest; 12/8, Star of Wonder—Reimagined!. The Choir of Grace Church, New York, New York January 19, 2019, Together We Sing Festival; February 2, Frozen Movie Sing- The Choir of Grace Church, New York, New York, toured Spain June 16–24, Along; 2/24, VocalEssence WITNESS: singing at San Lorenzo de El Escorial, Mezquita-Iglesia de El Salvador, Toledo, La Yet They Persist, honoring African Santa Iglesia Catedral, Consagrada a la Virgen María en su Asunción a los cielos, and African-American women; March Toledo, Iglesia de San Manuel y San Benito, Madrid, Basilica del Pilar, Zaragoza, 21–24, Bernstein’s Candide; 3/30, Tales Santa Maria de Montserrat Abbey, Catedral de la Santa Creu i Santa Eulàlia, Barce- St. Matthew’s by-the-Bridge Episcopal and Tunes; April 27, The Times They lona, and Basílica i Temple Expiatori de la Sagrada Família, Barcelona. Church, Iowa Falls, Iowa Are A-Changin’; May 21, VocalEssence The musical offerings of the tour comprised full concerts, shorter choral medita- Cantaré Community Concert. Philip tions, and singing during Mass. Twenty-six treble choristers from the Choir of Men St. Matthew’s By-the-Bridge Epis- Brunelle is founder and artistic director and Boys and the Girls’ Choir joined together with the ATB singers that support both copal Church, Iowa Falls, Iowa, contin- of the organization. For information: treble groups for the tour. Selections by Beethoven, Burleigh, Byrd, Durufl é, Mozart, ues its series of organ recitals, Sundays www.vocalessence.org. Palestrina, Barry Rose, Stainer, Stanford, Tallis, and others were presented. Patrick at 4:00 p.m.: August 5, Brandon Spence; Allen is organist and master of choristers. For information: www.gracechurchnyc.org. October 14, Letizia Romiti. For informa- tion: [email protected].

The Spreckels Organ Society, Bal- boa Park, San Diego, California, contin- ues its 31st annual International Summer Organ Festival through September 3. Concerts are presented on Monday eve- nings. Highlights include: August 6, Ris- ing Stars night, with Paul and Riley Xu; 8/20, Steven Ball, preceded by a fund- raiser in the Japanese Friendship Garden; 8/27, Raúl Prieto Ramírez, organ, and his wife Teresa Sierra, piano. For informa- tion: www.spreckelsorgan.com.

Katelyn Emerson, seated, with Randall Dyer, left, Robert Whitaker, director of music, St. Paul Catholic Cathedral, Pittsburgh, and Gabrielle Manion, organist, right Pennsylvania, Beckerath organ

Katelyn Emerson performed a recital on the concert series at the Cathedral St. Paul Catholic Cathedral, Pitts- of Christ the King, Lexington, Kentucky, June 15. The program included works by burgh, Pennsylvania, announces organ Bach, Sweelinck, Rheinberger, Mozart, Durufl é, Boëly, Langlais, and Howells. The recitals featuring the cathedral’s Bec- cathedral organ was built in 2012 by Randall Dyer & Associates, Inc., and comprises kerath organ: September 9, 4:00 p.m., three manuals and 43 ranks of pipes. Madonna della Strada Chapel, Goulding Don Fellows; 9/28, 7:30 p.m., Nicole & Wood organ Keller; October 19, 7:30 p.m., Virginius Barkauskas, with Robertas Beinaris, Madonna della Strada Chapel, oboe; November 16, 7:30 p.m., Kimberly Loyola University, Chicago, Illinois, Marshall. For information: concludes its 2018 Summer Celebrity http://stpaulpgh.org. Series. All concerts are presented on the third Sunday of the month at 3:00 p.m., are free to the public, and feature the People chapel’s three-manual Goulding & Wood organ, Opus 47: August 19, Svyati Duo (organ and cello). For information: www. luc.edu/organ.

Holy Communion Episcopal Church, Lake Geneva, Wisconsin, will present a recital August 21 on its 1883 Hook & Hastings Opus 1144, to ben- efi t the church’s organ restoration fund. The featured recitalist will be Bruce Bengtson, recently retired from Luther Memorial Church, Madison, Wisconsin. For further information: http://holycommunionlakegeneva.com.

The International Late Medieval and Renaissance Course will present a symposium, “Poetry Meets Music: The Medieval Sequence,” August 27–Sep- Michael Barone “superb musicianship, masterly technique and savvy programming … Archer’s tember 2, in San Marino. The course will sweeping assurance and stamina enable you to hear the music behind the virtuosity.” examine the origins of the Sequence, Michael Barone, host and senior — GRAMOPHONE (JAN 2018) — from early to late medieval periods, in executive producer of Pipedreams, will monophonic and polyphonic works. mark his 50th anniversary of employment MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com Faculty will be Cristina Alîs Raurich ³ page 6

4 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 has been invited to perform in Vienna, at Minnesota Public Radio on August 20. Austria, in October, and on April 28, Appointments Pipedreams itself is approaching its 35th 2019, will present a program for the Warren Edward McCall is appointed anniversary as a national broadcast pro- Octave of Easter Celebrity Recital at chief executive offi cer of the Organ Historical gram dedicated to the pipe organ, the only the Basilica of the National Shrine of the Society, Villanova, Pennsylvania, succeeding one of its kind in the United States. A pub- Immaculate Conception in Washington, James Weaver, who is retiring after holding lic celebration of Barone’s work will take D.C. Appearances with the Tabernacle the position since 2010. McCall is a graduate place September 23, 3:00 p.m., at Wood- Choir have also taken him to Europe of the University of Toronto, Toronto, Ontario, dale Church, Eden Prairie, Minnesota. and Israel. Canada, with majors in music and computer In addition to Pipedreams, Barone’s Christiansen’s solo organ CD Organ studies. He earned a master of music degree tenure at MPR has included roles as of the Mormon Tabernacle was released from Westminster Choir College, Princeton, music director and announcer, as well as on the Klavier label. Solo organ per- New Jersey, and has taught there. producer and host for programs such as formances may also be heard on Now McCall is artistic director of Cantus Novus, The New Releases, the national and local Let Us Rejoice: Organ Hymns for the Yardley, Pennsylvania, and organist and choir broadcasts of the Saint Paul Chamber Sabbath, released on the Mormon Warren Edward McCall director for St. Paul’s Episcopal Church, Orchestra and, more recently, the annual Tabernacle Choir label, St. Ambrose Doylestown, Pennsylvania. From 2010–2012, live Christmas broadcast of A Festival of Catholic Church Première Recital, McCall was executive director of St. Michael’s Choir School, Toronto, where he Nine Lessons and Carols from King’s The King of Instruments documentary served as the chief administrative offi cer with responsibility for managing the daily College, Cambridge, England. For infor- DVD, and solo/duo performances on operations of the school. For information: www.organhistoricalsociety.org. Q mation: www.minnesotapublicradio.org. The Organ at the Mission Inn (River- side, California). His organ and vocal compositions Prior to his 1982 call to the Taber- are published by MorningStar Music nacle, he served for ten years as organist/ Publishers, Harold Flammer, Jackman choirmaster at the Cathedral Church Music, and SDG Press. MorningStar of St. Mark in Salt Lake City where for organ listings currently include four four years he was featured in a half-hour volumes of hymn preludes, a volume weekly broadcast of solo organ music of alternate hymn harmonizations, and from the Cathedral’s Holtkamp organ. three sets of transcriptions. In addition to performing, composing, On April 19 Christiansen was honored and some private teaching, Christiansen for his 27 years of service to the LDS now plans to devote more time to his Church’s Musical Instruments Selection vegetable garden and to his wife of 50 Committee on which he took a leading years, Diane, and their 60 grandchildren role in designing the digital instru- and two great-grandchildren. ments approved for use in the Church’s meetinghouses worldwide and served as consultant for design and renovation of scores of pipe organs throughout the Clay Christiansen Church. He was feted by the Tabernacle Choir at a luncheon and receptions on Janis McKay and Paul S. Hesselink (pho- Clay Christiansen retired April 30 at April 26 and 27. to credit: Dorothy Young Riess) age 69 after nearly 36 years of full-time A unique highlight of his Temple employment as Mormon Tabernacle Square career included working closely Among the goals of the commissioner Organist for the Church of Jesus Christ with colleagues John Longhurst and was the creation of a composition refl ect- of Latter-day Saints in Salt Lake City, Richard Elliott on the 1997–2002 selec- ing his Dutch heritage and an addition Utah, making his fi nal appearance on tion and design of the 130-rank Schoen- to the relatively small repertoire of the Tabernacle Choir’s weekly Sunday stein pipe organ for the 21,000-seat works for bassoon and organ, useful in morning broadcast Music & The Spoken Conference Center auditorium. concert and in church. To hear the work Word Easter Sunday in the Conference Christiansen’s undergraduate work and to view and purchase the score: Center on Temple Square, following was with J. J. Keeler at Brigham Young Frederick Hohman at Indiana University www.aarondavidmiller.com. which he played for his 72nd and fi nal University. He then became Alexander of Pennsylvania General Conference of the LDS Church. Schreiner’s last master’s degree candi- He continues to accept performance date at the University of Utah where he Frederick Hohman visited Indiana engagements and to play occasional eventually also received a Ph.D. in com- University of Pennsylvania, Indiana, noon recitals at the Tabernacle. position under Vladimir Ussaachevsky, Pennsylvania, on June 25 to test, register, Christiansen’s solo career has been Ramiro Cortes, and Bruce Reich. He and revise his new solo organ composi- marked by appearances throughout the coached privately over a two-year period tion on the organ at Cogswell Hall of United States, Canada, and England. He with Robert Noehren. Music. In November 2017, Hohman was named the 2019 recipient of the American Guild of Organists’ Pogorzel- ski-Yankee Competition for New Organ Music. The fourth award recipient in this annual competition from a fi eld of over 50 applicants, Hohman’s award consists

II — 19 ranks II — 19 of a $10,000 commission for a new solo organ work of between 10 and 12 min- utes’ duration. The work is to be written in a manner that will complement the

opus 133 valdese, north carolina north valdese, tonal resources of the organ, a two-man- ual instrument with mechanical action, built by Raymond J. Brunner and Co. and installed in 2014. The fi nished score Amanda Mole is scheduled for delivery in September 2018, with the work to be premiered in Amanda Mole plays recitals: July March 2019. 11, Methuen Memorial Music Hall, Methuen, Massachusetts; 7/30, Incar-

Waldensian Presbyterian Church Waldensian A new composition for bassoon and nate Word Lutheran Church, Rochester, organ by Aaron David Miller was New York; August 28, Portageville Cha- rneauor ou ga premiered May 18 at the University of pel, Portageville, New York; September et n .l s .c w Nevada, Las Vegas. Suite Nederlandish 2, Grace Episcopal Cathedral, San Fran- follow o w us on m w facebook! was commissioned by Paul S. Hes- cisco, California; December 2, Cathe- selink in celebration of the 50th anni- dral of St. Mary of the Assumption, versary of the founding of the Southern San Francisco, California; January 1, Nevada Chapter of the American Guild 2019, Christ the King Lutheran Church, of Organists. Performing were Janis Houston, Texas; March 8, National City McKay, bassoon, of the UNLV School Christian Church, 3/31, Cathedral of St. of Music faculty, and Hesselink, organ, Philip, Atlanta, Georgia; May 5, Advent 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA adjunct faculty member at the university. Lutheran Church, Melbourne, Florida; t 800 625-7473 [email protected] The three-movement suite consists of 5/12, St. James Episcopal Church, Los settings of the Dutch hymn tunes Krem- Angeles, California; November 10, St. ser, In Babilone, and Vreuchten. Mark’s Episcopal Church, Berkeley,

6 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Here & There

California. Amanda Mole is represented worship and congregational life for February 25, 2019, Oratorio Society of by Karen McFarlane Artists, Inc. For First Presbyterian Church, Caro, New York, Carnegie Hall; 2/27, Manhat- information: www.concertorganists.com. Michigan. For information: www. tan School of Music Symphonic Women’s schmeltermusic.com. Chorus, Manhattan School of Music; Denice Rippentrop announces the March 5, Musica Sacra, Cathedral of St. debut of her new website. At the website, John the Divine; April 8, Cathedral choir visitors can listen to her sacred choral and orchestra, Cathedral of St. John the music and make purchases. Among the Divine; May 4, Crane School Orchestra featured works is a new piece, “From Sin and Chorus, SUNY Potsdam, New York; Set Free,” with text by Amy Carmichael. 5/9, Verdi, Requiem, Oratorio Society of For information: New York, Carnegie Hall. For informa- www.denicerippentrop.com. tion: www.kenttritle.com.

Publishers Bärenreiter announces new choral publications: St. Paul, op. 36 (BA9071-91, €8.95), by Felix Mendelssohn Bartholdy, Kent Tritle (photo credit: Jennifer Taylor) edited by John Michael Cooper; Messe de Requiem, op. 48 (BA9461-91, €4.95), Kent Tritle announces his 2018–2019 by Gabriel Fauré, edited by Christina That Jealous Demon, My Wretched season, with events in New York City, M. Stahl and Michael Stegemann; Petite Health unless otherwise noted: August 5, Messe solennelle (BA10501-91, €7.95), by organ recital, Grace United Methodist Gioachino Rossini, edited by Patricia B. with modern treatment. The book relates Church, Spencer, Iowa; September 8, Brauner and Philip Gossett; and Missa in the nature of composition to composers’ organ recital, Smithfi eld Church, Arme- Augustiis (“Nelson Mass”), Hob.XXII;11 suffering, showcasing much triumph in nia, New York; 9/14–15, Musica Sacra (BA4660-02, €49.95), by Franz Joseph adversity and rehabilitates reputations. and New York Philharmonic, Lincoln Haydn, edited by Günter Thomas. For Composers examined include Handel, Center; 9/21, Musica Sacra and Detroit information: www.baerenreiter.com. Mozart, Satie, and Britten. For informa- Rev. Robert Paré, pastor, Linda Clark, Symphony Orchestra, University of tion: www.boydellandbrewer.com. director of music, and Nicholas Michigan, Ann Arbor, Michigan; Octo- Boydell & Brewer announces pub- Schmelter at Our Lady of Perpetual Help Parish, Caseville, Michigan ber 23, Musica Sacra, Cathedral of St. lication of a new book, That Jealous Dr. J. Butz Verlag announces new John the Divine. Demon, My Wretched Health: Disease, organ publications: Orgelwerke, by November 6, Rose of the Compass Death and Composers, by Jonathan Joseph Schmid (1868–1945), edited by Nicholas Schmelter played a and Cathedral choir, Cathedral of St. Noble (ISBN: 9781783272587, $34.95). Gerhard Weinberger (BU 2864, €15), recital June 10 rededicating the 1966 John the Divine; 11/11, Oratorio Society Noble, a Fellow of the Royal College of features 12 late-Romantic organ pieces Hilgreen, Lane & Co. organ rebuilt of New York, Carnegie Hall; December Surgeons, charts the disturbed physi- by this organist of the cathedral of and relocated to Our Lady of Per- 8, Christmas concert, Cathedral of St. cal and mental health of 70 composers, Munich, Germany; Vingt Préludes-Exer- petual Help Parish (St. Roch Catholic John the Divine; 12/17, Handel, Messiah, attempting to defi ne the cause of death cises, Oeuvres pour orgue ou harmonium Church), Caseville, Michigan, by the Oratorio Society of New York, Carnegie based on the legal paradigm of a balance VI, by René Vierne (1878–1918), edited Fowler Organ Company. The recital Hall; 12/19, Handel, Messiah, Musica of probabilities. The author reviews by Nanon Bertand (PM 62.16, €22), included selections by Bach, Ellsasser, Sacra, Carnegie Hall; 12/31, New Year’s where the composer was when the fi nal works for study, also useful as character Hebble, Krebs, Lemaigre, Mushel, Eve Concert for Peace, Cathedral of St. illness or death overtook him and consid- pieces; An Easy Organ Album, by Robert and Vierne. Schmelter is director of John the Divine. ers how many of them would have fared ³ page 9

Johann Sebastian Bach Organ Works Completed

EB 8801 ŹVol. 1 EB 8807 ŹVol. 7 4VIPYHIWERH*YKYIW- 3VKIPFʳGLPIMR EB 8802 ŹVol. 2 EB 8808 ŹVol. 8 4VIPYHIWERH*YKYIW-- 3VKER'LSVEPIWSJXLI 0IMT^MK1ERYWGVMTX EB 8803 ŹVol. 3 ƈ+VIEX)MKLXIIR'LSVEPIWƉ *ERXEWMEWŶ|Ŷ*YKYIW EB 8809 Ź NEW ŹVol. 9 EB 8804 ŹVol. 4 'LSVEPI4EVXMXEWŶ|Ŷ-RHMZMHYEPP] 8SGGEXEWERH*YKYIW XVERWQMXXIH3VKER'LSVEPIW- -RHMZMHYEP;SVOW EB 8810 Ź NEW ŹVol. 10 EB 8805 ŹVol. 5 -RHMZMHYEPP]XVERWQMXXIH 7SREXEWŶ|Ŷ8VMSWŶ|Ŷ'SRGIVXSW 3VKER'LSVEPIW-- EB 8806 Ź Vol. 6 Also available: 'PEZMIVʳFYRK---Ŷ|Ŷ7GLʳFPIV 'LSVʞPIŶ|Ŷ'ERSRMG:EVMEXMSRW EB 9035 Ź NEW ŹVol. 1–10 SRƈ:SQ,MQQIPLSGLƉ 7PMTGEWI

New Breitkopf Urtext Edition  1YWMGEPXI\XVIƽIGXMRKXLIGYVVIRXWXEXYWSJ&EGLVIWIEVGL  *IEXYVIWGSQTVILIRWMZIMRXVSHYGXMSRWI\XIRWMZIGSQQIRXEVMIW  WYTTPIQIRXEV]QEXIVMEPSRPMRI  0EVKIJSVQEX \GQ GSQTEGXQYWMGIRKVEZMRKGSRZIRMIRXTEKIXYVRW

Editors: Pieter Dirksen, Matthias Schneider, David Schulenberg, Jean-Claude Zehnder et al.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 7 Here & There

Nunc Dimittis In addition to his music scores, Fr. Columba contributed to the literature on Donald A. Grooms, 78, died May 7, following chant and sacred music. These include his 2003 book, Gregorian Chant Intona- complications caused by a stroke. Born in Paris, tions and the Role of Rhetoric; “The Organ,” an article in a book sponsored by the Texas, he was an honor graduate of Paris High National Liturgical Conference and the Church Music Association; and, in 2006, School. During his high school and college years, his translation of and notes to the fi rst volume of Agustoni and Göschl’s An Intro- he served as organist for several churches. He duction to the Interpretation of Gregorian Chant. Fr. Columba also contributed studied organ under Helen Hewitt at North Texas entries on the Kyrie, Gloria, Agnus Dei, Benedicamus Domino, and Ite Missa Est State University. In 1965, he graduated from the for the New Catholic Encyclopedia. University of Texas Southwestern Medical School, The funeral Mass for Fr. Columba Kelly was celebrated June 13. Burial fol- and in 1971, he was elected a Fellow to the Ameri- lowed in the Archabbey Cemetery. can Academy of Pediatrics. Dr. Grooms served as a Major in the Army, Henry Willis, IV, the last living family member attached to the 25th Evacuation Hospital, Da of the Henry Willis & Sons organbuilding dynasty, Donald A. Grooms Nang, Vietnam, after which he relocated to New York died at a hospital near his home in India on June 23, City where he was associated with the international at the age of 91. Willis was born January 19, 1927, to division of Pfi zer Pharmaceuticals for 20 years. Following his retirement from Henry Willis, III and Clara Constance (Sinclair) Wil- Pfi zer, Dr. Grooms became a partner in Petty-Madden Organ Builders, a position lis at Streatham Hill, London. Educated at Gladstone he held well into his seventies. Preparatory School, London, Westminster School, London, and Giggleswick School, North Yorkshire, Fr. Columba Kelly, OSB, 87, a monk and priest he left school in 1944 to join the Royal Army during of St. Meinrad Archabbey, St. Meinrad, Indiana, died World War II. He was promoted to Lance Corporal on June 9 at the monastery. He was a jubilarian both in 1945 and commissioned to the Queen’s Royal of profession and priesthood. Born in Williamsburg, Regiment in 1946, where he was placed in charge of Iowa, on October 30, 1930, he was given the name a Japanese prisoner of war camp and the repatriation John Joseph at his baptism. He attended St. Ambrose of British prisoners. College, Davenport, Iowa, for several years before Willis joined the family organbuilding fi rm in transferring to St. Meinrad College. Invested as a nov- Henry Willis, IV 1948 as a laborer (at the insistence of his father) ice monk on July 30, 1952, he professed simple vows and then trained as a pipemaker and voicer under on July 31, 1953, and his solemn vows on August 6, George Deeks. He was sent to manage the Liverpool Branch in 1954, principally 1956. Fr. Columba completed his theological studies to oversee the restoration of the great 1855 Willis concert organ in St. George’s in Rome and was ordained to the priesthood on July Hall, which had been severely damaged by wartime bombing, theft, and general Fr. Columba Kelly, OSB 5, 1958. The following year, he received a licentiate mishandling. He returned to London to manage the Head Offi ce in 1965 due to in sacred theology from the Pontifi cal Athenaeum Sant’ his father’s worsening health. Following Henry Willis, III’s death on February 27, Anselmo. He then pursued graduate studies, earning his doctorate in church music at 1966, he began the search for property to construct a purpose-built organ factory Rome’s Musica Sacra in 1963. He studied semiological interpretation of chant under in Petersfi eld, where he opened a shop in 1968 on land that had been the site of Dom Eugène Cardine, OSB, monk of the Abbey of Saint-Pierre in Solesmes. old dairy buildings. When Fr. Columba returned to Saint Meinrad in 1964, he was named choir- Willis was invited to attend, and became one of the founding members of, the master of the monastic community and began to teach in both the College and the American Institute of Organbuilders at its fi rst annual convention in 1974, thereby School of Theology. His lasting contribution was to introduce chant in English into beginning a relationship with his American organbuilding colleagues. A frequent the celebrations of the Divine Offi ce and the Eucharist. The monastery’s collec- attendee and lecturer at subsequent conventions, his last appearance was in Wash- tion of his chant compositions numbers nearly 2,000. ington, D.C., in 1993, where he lectured on and demonstrated organ pipemaking In addition to his many years teaching at Saint Meinrad, he taught courses on and voicing. His acerbic wit and entertaining style covered quite a bit of useful infor- liturgical music for 12 summers at St. Joseph’s College, Rensselaer, Indiana. Other mation to those who “listened between the lines” during those lectures and demon- summer teaching assignments included University of Wisconsin, Madison, and strations. His wife, Barbara, was a charming lady who did her best to keep Willis as California State University-Los Angeles. Through his many workshops to parishes well-behaved as possible, especially during times set aside for evening socializing! and religious communities, and through the collections of his antiphons published In 1997 Willis stood down as Managing Director of Henry Willis and Sons. New by GIA and Oregon Catholic Press, his work is known by many cantors, choirs, and management and new ownership relocated the fi rm to the Liverpool Branch in parish communities throughout the United States. 2001 where the fi rm now survives him. He was a Freeman of the City of London Fr. Columba was a charter member of the Benedictine Musicians of the Ameri- and served as Master of The Worshipful Company of Musicians, of which he was cas, a member of the American Musicological Society, the American Guild of the longest holder of the Livery. Organists, the National Catholic Music Educators Association, the Church Music Henry and Barbara Willis moved to India in 2008 where his mother’s family had Association of America, and the Composers’ Forum for Catholic Worship. He was been coffee planters in the 19th and 20th centuries. They purchased land and built also a standing member of the Chant Division of the National Pastoral Musicians a house there, in which he and Barbara have lived up to the present. He died peace- Association. In 2015, he was named the second recipient of the Spiritus Liturgiae fully at home in the Nilgris District of Tamil Nadu. Award, given by the Liturgical Institute in Mundelein, Illinois. —John-Paul Buzard Q The Diapason’s A Precious Gift 20 Under 30 awards return in 2019!

from the Past Nominations are open December 1, 2018, through February 1, 2019. for the Present Awardees will be announced in the May 2019 issue. and the Future Consider now a young musician you Supremely beautiful and blendable might nominate! tonal color – a Gift from the Venetian School of organbuilding, a monumental part of our Watch for more information in next month’s Editor’s Notebook. JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN The 2019 Resource Directory will Intriguing? Let us build your dream. THE arrive with your January 2019 issue. DIAPASON Do you need to add your business to our listings? Update your contact information?

Send updates to [email protected].

Advertising opportunities are available by Builders of Fine Pipe Organs to the World contacting [email protected].

www.ruffatti.com Advertising deadline is November 1. Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

8 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Here & There

³ page 7 The church acoustics have been dedicatory recital on September 21, 7 Jones (b. 1945), eight new pieces by this improved through a recent renovation of p.m. For information: English composer (BU 2874, €13); Con- the sanctuary. Installation is planned for http://www.rathkepipeorgans.com. certo in d for strings and organ, by Bach/ 2020. For information: www.pasiorgans. Vivaldi, transcribed by Marcel Dupré, com/instruments/opus28.html. edited by Tobias A. Frank (BU 2878, Carillon news string parts €20, organ €8). For informa- tion: www.butz-verlag.de.

Recordings

Charles-Marie Widor: Organ Symphony No. 7 in A Minor & works by Vierne and Litaize

Raven announces a new recording: Charles-Marie Widor: Organ Symphony No. 7 in A Minor & works by Vierne St. John Lutheran Church, Wheaton, Il- and Litaize (OAR-146, $15.98, postpaid linois, Rathke Opus 5 worldwide). The disc features Jeremy Peace Tower, Ottawa David Tarrant performing on 2013 M. P. Rathke, Inc., of Spiceland, Illuminations: Dances and Poems Casavant Opus 3898 of 76 ranks in First Indiana, has completed a new organ for The 2018 Percival Price Sym- Presbyterian Church, Kirkwood, Mis- St. John Lutheran Church, Wheaton, posium will be held October 13–14 Convivium Records announces a souri. For information: Illinois. A two-manual and pedal instru- at the Peace Tower Carillon, Ottawa, new recording: Illuminations: Dances www.ravencd.com. ment of 34 stops and 46 ranks, Opus 5 Canada. The theme of this year’s sym- and Poems (CR039), featuring perfor- is housed in a freestanding case of red posium is Renaissance Carillon: looking mances by the Illumina Duo, organist oak with pipe shades and keydesk of forward to the Peace Tower Carillon’s Richard Moore and trumpeter Ellie black walnut. The Great hammered future. The guest artist will be Wylie Lovegrove. Included are works by Dan lead chorus is founded on a 16′ Prestant Crawford, past president of the World Locklair, Paul Burke, Torbjörn Hult- which appears in the façade down to low Carillon Federation, carillonneur at mark, and Solfa Carlile. For information: GG#, with the bottom 8 notes standing the Chicago Botanic Garden, senior https://conviviumrecords.co.uk/. inside the case at balcony fl oor level. The university carillonneur at the University Swell features an assortment of vintage of Chicago, and past carillonneur of Romantic pipework retained from a 1911 the Millennium Carillon in Naperville, Weickhardt organ originally installed in Illinois. The annual conference honors Bethel Lutheran Church, Chicago. The the legacy of the fi rst Dominion Caril- Pedal is based on a 16′ Open Wood and lonneur, Percival Price (1901–1985). augmented by a full-length 16′ Trom- For information: www.ourcommons.ca/ bone with poplar resonators of large About/HistoryArtsArchitecture/carillon/ scale. Stephen Tharp will present the percival_price_symposium-e.htm. Q

American Variations: American Organ Music

Regent Records announces a new Unprecedented Natural recording: American Variations: Ameri- can Organ Music, features Andrew Peters performing on the Schantz organ Pipe Organ Sound Rachmaninoff Piano Concertos 1 & 2 of Second Presbyterian Church, St. Louis, Missouri. Composers include Dudley ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO Friends of the Wannamaker Buck, Adolphus Hailstork, Clarence Organ announce release of a new CD Mader, Katherine Kennicott Davis, Bar- H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, by Raven, Rachmaninoff Concertos 1 & bara Harbach, and Emma Lou Diemer. 2 ($16.98), with Peter Richard Conte, For information: organ, and Jeremy Filsell, piano. The www.regent-records.co.uk. Wanamaker organ of 28,750 pipes is featured. The CD includes a 16-page booklet that includes a full specifi cation. Organbuilders For information: www.wanamakerorgan. com or www.ravencd.com.

Pasi Opus 28 for St. George’s Episcopal Church, Arlington, Virginia

Pasi Organ Builders, of Roy, Wash- Edmund Rubbra: the Sacred Muse ington, announces a new commission for the company’s Opus 28 for St. George’s Paraclete Recordings announces a Episcopal Church, Arlington, Virginia. new CD, Edmund Rubbra: the Sacred The new organ will feature 33 stops on Muse ($16.95). The recording features the two manuals and pedal, with complete Gloria Dei Cantores performing the choral principal and fl ute choruses in each works of Edmund Rubbra (1901–1986). manual division. It will feature mechani- Included are his Tenebrae, op. 72, Missa cal suspended key action, electric stop in Honorem Sancti Dominici, Salutation, action, a foot-pumped winding system Integrated Organ Technologies Magnifi cat, and Nunc Dimittis, op. 65, and with three bellows in addition to the ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP Festival Gloria, op. 94. For information: blower-fed bellows, well-tempered tun- www.paracleterecordings.com. ing, and a slightly concave pedalboard.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 9 Harpsichord Notes By Larry Palmer

Death and taxis in Vienna the most recent Triple Crown horse A particular obituary that escaped race winner, that speedy animal named my timely notice reported the death of Justify—thus giving one an opportunity the recently retired harpsichord profes- to dub these two very fast movements sor Gordon Murray, Isolde Ahlgrimm’s “Justify-ed Bach.” Seriously, I think successor as harpsichord teacher at the that too many present-day musicians Vienna Academy of Music and the Per- fail to remember that Baroque folk forming Arts. Early on the morning of travelled in oxcarts and horse-drawn March 12, 2017, as he and Alice Ruther- carriages, not bullet trains or super- ford, his 89-year old British visitor were sonic airplanes. And I do note that exiting their taxi at the Intercontinental I prefer a less-hectic pace as I have Hotel, a second taxi crashed into them, grown older (in the latter years of my causing the deaths of both Murray and full-time teaching it became routine for his guest. my comment to be “I think I’d take that Gordon Murray, born on Prince a little more slowly”). Edward Island in 1948, became the For an aural comparison I turned to organist for his minister father’s church another complete recording of the Six (Kensington United) at ten years of age. Sonatas played by Emlyn Ngai, violin, His Canadian education culminated and Peter Watchorn, harpsichord at McGill University in Montreal, and (Musica Omnia, 3 CDs, mo0112). a subsequent Canadian Council grant These two splendid musicians played 1 funded Murray’s European musical the A-Major Sonata in 14 ⁄2 minutes studies in Paris (Marie-Claire Alain) compared to less than 13 minutes for and Vienna (Nikolaus Harnoncourt). Vinikour and Pine. In only one of the His professional academic career sonatas did the most recent duo take began with a teaching appointment in more time than previous artists: their Graz, Austria, in 1982 and continued in transcendent F-Minor Sonata lasts Vienna from 1985 until his retirement about one minute longer—as befi ts in September 2016. that haunting key. And, to be fair, the accuracy of both artists is impeccable, J. S. Bach: (Six) Sonatas for Violin whatever the velocity! and Harpsichord (BWV 1014–1019) For one additional sonata, the E J. S. Bach: The Sonatas for Violin & Harpsichord Rachel Barton Pine, violin, and Jory Major (number 3), the timings of three Vinikour, harpsichord recent recordings were all slight vari- From David Kelzenberg (Iowa City, There is much to enjoy on the two ants of 15 minutes plus 1 to 46 seconds. Iowa): the newly elected President of the compact discs of this recent release Fortuitously, I found Landowska’s 1944 Historical Keyboard Society of North from Cedille Records (CDR 90000 recording of this same sonata (with America (HKSNA): 177). Two fi ne musicians play equally violinist Yehudi Menuhin) in my CD . . . Did you forget that the fi rst sounds fi ne instruments: an unaltered 1770 collection. Truly magisterial, the great of the harpsichord on Sylvia Marlowe’s violin by Nicola Gagliano and a 2012 lady stretched her timing to 20 minutes iconic children’s recording Said the harpsichord by Tony Chinnery, based (RCA Victor, reissued on Biddulph Piano to the Harpsichord is Dandrieu’s on one built by Pascal Taskin in 1769. LHW 031). La Gémissante? Ravishing cantabile and adagio move- LP: Yes, I did forget that. So, I had ments, perfect ensemble, and, for the Communications from Readers played at least one harpsichord work by most part, a fi ne sense for these won- From Edward Clark (Hartford, Con- Dandrieu years before writing the June derful Bach creations cited by his son necticut), Re: June 2018 Harpsichord column, since I programmed a live ver- C. P. E. as “among the fi nest my father Notes: sion of Said the Piano . . . for our Limited composed,” quoted as an introduction . . . I, too, did not know the Dandrieu Editions house concert series—a brilliant to Vinikour’s erudite, well-written notes harpsichord pieces but have enjoyed performance narrated by Richard Kings- on the music. playing many of the composer’s organ ton, with Arlington, Texas, colleague Lin- My one reservation deals with some works. You mentioned not being able ton Powell at the (electronic) piano, and extremely fast tempi for Allegro move- to fi nd any other recent editions of the ye olde harpsichord editor at his beloved ments—a trend I have noticed more harpsichord works. I went online, and at Kingston Franco-Flemish harpsichord. and more in recent performances. The imslp.org discovered not only excellent Thanks for reviving that very happy word Allegro in its Italian meaning indi- facsimiles of all three volumes, but also memory, President David. In your honor cates cheerfulness, joy, or merriment. very fi ne modern typeset editions of all I have resurrected this one-page Dan- Musicians know it as an indication for three volumes which were edited and drieu gem (the title translates as “Groan- Larry Palmer with his miniature harpsi- a lively, quick tempo. I have developed set by Steve Wiberg (Due West Edi- ers or Moaners” which aptly applies to chord (photo credit: Clyde Putman) increasing doubts as the liveliness has tions, 2007–2009) based on facsimiles presidential duties, as I can substantiate increased steadily in recent times (or so of the fi rst printings. These fi ne editions from a four-year term in that exalted wind-up sound is like a tiny music box it seems). are available for free download as PDF offi ce for the Southeastern HKS). I have playing Für Elise. Certainly not authen- In the A-Major Sonata (number fi les or as Sibelius 4 fi les: http://imslp. added it to the playlist for a July 1 pri- tic . . . . My husband is an engineer who 2) the opening Dolce is followed by org/wiki/Category:Dandrieu962C_Jean- vate concert, my annual event for a local is aware of the process by which compa- an Allegro movement, a moderate Fran96C396A7ois). Dallas doctor. Celebrating the tenth nies provide recordings in toys (quarter Andante, and the concluding Presto. (P.S: The misprint you mentioned in year of these July programs, I decided size) and also the ability to record a mes- Surprisingly the Allegro was as fl eet La Champêtre is notated correctly in to include some pieces appropriate for sage in a greeting card. What we’d like to as the Presto —causing one to think of this edition.) a medical professional: Kuhnau’s Fourth know is where one could get the parts? Biblical Sonata (Hezekiah’s Illness and . . . Might someone know how to make Recovery), François Couperin’s La an authentic recording that would go Convalescente (Ordre 26), and Armand- inside the replica (or alongside)? . . . . www.pekc.org Louis Couperin’s La Chéron (a musi- LP: Of course, in my column I was cian friend, certain to be neurotic) and referring (tongue in cheek) to the wished- L’Affl igée (certainly may be “affl icted” for possibility of playing such a tiny instru- Princeton Early Keyboard Center but the piece is A-L C’s fi nest solo harp- ment in concerts, especially given the Gavin Black, Director sichord composition). advantage of its feather-weight movabil- ity. Should any readers have suggestions From Frances Y. Austin (Columbia, for Mrs. Austin, please send them to me, The Princeton Early Keyboard Center, with its principal South Carolina): and I will forward them to her. Q studios on Witherspoon Street in Princeton, NJ, is a small, . . .I just read the February Harpsi- independent school offering lessons and workshops in chord Notes and noticed the miniature Comments and questions are wel- harpsichord. Wouldn’t a “mini” record- come. Address them to lpalmer@smu. harpsichord, clavichord, continuo playing, and all aspects ing be possible? In my dollhouse I have edu or 10125 Cromwell Drive, Dallas, of Baroque keyboard studies. Facilities include two a replica of the old “pump organ.” Its Texas 75229. antique harpsichords, several other fi ne harpsichords, and clavichords, both antique and modern. Lessons at the Center are available in a wide variety of formats, tailored to Visser Pipe Organ Co. the needs of each student. All enquiries are very welcome at Quality Craftsmanship, Creativity & Integrity 732/599-0392 or [email protected]. New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected]

10 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Reviews

Book Reviews New Recordings and is tuned to Thomas Young tempera- interpreted in the eighteenth century, The Russell Connection: Music from ment at A = 415 Hz. The performer on which was somewhat different from the Branston and Eaton, David But- these compact discs, David Butterworth, interpretation of ornaments on the conti- terworth, organist. Fugue State besides being well known as a recitalist, nent, where the galant style was popular. Records, 2-CD set, FSRCD 0012. was the organist and choirmaster of St. The Voluntary in A Major on the Available from: Mary’s Church, Nottingham, England, 100th. Psalm is about the closest thing www.fuguestaterecords.com. between 1967 and 1984. There he was to a chorale prelude composed in late Voluntary in B-fl at, S. Wesley; responsible for obtaining the 1973 seventeenth-century England. It is usu- Pavanna: The Earle of Salisbury (Parthe- Marcussen organ, one of the outstand- ally ascribed to Henry Purcell, though it is nia), Byrd; Fancy, Tomkins; Voluntary ing instruments of the second half of possible that it was written by his teacher in D, Adams; The Lord of Salisbury His the twentieth century, as well as the Dr. John Blow. The tune, of course, is the Pavann, Byrd; Voluntary in A Minor, op. smaller 1974 Marcussen at the nearby metrical tune “Old Hundredth,” from 6, no. 2, Stanley; Voluntary on The Old St. Mary’s, Clifton. Pseaumes Octante Trois de David (1551), 100th., attrib. Purcell; Concerto No. 3 Butterworth’s program is an eclectic the second edition of the Genevan Psal- in A Minor, M. Camidge; Introduction one, consisting partly of music that might ter, and is often attributed to the French and Fugue in E-fl at, Nares; Lo Ballo dell’ have been performed on the instruments composer Louis Bourgeois. The voluntary Intorcia, Valente; Canzona franzese, van when they were fi rst built, and partly of treats the accompanying parts in a some- Dalem; Élévation in G, Benoit; excerpts music from very different periods and what fugal form, with the melody soloed from Twelve Images, de Klerk; Gaudea- traditions. The characteristic sound of out on the trumpet; the work falls into two mus: Verset pour la fête de l’Assomption, the eighteenth-century English organ is more or less distinct parts. Though the Jongen; Partita, ACH WIE NICHTIG, ACH WIE immediately apparent in these record- early nineteenth-century reed is far more FLÜCHTIG, Böhm; Chorale Prelude on EIN ings. Richness and sweetness of timbre, refi ned than those of Purcell’s day, the Graded Keyboard Musicianship: FESTE BURG IST UNSER GOTT, Buxtehude; particularly in the diapasons, is achieved fl ue voicing and temperament produce a Training in core keyboard skills, Fugue in A Minor, BWV 958, J. S. Bach; by low cut-ups and small toe-holes com- fairly authentic sound. Book One and Book Two, by Anne Voluntary No. 2 in G, S. Wesley. bined with barely adequate winding. Butterworth performs the last three Marsden Thomas and Frederick The Vale of Belvoir in the County of The result is that the pipes are almost tracks of CD1 on the 1829 Timothy Rus- Stocken. Oxford University Press, Leicester, England, is famous for Belvoir overblowing yet under-winded, produc- sell organ at St. Denys, Eaton. These Book 1, ISBN 978-0-19-341193-7, Castle and Stilton cheese. It also has a ing a delicate sound as expressive as the tracks complete the selection of English $25.00; Book 2, ISBN 978-0-19- number of churches with interesting bowing of a cello. The effect is like being organ music on these recordings apart 341194-4, $25.00. Available from: organs, two of which are recorded on this transported back into the England of a from the Wesley voluntary at the end of www.oup.com. two-CD set. The parish church of Brans- couple centuries ago. CD2 that has already been mentioned. This collection focuses on fi ve areas ton-by-Belvoir is dedicated to the eighth- The recordings begin and end with The fi rst work on the Eaton organ is Vol- for building core keyboard skills: fi gured century local saint St. Guthlac and has an Samuel Wesley, the only member of untary in D Major by Thomas Adams and bass, score reading, harmonization, organ built in 1794 by Hugh Russell of the Wesley family who was a Catholic. comprises an introduction and fugue. transposition, and improvisation. While London. The Russells were an outstand- Samuel Wesley, son of hymn writer Adams, now almost entirely forgotten, geared to organists, this method is also ing family of organists and organbuilders Charles Wesley and father of musician was the leading English organist at the easily accessible to pianists who desire to who worked in the eighteenth and nine- Samuel Sebastian Wesley, represents an beginning of the nineteenth century. learn or improve these skills. Book one teenth centuries. One of Hugh Russell’s interesting transition in English organ His compositions are very much in the includes levels one through fi ve and book sons, William Russell, was a well-known music. On the one hand he was steeped old style of the eighteenth century and two includes levels six through eight. composer of choral and organ music, in the eighteenth-century tradition, but date from the same period of the organ. After reviewing all eight levels (each while another, Timothy, was perhaps the on the other hand he was not afraid to The Young temperament is the kind of level is broken into fi ve lessons), this fi nest organbuilder of his day who car- adopt freer forms. He was also one of 1/6-comma tuning that would also have reviewer suggests a disciplined approach ried on the eighteenth-century English the earliest English musicians to cham- been in use around the time the organ of starting with the fi rst level, even if organbuilding tradition right down to the pion the works of J. S. Bach. Wesley is was built. rudimentary, so that the user becomes middle of the nineteenth century. The represented on these recordings by two Successive members of the Camidge acquainted with the writing style, termi- featured 1794 Hugh Russell organ was voluntaries, the fi rst, at the beginning family were organists of York Minster nology, and method for developing these originally built for St. Clement’s Church, of CD1, gives us an excellent chance to from the middle of the eighteenth to skills. The appendix is particularly help- Manchester, but on closure of that hear the richness of the diapasons of the the middle of the nineteenth century. ful for reminding one of the larger pic- church it was moved to Warford Hall Branston organ, while the second, at the Matthew Camidge published six four- ture by seeing what concepts and topics near Manchester and provided with a end of CD2, is a brilliant prelude and movement concerti for the organ, are covered in each level, and provides new Victorian case. The owner gave it to fugue that show off the silvery splendors which were deliberately written in a a conversion table for British terms into St. Guthlac’s, Branston, in 1880. Martin of the instrument’s chorus work. The fi rst style evocative of the music of Handel American values and ideas for further Renshaw, an English organbuilder who Wesley voluntary is followed by three and Corelli. Only two of the movements ways to use the books. lives in France, reconstructed the organ pieces from sixteenth- and seventeenth- of the third concerto are included here, One could use these books alone utiliz- between 1985 and 1997, returning it as century England. Two of these, by Tallis the introduction and fugue. Again this ing the utmost care and discipline and fol- far as possible to its original 1794 state. It and Byrd, are keyboard arrangements of is music that is contemporary with the lowing the detailed instruction provided has a G-compass Great Organ, a 35-note a popular dance tune of the day, Lord Eaton organ and ideally suited to it. by the authors. It would be recommended short-compass “nag’s head” Swell, and a Salisbury’s Pavanne, and which explore The fi nal track on CD1 is a voluntary though to fi nd a colleague, instructor, or pull-down G-compass Pedal. The new some of the softer voices of the organ. by James Nares, Introduction and buddy to work on these exercises with so case was based on the 1809 Russell case The Tomkins voluntary is in fugal form Fugue in E-fl at Major. Nares, who was that accountability and discipline could at St. John-the-Baptist, Kinsale, Eire, and in utilizing the chorus work, which organist of York Minster immediately be encouraged. Each level’s lesson is and the reeds are from the redundant contains a tierce mixture, sounds all the before the Camidge dynasty, takes us accompanied with supplementary text 1824 Timothy Russell organ at Holy clearer for the 1/5-comma temperament. back to the beginning of the eighteenth explaining each of the fi ve sections of Trinity, Newington Butts, London. The The thirds and fi fths also sound nearer century. The voluntary is written in a the work to be completed. This reviewer organ has fi fth-comma meantone tuning the way the composers intended. Added style somewhat similar to that of Mau- learned a differing Roman numeral sys- at A = 424 Hz. to this, Butterworth is clearly well versed rice Greene, whom Nares succeeded tem for analysis, but after reading through The second organ on the recording is in the interpretation of sixteenth- and as Master of the King’s Musick. Once the entire two books, one can understand at the parish church of St. Denys, Eaton, seventeenth-century ornaments, which ³ page 12 the method the authors use and can see Leicestershire. This instrument was orig- differ in subtle ways from the continen- the usefulness of their system. inally built by Timothy Russell for Lady tal ornamentation of the day. For those using this method in an St. Mary [sic] parish church in Wareham, The next track is John Stanley’s op. A. E. Schlueter Pipe Organ Co. instructor and student scenario, it is sug- Dorset, in 1829. As built it had two man- 6, no. 2, a two-movement voluntary gested to take care to prepare the lesson uals and pedals, but upon enlargement comprising an adagio diapason move- ahead of the student so that the instruc- of the church it became redundant and ment (here played on the diapasons tor can anticipate questions or challenges was moved to the Unitarian Church in and principal) followed by an allegro for in the material. This would be a welcome Wareham and reduced to one manual. It cornet. On this organ the tierce mixture addition to those who are studying organ is thought that this work may have been is a divided sesquialtera/cornet. Since privately and desire public performance carried out by a certain John Cranston, the cornet has to be a compromise solo/ opportunities like church playing or for who had been in partnership with a John chorus stop on this organ, it is rather nar- those interested in taking professional Russell, perhaps some other member of rower in scale than it would be if it were a exams like those offered by the American Hugh Russell’s family, as Russell & Cran- solo stop alone, as on larger organs. Once Guild of Organists. The opportunity for ston of Poole, Dorset. Cranston later again Butterworth is clearly aware of the beginning student to develop skills worked on his own in Ringwood, Hamp- the way that English ornamentation was in fi gured bass reading, score reading, shire, where he declared bankruptcy  New Instruments  Tonal Additions and harmony is immense. Add to that in 1841. Upon closure of the Unitarian  Rebuilding  Maintenance the ability to develop transposition and Church the organ was moved in 1977 BACH AT NOON  New Consoles  Tuning improvisation skills and in no time, you to St. Nicholas, Lockington, Leicester- will see the ability of both your students shire, and thence in 1979 to St. Denys, Grace Church in New York How can we help you? and yourself soar. Eaton. Like the Branston organ, Martin 800-836-2726 —Steven Betancourt Renshaw restored the instrument, which www.gracechurchnyc.org www.pipe-organ.com Chicago, Illinois now has a G-compass manual, fi ve stops,

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 11 Reviews

³ page 11 The Böhm partita is followed by Die- are based on fl ute plus strings combina- trumpets in B-fl at and C included. In again Butterworth’s interpretation of terich Buxtehude’s well-known Chorale tions). The writing is quite fi ne, using that case the organist would simply leave the ornamentation is impeccable. Prelude on EIN FESTE BURG IST UNSER mostly homophonic textures (with inner out the line that the trumpeter is play- With the opening of the second GOTT, where the rather narrow-scaled voice movement), which is ideal for these ing. Easily done, and it becomes much compact disc we return to the Branston cornet is used effectively as substitute tunes. Gentle and sweet, they would be more versatile! organ and are fi guratively transported to for a German sesquialtera in the playing at home in any service or even a seasonal The three pieces are Trumpet Tune on continental Europe for music by two six- of the ornamented chorale melody. J. S. concert setting. Recommended. AMSTERDAM, Trumpet Tune in D Major, teenth-century composers who worked Bach’s Fugue in A Minor, BWV 958, is —Joyce Johnson Robinson and Trumpet Tune on WESTMINSTER in Naples. The fi rst of these is the blind really a piece intended for the clavichord Niles, Illinois ABBEY. The hymn tunes are easily recog- Neapolitan organist Antonio Valente, rather than the organ, but nevertheless nized as they are tossed around between who in 1576 published several of sets transfers quite well to the Russell organ. Balboa Bolero, a duet for two organ- the instruments. All three tunes are of of variations for keyboard on popular Talking of Russell organs, I think it ists, one organ, by Joe Utterback. a joyous nature. The D-major piece is dances under the title Intavolatura de is a pity that on a pair of compact discs Jazzmuze 2015-400, $20. Available in a triple meter and practically dances cimbalo. Lo Ballo dell’ Intorcia is a set devoted to instruments by the Russell from: www.jazzmuze.com. along. It would be appropriate at Eas- of seven keyboard variations in G minor family there is no music by William Rus- This remarkable piece was com- ter or some other joyous occasion. The on a popular galliard of the day. This is sell, one of the leading English compos- missioned by Carol Williams and the music is not diffi cult and is easy to learn. a very lively piece, full of cheerful exu- ers of the day, son of Hugh Russell and Spreckels Organ Society, Balboa Park, I am going to fi nd an occasion when berance, as befi ts an essentially secular brother of Timothy. I also have some San Diego, California, for the opening I can use them in the near future, and I piece. Butterworth plays it on full organ, doubts about the suitability of some night concert of the centennial Interna- hope you will too! and though this produces a fi ne effect, of the repertoire, particularly the de tional Summer Organ Festival, June 22, it is hardly typical of the sound of a six- Klerk pieces, for an organ in 1/5-comma 2015. The two organists performing for 22 Hymn Preludes for Organ. North- teenth-century Italian instrument, which meantone, though it has to be admitted the occasion were Jared Jacobsen and western Publishing House, Milwau- would have sounded much more fl uty that one’s perception of temperament is Robert Plimpton. kee, Wisconsin, $24.00; www.nph.net. and delicate. The second track, Canzona largely a question of what one’s ears are As I have noted previously, Joe When I fi rst browsed through this franzese, by Pieter van Dalem, a Flemish used to. Nevertheless in spite of these Utterback is a master at composing in volume, I was unsure what to make of composer working in sixteenth-century misgivings I feel that these compact a jazz inspired style. My organ duet it. Most of the pieces are very short, Naples, is a more gentle composition, discs encompass some very fi ne playing experience has been limited to music and I initially thought they were a col- and comes off rather better on the on a pair of extremely beautiful organs, written for two organs. I have not had lection of introductions meant to be Branston organ. Again the 1/5-comma and I recommend them to readers of much experience sharing the bench played before the singing of the hymn. temperament is a great help. The Diapason. with another performer. For this piece This was corroborated by the fact that After this we move forward four centu- —John L. Speller I felt that it was essential to give it a try. some settings also included harmoniza- ries to twentieth-century France to hear Port Huron, Michigan It would be wise to try this music on a tions meant to be played as the hymn the Élévation in G, by Dom Paul Benoit, modern, spacious bench rather than was sung. However, only three settings OSB, organist of the Abbey of Clairvaux. one of those narrow nineteenth-century included harmonizations out of 31 set- This is No. 30 from Fifty Elevations for New Organ Music benches. What concerned my duet tings, and, as I progressed through the Organ on Modal Themes (1948). Here Ten Carols for the Christmas Season, partner and myself the most was not music, there were longer compositions the richness of the soft diapasons and John F. Kriebel. GIA Publications, being able to sit in the center where we as well—up to four minutes in length, fl utes of the Branston organ together with G-9388, $25.00; www.giamusic.com. normally play; feet and hands seemed to which I believe to be a little long for a sensitive phrasing combine to make for a John F. Kriebel is the composer of get lost easily. hymn introduction. memorable performance of this piece. It Variations on Stabat Mater (also GIA, Once these logistics have been taken There are no notes included in the is a pity that only one of the Elevations G-7096, $16.00), a 15-movement varia- care of and hands and feet know where volume as to musical purpose, so I did is included. Moving then to Holland, we tion set paralleling the Stations of the they are supposed to be, this music some experimenting of my own in a hear numbers 4, 3, and 5 of the Twelve Cross, and the downloadable Hymn becomes delightful. The bolero rhythm is morning service. I added an unwritten Images (1969) by Albert de Klerk, organ- Fantasy on Be Thou My Vision (available taken up fi rst by the primo part followed repeat to “Lord, When Your Glory I ist for sixty years of the Josephkerk in at musicnotes.com, MN0018553, $5.50). a page later by the secondo part. Several Shall See,” thus expanding the four- Haarlem. These are entitled respectively This collection comprises arrange- pages in and just before the rhythm is minute length to about seven for a Vivo, Impetuoso, and Gaio. These sound ments of ten of the (mostly) kinder, picked up in both parts together, there prelude to the service. It has a slow extremely strange, almost surrealistic, gentler, quieter Christmas hymn tunes: is an indication in the primo part to play marching quality with repeated chords in 1/5-comma temperament, and one Christe, Redemptor omnium; Cov- on another manual. Without this our in the left hand, an interesting melody wonders what the composer, used to entry Carol; Cranham; Divinum “Tango” (pronounced “tangle”) would in the right, and was a nice meditative his nineteenth-century Adema organ at mysterium; Eisenach; In dulci have been a complete disaster! For- beginning to the communion service the Josephkerk, would have thought of jubilo; Irby; Kings of Orient; tunately, the tempo is moderate, even that followed. I used the tune Holy them. Of the three, the last one, Gaio, Stille Nacht; St. Louis. All would stately, and the diffi culty of the music is Manna (“Christ, the Word of God seems the most suited to the Russell make for lovely preludes (or as offer- not severe. The bolero rhythms remain Incarnate”) for the serving of the bread organ. Another twentieth-century work tory or communion pieces) during the constant in both parts, which helped us and Were You There for the serv- featured on the compact disc is Gaude- Christmas season—and beyond. I would keep the two parts together. ing of the wine. Each of those is short amus: Verset pour la fête de l’Assomption even suggest that some of the settings With a wide bench and some pistons enough to be performed in that way and by the Belgian composer Joseph Jongen. whose tunes might not be known to your for ease in changing stops, this music of an appropriate meditative quality. Apart from the last chord, where the har- congregation—which is to say, tunes really comes alive. Utterback recom- All of the settings are on the easy side mony sounds extremely odd, this piece that are not in every hymnal (such as mends use of an English Tuba near the and harmonically conservative enough comes off surprisingly well in 1/5-comma Eisenach or Christe, Redemptor end to bring out the soaring melody. It to be good material for beginning organ meantone temperament. omnium)—could be used year-round, would be helpful to have the Tuba on a students. Although I was familiar with For the next three tracks we return to since their Christmas association would third manual, but even with two manu- many of the tunes, there were many that some earlier music from North Germany not be readily apparent. als, the melody sings high enough over I did not know. The composers repre- where the temperament is once more These settings are most accessible, the primo’s left hand that it will be heard. sented include Ronald Besemer, Paul the kind of thing that might have been posing no problems for organists with I do tend to recommend Joe Utterback’s Kanzenbach, Matthew Manthe, Carl expected for the period. The fi rst of these less-developed technique (pedal or oth- organ works, and this piece is no excep- Nolte, Cheryl Nolte, Lynn Petersen, pieces is Georg Böhm’s Partita, ACH WIE erwise). Easy to medium in diffi culty, and tion. It is well written, rhythmically alive Karen Phipps, John Reim, Kathy Smith, NICHTIG, ACH WIE FLÜCHTIG, the longest not “fl ashy” in nature, they utilize fi ne and vibrant, and will charm the audience. Jim Vyhanek, and Jacob Weber. work on the two-CD set. This work gives compositional “ingredients” simply pre- In addition to the three listed above, perhaps the best opportunity of any of sented for the listener to savor. Although Three Festive Trumpet Tunes for the tunes are: As Surely As I Live, God the featured repertoire to show off the these pieces do not require advanced Organ and Optional Trumpet, Jerry Said; Christ the Lord Is Risen Today; varied voices of the instrument, many technique, they do need musical sensi- Westenkuehler. MorningStar Music Alleluia, Come, Let Us Join Our Cheer- of which sound extremely pretty in the tivity to be at their most successful. Publishers, MSM-10-685, $17.00; ful Songs; Down From the Mount of piece. Once again Butterworth’s phras- The settings range in duration from www.morningstarmusic.com. Glory; For Years on Years of Matchless ing and ornamentation are impeccable. about a minute and a half (Prelude on ST. This volume is a great addition to the Grace; Good News of God Above; Hail, LOUIS) to about seven minutes (the six trumpet tune repertoire. Each of the O Once-Despised Jesus; Hail, O Source variations on Irby), with most clocking compositions is scored to be playable of Every Blessing; I Gave my Life for in around three minutes. Half of them either with the trumpet tune on the Thee; Let Children Hear the Mighty are multi-movement (three are explicitly organ or played by a separate trumpet Deeds; Lord, Dismiss Us With Your titled “Variations”). All are for two- player. If you are fortunate enough to Blessing; Lord, Keep Us Steadfast in manual-and-pedal instruments; registra- have a trumpet player that you can call Your Word; Lord, Open Now My Heart tion suggestions are provided (many on, there are reproducible parts for to Hear; Now Rest Beneath Night’s

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12 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Reviews

Shadow; Now Thank We All Our God; New Handbell Music Beginning with a festive opening Bells and Keys . . . More or Less, vol- O Dearest Jesus; O God of Love, O King Bound for the Promised Land, fanfare, each of the three stanzas takes ume 2, arranged for 1½ or 2 octaves of Peace; O Savior, Rend the Heavens arranged for 3–7 octaves of hand- on its own dynamic and style. The fi nal of handbells with or without key- Wide; Preach You the Word; Speak, bells with optional 3 octaves of stanza is solid and triumphant, leaving board, by Sandra Eithun. Choristers O Lord; The Law of God is Good and handchimes, by Derek K. Hakes. the listener, as well as the players, joyful Guild, CGB982, $59.95, reproduc- Wise; The Star Proclaims the King is Agape (a division of Hope Publishing and musically satisfi ed. ible, Levels 2 and 2+ (E- to M-). Here; There Is a Blessed Home; This Company), Code No. 2806, $4.95, Similar to the format of volume 1, Is My Will; This Is the Day the Lord Level 3- (D-). Oceans (Where Feet May Fall), this collection again offers a wide range Has Made; Thy Strong Word; What Is The setting of this piece incorporates arranged for 3–5 octaves of hand- of performance options for a fl exible This Bread?; With Broken Heart and a variety of techniques, as well as sev- bells, by Peggy Bettcher. Agape (a number of ringers with the option Contrite Sigh. eral tempo changes. This arrangement division of Hope Publishing Com- to use a keyboard to add fullness, if I recommend this volume for those of the hymntunes Promised Land and pany), Code No. 2783, $5.50, Level desired. The reproducible arrange- organists who have a need for short Happy Land brings riveting rhythmic 3- (M+). ment can be used with or without bass pieces to fi t into the liturgy—introduc- sections that will be a challenge for the This meditative contemporary praise clef ringers and can be performed tions, interludes, fi ller music—and for player and enjoyed by the listener. song by Matt Crocker, Joel Houston, and with twelve bells in the treble, or with student repertoire. The pages are clear Salomon Leightelm is based on the Mat- the addition of the bass clef for a full and easy to read and the repeats in many Praise, My Soul, the King of Heaven, thew 14 text where Jesus walks on water two-octave sound. The hymn titles are of the pieces allow for longer music arranged for 3–5 octaves of hand- and beckons Peter to join him. The perfect for year-round ringing in any when needed. bells, by Hart Morris. Concordia melodic line is catchy and rhythmic and concert or worship service. —Jay Zoller Publishing House, #97-7767, $4.25, fi lled with energy. The piece will surely —Leon Nelson Newcastle, Maine Level 2+ (M). be popular with your congregation. Vernon Hills, Illinois

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I wanted a certain amount of 8' Diapasons as well as fi ery reeds, solo color reeds, beautiful variety of fl utes, and lots of string celeste. All of this with the additional new GENISYSTM Voices will off er the organist a vast variety of sounds that can be used during the church service as well as the concert stage. I am extremely happy with the EXCELLENCE IS WORTH MORE fi nal result and I am sure you will be too. Enjoy!” ~ Maestro Hector Olivera

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 13 In the wind...

Mazel tov to muscle tone create that A-fl at out of thin air? A choir We have a close friend in Maine starting a piece, a cappella, with each who has always taken pride in his self- member confi dent of the pitch, volume, suffi ciency. He built his own house, and and timbre, is a dramatic example of in the twenty-fi ve years he and his wife human muscle control. have lived there, he has done all the No musician can play two identical maintenance and improvements himself. performances of the same piece. We As it is a rural house, there is extra work study, train, and practice, trying to make involved, like plowing a half-mile drive- accurate plans for where our fi ngers will way, clearing brush and trees, and mow- go, where we want to emphasize some- ing a large lawn. They are just across thing, where we want to bring some- the river from us, so like us, they have thing forward. We write fi ngerings into waterfront chores like taking docks and our scores, intending to use the same moorings in and out of the water. He is a sequence of fi ngers on each sequence of tough and stubborn guy in his early sev- notes in the hope that we can eliminate enties, and last winter he had a stroke. confusion. But something always comes I visited him in the rehab center where up in performance that was not part of he spent several very diffi cult months the plan. Maybe we got distracted. Or learning to walk with new limitations, maybe something wonderful happened straightening out his speech, and adjust- that never did before. It’s a thrill when ing to his new circumstance in general. you surprise yourself in performance His right arm and hand are now pretty with a special lilt, a delicious ritardando, much useless, and he was lamenting the or a thrilling and dramatic crescendo. loss of his “chain saw arm.” He could not imagine how he was going to be able to It’s a control issue. Casavant Opus 700 with Lynnwood Farnam’s console, restored by Rieger and in- get the snowplow off his pickup truck, and Let’s take that muscle thing a little stalled in the Gulangyu Organ Museum, Xiamen, China (photo credit: Rieger Orgelbau) the dormers on their roof needed shingle further. My friend’s stroke did not spoil repairs. During that visit, it was simply the muscles in his right arm; it inter- pipe organ, especially a large organ with Cleanliness is . . . not crossing his mind that he would likely rupted the electrical gear that operates electric stop action, is the most expres- There is a terrifi c hardware store in not be able to do those things again. them. The human nervous system is the sive of musical instruments. The catch is Damariscotta, Maine, the town that Wendy and I had dinner at their house amazing wiring harness that transmits that the musician operates it remotely. adjoins our village of Newcastle, and I last week and were brought up to date our thoughts into muscular impulses. The mechanics of the instrument serve go there at least every few days. It has a on all those issues. He hired someone Our bodies include several hundred “vis- as an artifi cial nervous system, allowing large parking lot with head-in spaces in to repair the shingles, a friend took the ceral” muscles, those that perform invol- the musician to control the instrument. front of the store, and a row of spaces you plow off his truck, and he decided they untarily, running such equipment as our While I know I am opening a path for can enter from behind, leaving your car would not put the docks in the water hearts, eyelids, and diaphragms. There cruel jokes (he plays that organ like a facing across an open lane at the store. this year. In fact, he put his boat on the are something like 320 symmetrical pairs Mack Truck!), there is a real analogy There is typically a row of tradesman’s market. And though his wife is ener- of skeletal muscles, those that we exer- with that excavator operator causing a pickup trucks and vans lined up there, getic and sprightly, they are considering cise control over. When I googled that, I twenty-ton machine to move with fl uid, and I always notice which trucks are kept selling their house and moving into a was surprised to learn that there seems to human-like motion. neat inside, and which have their dash- condominium, or even, dare they admit, be disagreement over the actual number, boards piled high with soda cans, coffee an assisted living facility. With all those apparently because some muscles can The musician’s workstation cups, receipts, sandwich wrappers, tools, changes imposed on their lives, my pal is be considered as part of more complex I am thinking about organ consoles and hardware samples. I have used those grateful that his speech is fi ne, and that structures and not counted separately. these days because I am working on one in observations to inform who I hire to help with some diffi culty he is able to walk, I am something of a mechanical geek, my personal shop at our house in Maine. with our house. If a painter’s truck is but he is astonished at the uselessness which has allowed me to notice that It is a three-manual job of modest size, covered with slobbers of paint and fi lled of his arm. “It hangs off my shoulder; I controls of a backhoe, the most com- about fi fty years old, and I am refi tting it with empty coffee cups, I don’t want him know it’s there. It hurts and itches some- mon piece of excavation equipment, are with a new nervous system, that fantastic in my house. times, but I can’t make it move.” roughly equivalent to the nerves that array of solid-state controls concealed in Traveling around maintaining organs Since that dinner, I have been refl ect- operate our arms and hands. Each lever a series of small black boxes that have provides the same experience. Some ing on the miracle that is the human has opposite motions—left and right, brought such sophisticated levels of con- organ consoles are always clean and free body, and the incredible things people up and down, fl ex and open—and the trol to the modern organist. Those black of clutter, and some are nasty deposito- can learn to do. All of us who are born operator uses levers in combinations boxes were provided by a supplier who ries that could have come straight from with bodies that are normal and com- to make fl uid compound motions. The incorporated the original specifi cations the dashboard of a plumber’s pickup plete start with roughly the same equip- boom extends, the bucket opens, the of the organ, plus a slew of features that truck with the same coffee cups, candy ment. Some people have little dexterity. machine swivels all at once. I wanted to add. There is a small LED and food wrappers, nail clippers (ick), The private nickname we have for one Watch a virtuoso musician playing a screen at the heart of the control panel, and hairbrushes. One organist I worked friend is “Oops.” But then there is the brilliant passage and think of all nerves the controls that control the controls. for had long thick gray hair and the fellow who can throw a ball ninety feet fi ring to make those hundreds of muscles The keyboards have been recovered and console looked like the couch in a house and reliably hit a target about one-foot do exactly the right thing, at the right polished to provide a lovely visible sheen, with ten cats. Her hair tangled up in the square, and there is the woman who can time, with the right amount of force. but more importantly, a smooth surface pedal contacts causing dead notes. We jump, twirl, and somersault on a beam That’s some data stream. to meet the musician’s fi ngers. There are called it the “Hairball Church.” that is ten centimeters (3.9 inches) wide. Many musical instruments, including no sharp edges or snags that could divert Often, those dirty consoles are out in The world of music is full of incred- winds and strings, require the musician to attention, or worse, cause injury. (I once the open in the front of the church for ible examples. The human hand is the participate in the production of tone, and covered a keyboard with blood from a everyone to see. It’s hard to imagine same apparatus that handles the “neck the volume of every musical instrument deep slit in my fi nger caused by the jagged why a musician would choose to present end” of a violin or guitar, the keys of is controlled by the muscular impulses of edge of a broken ivory, admittedly buried such a front for the worshippers. And an oboe or piano, or the strings of the the musician. That is, every instrument in my score enough that I did not look it’s hard to imagine how a sloven could harp. Have you ever shaken hands with but one. An organ pipe is perhaps the down until the piece was over.) The best produce beautiful music from such a sty. a harpist? What may seem to be the simplest of musical instruments, and cer- keyboards are works of art whose beauty I understand the value of having pencils, simplest instrument is perhaps the most tainly the least versatile. Any organ pipe helps to inspire the musician. note pads, “stick-ems,” and even paper miraculous—the human voice. Stop can produce just one pitch at one volume All the stopknobs and pistons need clips handy (though paper clips falling and think what an incredible feat it is level and one timbre. Period. Big deal. to feel alike. A squeaky knob or a piston into keyboards have necessitated many to simply match a pitch with your voice. It is for that reason that many orchestral that clicks will distract the player and an emergency call!), but you should take How do we know exactly the tension of conductors consider the pipe organ to be interrupt the fl ow. While it is impossible your trash with you when you leave. The the countless muscles involved that will expressionless. Conversely, I claim that a for everything to be perfect, the goal of one that really gets me is the half-sucked the organbuilder is to make the machine lozenge sitting on the open wrapper. You disappear, or at least to minimize the didn’t fi nish that lozenge? Really? A few machine’s ability to intrude on the sacred paragraphs ago, I referred to an organ The Sound of Pipe space between the musician’s heart and console as an extension of the musician’s the sound of the pipes. I am requiring body, perhaps a little idealistic if the con- Organs the musicians to take care of the arms, sole is a mess. M. McNeil, 191 pages hands, and fi ngers part of the system. § A new technical study of the Besides the switches and buttons that actually control the functions of the A modern solid-state organ console is relationships between scaling, organ, the surrounding cabinet needs to loaded with creative functions that allow voicing, the wind system, and be an inspiring workstation. The wood the musician ever higher levels of control tuning. Search on the title at should be beautiful, the fi nishes smooth, over the instrument. Multiple levels of the Organ Historical Society the geometry perfect. All of these factors memory and piston sequencers are two and Amazon websites. add to the console’s status as an exten- concepts that were really not possible sion of the musician’s body. before the introduction of solid-state

14 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM By John Bishop

made possible with solid-state controls, the supposed least expressive of musi- cal instruments eclipses the expressive capabilities of the symphony orchestra. It can be softer than the softest, louder than the loudest, and with a few fl icks of fi ngers, create dramatic crescendos between extremes. When Wendy and I lived in Boston, we had series tickets for the Boston Symphony Orchestra, with seats near the curve just above the stage. During the fi rst performance using the newly renovated organ, with Simon Preston playing the obligatory Organ Sym- phony by Saint-Saëns, we marveled at the facial expressions and commu- of things I can make it do, excited by nication between orchestra members the way its sound rings in a huge room, as the super low notes came from the excited by the way my musical impulses organ during the slow movement. No can make a whole room ring. It feels very orchestral instrument can go as low as personal to me, but as an organbuilder, the organ, and it is partly because of the I cannot separate all that from the fact limitless supply of air that the organ can that the organ is a machine operated by Skinner console for Grace Church, New York City, Opus 707 (photo credit: John Bishop) blow whistles that big. remote control. Like a pantograph that Are you surprised when I suggest that magnifi es the size of a drawing using equipment. Like the old codger who mimicking the repertory of human the organ is the least personal of musi- proportional levers, so the machine that starts a conversation with a grandchild skeletal muscles. cal instruments? I don’t feel that way is the organ magnifi es the vision of the with the words, “When I was your Because of that heritage of creativity, when I play, rather I feel at one with musician. But please, take your trash age . . . ,” I like to share that it was a big combined with the added dimensions the instrument, excited by the range with you. Q deal when my high school purchased four four-function calculators (add, sub- tract, multiply, divide). But it was only a few years later, when as an apprentice, I participated in installing one of the earli- est solid-state combination machines. A lot of smoke came out. As incredible as these machines can seem, organ consoles built a century DEFINING AFFORDABILITY ago featured sophisticated functions requested by the pioneers of symphonic organ playing. Lynnwood Farnam was organist at Emmanuel Church in Boston FOR THE NEXT GENERATION when Casavant’s Opus 700 was installed there in 1917. That console featured such controls as: • Piston “throwing off” all manual 16′ 1 1 stops, also Quint 5 ⁄3′ and Tierce 3 ⁄5′ • Piston “throwing off” all subcouplers • Swell octave couplers to cut off Swell 2′ stops • Other manual 16′ and 2′ stops not to be cut off by octave or sub couplers. INVEST ONCE... What was he thinking? That was barely the time when you could expect a new organ to include an electric blower. (After sitting in storage for more than THINK APOBA. ten years, that organ has recently been renovated by Rieger and installed in a concert hall on an island in China.) Mr. Farnam was involved in the design of another console that I have written about before, that of the new Skinner Opus 707 built in 1928 for Grace Church, New York City. Farnam’s dear friend George Mitchell was organist there, and NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS together they dreamed up a behemoth BUILDER MEMBERS console that could seemingly do anything. A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. The console controlled a double organ, Andover Organ Company Holtkamp Organ Company Schoenstein & Co. Chancel and Gallery, with a total of 167 Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders stops and 133 ranks. There was a separate Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company crescendo for each organ. Above the Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS Gallery Crescendo pedal there were two C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. toe studs, marked “Regular” and “Orches- Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems tral.” The Chancel Crescendo pedal could Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources be programmed from the console, using a Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products wire-and-plug system located in a drawer under the bottom keyboard. A program- mable crescendo in 1928! Besides the two crescendo pedals, there were fi ve expres- sion pedals, with a sliding control switch that allowed the organist to assign any Call today for APOBA’s Please watch and share expressive division to any pedal. Pipe Organ Resource Guide our short video at: It is amazing to think of that level of and Member Prospectus www.apoba.com/video electrical control in a contraption built in 1928. It was the product of some of the world’s most creative musical minds expanding the expressive pos- sibilities of the most complex and least personal of all musical instruments. It Apoba.com 1-800-473-5270 is as if a puppeteer added 320 symmet- rical pairs of strings to the marionette,

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 15 Pipe organ documentation

The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church Piru, California, Part 1

A virtually complete documentation and tonal analysis derived from the data, drawings, and photographs from the restoration of 1976 by Michael McNeil and David Sedlak

By Michael McNeil

Preface Johnson would have made the long trip Good documentation of organs with from Westfi eld, far to the west of Boston. enough pipe measurements to permit Travel would indeed have been much an analysis of both scaling and voicing is more diffi cult in 1843 when Johnson was extremely rare. Pipe diameters, mouth exposed to the Hook organ at Westfi eld. widths, and mouth heights (cutups) may But of some signifi cance was the exten- be sometimes found, but toe diameters sion of the Western Railroad from Boston and especially fl ueway depths are rare. to Westfi eld in 1843. This new railroad Rarer still are wind system data, allow- may have been the means by which the ing a full analysis of wind fl ow and wind Hook organ was shipped to Westfi eld. dynamics, parameters that have an enor- Elsworth (see endnote 2) clearly makes mous impact on the sound of an organ. the case that Johnson was intoxicated by The reader will fi nd all of this in the organbuilding with his exposure to the following essay on William A. Johnson’s Hook organ. It is easy to imagine that he Opus 161. would have made a pilgrimage to Boston, Good documentation is important at the time a mecca of American organ- for several reasons. We can make useful building, perhaps invited by the Hooks comparisons with other organs to learn to accompany them after fi nishing their how a specifi c sound is achieved. And installation in Westfi eld.5 perhaps most importantly, we can docu- The author was engaged in 1976 by ment the organ for posterity; while organs Mrs. Gene Davis, the organist of the Piru are consumed in wars and fi res, they are Community United Methodist Church, most often replaced or modifi ed with to evaluate the organ at that church. The the changing tastes of time. They never identity of the organ was in question as no survive restorations without changes. nameplate was in evidence on the con- Comprehensive documentation may also sole, the organ was barely playable, and serve to deter future interventions that its sound was greatly muted by the crude intend to “modernize” an organ. Lastly, placement of panels in front of the Great future restorations of important organs division to make it expressive by forcing will be more historically accurate if they its sound through the shades of the Swell are based on good documentation. division above it. An inspection showed The mid-nineteenth-century scaling that nearly all of the pipework was intact, and voicing of William A. Johnson is very and a contract was signed to restore the similar to the late-eighteenth-century organ to playable condition. The organ work of the English organbuilder Sam- was cleaned, the pipes repaired, the few uel Green, as evidenced by the data from missing pipes replaced, and much of the Johnson’s Opus 16 and Opus 161. Ste- action repaired by Michael McNeil and phen Bicknell provides us with detailed David Sedlak. descriptions of Green’s work.1 Johnson’s The church offi ce fi les produced an scaling is utterly unlike the work of E. undated, typed document that stated: Mrs. Gene Davis at the keydesk of Johnson Opus 161, Piru Community United & G. G. Hook, whose 1843 Opus 50 Methodist Church, Piru, California The pipe organ in the Methodist Church for the Methodist Church of Westfi eld, of Piru was built by William Johnson, of Massachusetts, set Johnson on a career Westfi eld, Mass., in the early 1860s, mak- in organbuilding when he helped the ing it probably the oldest operating pipe Hooks with its installation.2 In this essay organ in California. It was a second-hand organ when transported by sailing ship we will explore Johnson’s Opus 161 in 17,000 miles around Cape Horn before detail and contrast it with the Opus 1900, and installed in a Roman Catholic 322 of the Hooks, both of which were Church in San Francisco. After the earth- constructed within a year of each other.3 quake and fi re of 1906, the organ was moved to another church and probably at While the Hooks used a Germanic con- this time parts damaged in the quake were stant scale in their pipe construction, replaced. After many more years of service Johnson signifi cantly reduced the scale it was retired and put into storage until, in of his upperwork stops, much in the 1935, Mr. Hugh Warring was persuaded to purchase it for the Piru church. It was pur- manner of Samuel Green and classical chased for the storage cost of $280. French builders. Eastside Presbyterian Church, Stock- Eastside Presbyterian Church, interior The question arises as to whether Evidence of a different and more likely ton, California, exterior Johnson came to his design theory by provenance was discovered during the this time such features as couplers and way of a process of convergent evolu- removal of pipework and the cleaning of Reverend Thomas Carroll, SJ, noticed tremulants were counted as “stops,” and tion (i.e., independently), or whether he the organ. Three labels were found glued that the clues of Stockton, California, and this roughly fi t the description of the Piru was exposed to the organ Samuel Green to the bottom of the reservoir (perhaps as the Presbyterian church correlated to an organ. The façade of the Piru organ is shipped to the Battle Square Church patches for leaks). Two labels read: “Geo. entry in the opus list of Johnson organs, also consistent with the architecture of in Boston in 1792, and which “was Putnam ‘Janitor’ Stockton California July compiled in Elsworth’s 1984 book, The organs built by Johnson in the 1864 time played virtually unaltered for a century,” 1 ’99.” A third label read: “From the Peri- Johnson Organs. Opus 161 was shipped frame. Elsworth’s illustrations include a according to Barbara Owen.4 The author odical Department, Presbyterian Board in 1864 to the “Presbyterian Church, console layout of Opus 200 (1866) virtu- suggested to Owen that the Green organ of Publication, and Sabbath = School- Stockton, Cal. The church is Eastside ally identical to the Piru organ layout; may have had a strong infl uence on work, Witherspoon Bldg, 1319 Walnut Presbyterian.” The organ was listed as Opus 134 (1862) exhibits the impost, Johnson, but she thought it unlikely that St., Phila. PA.” At a much later time having two manuals and 22 stops.6 At stiles, and Gothic ornamentation of the

16 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Great chest sliders

Right stop jamb, before restoration Johnson Opus 161 in disassembly

Right stopjamb diagram

at 440 Hz. The original pitch of the Hook organ was 450 Hz; new low C pipes were added when the pitch was changed to 435 Hz, and the original pipework was moved up a halftone, widening its scales by a halftone. The original pitch of the Johnson organ was Left stopjamb diagram approximately 450 Hz; the pipes were Left stopjamb prior to restoration lengthened to achieve a lower pitch.14 widths, and mouth heights. Tables show- The Hook and Johnson organs are both Piru organ; Opus 183 (1865) has similar ing how raw data are converted into tuned in equal temperament. The wind pipe fl ats and also the console layout of Right stopjamb prior to restoration normalized scales may be found in the pressure, water column, of the Hook is the Piru organ.7 Many other details veri- article on the E. & G. G. Hook Opus 322 76 mm (3 inches); the Johnson organ fi ed the Johnson pedigree, among them easily pass muster as the work of Green. published in The Diapason, July 2017. was measured at 76 mm static and 70 the inscription “H. T. Levi” on the reed The tonal contrast between Green and The full set of Johnson data and the Excel mm under full fl ow on the Great divi- pipes. Barbara Owen pointed out that Hook is stark, and the Hook data serve spreadsheet used to analyze them may sion. The pressure was reduced during Levi was Johnson’s reed voicer during the as an excellent counterpoint to the data be obtained at no charge by emailing the the restoration to 63 mm static. This time of manufacture of Opus 161.8 The from the Johnson organ. Green was the author.12 Also available is the book The allowed the pitch of the pipes to drop, pieces of evidence fell together when Jim organbuilder favored by the organizers Sound of Pipe Organs, which describes making the adjustment to 440 Hz with Lewis discovered a newspaper photo of of the Handel Commemoration Festival in detail the theory and derivation of the fewer changes to the pipe lengths; most Opus 161 in the Eastside Presbyterian of 1784, who went so far as to have one models used in this essay.13 of the pipes that were originally cut to Church of Stockton that matched the of Green’s organs temporarily installed length had been crudely pinched at façade of the Piru organ. The most likely in Westminster Abbey for that occasion. Pitch, wind pressure, and gen- the top to lower their pitch. With the scenario is that Johnson shipped Opus King George III paid Samuel Green to eral notes reduction in pressure the ears of the 161 directly to that church. The Gothic build an organ for Saint George’s Chapel The current pitch of the Johnson 4′ Flute à Cheminée, with its soldered architecture of the Johnson façade also at Windsor. and Hook organs is dissimilar and tops, achieved a more normal position. refl ects the architecture of the Eastside Stephen Bicknell’s The History of the should be taken into consideration The Piru room acoustic was reason- Presbyterian Church façade. A handwrit- English Organ relates important details when observing the scaling charts. The ably effi cient, and while the Johnson ten note on the Piru church document of Samuel Green’s work that we fi nd in Hook organ is now pitched at A=435.3 voicing is very restrained, it was adequate stated: “Pipe organ and art glass memo- Johnson’s Opus 161. “. . . Green’s voic- Hz at 74 degrees Fahrenheit, while to fi ll this room on the reduced pressure. rial windows dedication June 2, 1935 per ing broke new ground . . . . Delicacy the Johnson organ is now pitched The Piru church seats 109, has plastered Fillmore Herald May 31, 1935, a gift of was achieved partly by reducing the Hugh Warring.” size of the pipe foot and by increas- It is possible that the organ went ing the amount of nicking. The loss of from the Presbyterian church into stor- grandeur in the chorus was made up for MANDER ORGANS age, and was later moved to its present by increasing the scales of the extreme location in the 1934–1935 time frame. basses.”10 And “Where Snetzler provided New Mechanical Even so, we can say with nearly absolute a chorus of startling boldness and with Action Organs certainty that this organ is William A. all the open metal ranks of equal power, Johnson’s Opus 161. Green introduced refi nement and delicacy and modifi ed the power of the Tonal design overview off-unison ranks to secure a new kind of It is obvious from even a casual glance blend.”11 The Hooks, like Snetzler, used at Elsworth’s study of Johnson organs a constant scale where all of the pipes in that the Johnson tonal style was based on the principal chorus at a given pitch had a classical principal chorus that included about the same scale and power. mixtures in all but the more modest The most basic data set for describ- instruments. But the voicing style is gen- ing power balances and voicing must ³ St. Peter’s Square - London E 2 7AF - England tle and refi ned, and bears great similarity include, at a minimum, pipe diameters, Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 to the late-eighteenth-century English widths of mouths, heights of mouths Continuo Organs [e] [email protected] work of Samuel Green, whose meantone (“cutup”), diameters of foot toe holes, www.mander-organs.com organ at Armitage in Staffordshire is an and depths of mouth fl ueways. The data excellent surviving example.9 Tuned in in this essay are presented in normalized meantone, Johnson Opus 161 would scales for inside pipe diameters, mouth Imaginative Reconstructions

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 17 Pipe organ documentation

Figure 1: Johnson Opus 161 wind fl ow model walls, wood and carpet fl ooring, and a SWELL peaked ceiling about 30 feet high; the 16′ Bourdon (TC) 8′ Open Diapason reverberation, empty, as heard with nor- 8′ Stopped Diapason mal ears, is well under one second (this is 8′ Viol d’Amour (TF) not the measurement used by architects 4′ Principal that erroneously reports much longer 8′ Hautboy (TF) reverberation). Elsworth relates that Tremolo “the wind pressure which Johnson used PEDAL during this period was generally between 16′ Double Open Diapason 1 3 2 ⁄2 and 2 ⁄4 inches [63.5 and 70 mm], Couplers and, in rare examples, nearly 3 inches Great to Pedal [76 mm].”15 The photograph of the origi- Swell to Pedal nal Eastside Presbyterian Church for Swell to Great which the Johnson was designed implies Blower signal a larger acoustical space than that of the Piru church. The above list adds up to 20 controls. Figure 2 (above), wind system dynamic response; and Figure 3 (below), modeled The compass of the Johnson organ is The Johnson company opus list describes resonant frequency at original wind pressure 56 notes in the manuals, C to g′′′, and 27 Opus 161 as having 22 “stops.” This may notes in the pedal, C to d′. have refl ected the original intention to supply the organ with stops having Stoplist split basses, which are commonly found The Johnson console was found in in Johnson specifi cations. The sliders poor condition, missing the builder’s for the Keraulophon and the Trumpet nameplate and many of its stop knob were found with separate bass sections faces. Correct stop names were derived from C to B, professionally screwed from the markings on the pipes and the together with the sections from tenor missing faces were replaced. The origi- C to d′′′. The two additional bass stops nal stoplist is reconstructed as follows would account for a total of 22 “stops.” (Johnson did not use pitch designations): There are no extra holes in the stop jambs to indicate the deleted split bass GREAT 8′ Open Diapason stop actions. The extant stopjambs are 8′ Keraulophon apparently a later modifi cation from the 8′ Clarabella time of the installation at Piru or before. 4′ Principal Elsworth noted that all Johnson organs 4′ Flute à Cheminée (TC) 2 of this period were constructed with 3′ 2⁄ Twelfth 16 2′ Fifteenth square stop shanks. The current shanks 8′ Trumpet are round where they pass through the Notebook sketch 1

stopjambs and are square where they and pipe toes; and the dynamics of the connect to the stop action. wind. Wind dynamics are fully explained Several stop knobs were switched in The Sound of Pipe Organs and are a during the 1935 installation at Piru; e. g., very important aspect of an organ’s abil- the Viole d’Amour in the pre-restoration ity to sustain a fast tempo with stability photo of the right jamb belongs in the or conversely to enhance the grand position noted on the left jamb with the cadences of historic literature. The data black plastic label “Bell Gamba,” which set on the Johnson allows us to model all indeed is how this stop was constructed. of these characteristics. Figure 1 shows The Swell Stopped Diapason was oper- the Johnson wind fl ow model. ated by a knob labeled “Principal” [sic]. In Figure 1 we see a table of the pipe The illustrations of the left stopjamb and toe diameters and their calculated areas; right stopjamb diagrams provide the cor- values in red font are calculations or rect nomenclature as restored in the cor- interpolations from the data (e.g., wood rect positions, with the incorrect 1935 pipe toes are diffi cult to measure when nomenclature in parentheses ( ) and the they have wooden wedges to restrict correct pitches in brackets [ ]. fl ow). These areas are measured for a single note in each octave of the compass. AUSTINORGANS.COM The wind system A model for the total required wind 
t

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The wind system can be modeled from fl ow of the full plenum of the organ two viewpoints: the restriction of fl ow assumes a maximum of ten pallets (a from the wind trunks, pallets, channels, ten-fi ngered chord), as described in the

18 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Great pallet box

Pallet springs

system along with a worked example on Notebook sketch 2 the 1774 Isnard organ at St. Maximin may be found in The Sound of Pipe Organs, pages 99–113.

The wind system in pictures See the accompanying pictures: Notebook sketch 1, Great windchest, Toeboard, Notebook sketch 2, Notebook sketch 3, Notebook sketch 4, Great pallet box, Pallet springs, Notebook sketch 5.

The layout in pictures “Green’s organs stand on an inde- pendent building frame with the case erected around it, rather than being supported by the structure of the case Great windchest Toeboard itself.”17 Bicknell’s description of a Samuel Green organ applies equally well to this Johnson organ. The casework is built entirely of black walnut, a wood Notebook sketch 4 mentioned by Elsworth in reference to Johnson cases. The organ is situated combined internal volume of its bel- within the front wall of the church. The lows, wind trunks, and pallet boxes. The original black walnut side panels (typi- model in Figure 2 shows the dynamic cal of early Johnson organs) were found response of the current Johnson wind crudely cut up and nailed behind the system at a relaxed 1.61 Hz. This low façade in an effort to make the whole resonant frequency drops further to organ expressive through the Swell 1.47 Hz when the pressure is raised to shades. This had the effect of making the its original value of 76 mm. The author’s Great division sound like a diminutive notes from 1976 state: “Light ‘give’ on Echo division. The typical layout of a Notebook sketch 3 full organ; relatively fast buildup to full Johnson organ is well described by Els- fl ow.” That “light give” is the result of the worth: “The framework was arranged to table, and the fl ow is multiplied by the the ratios in the action). These allow us low resonant frequency of the system. carry the chests of the Great organ and number of the pallets played for each to calculate the relative wind fl ow of the The resonant frequency of the Hook the supporting framework for the Swell, octave in the compass. The sum of the channels and pallets. We fi nd that there organ was modeled at 1.23 Hz, a value which was usually above the Great organ toe areas of all ten manual pallets in the are robust margins in wind fl ow from the lower than the Johnson, and the Hook and slightly to the rear.”18 Such layouts, tutti is 5,057 mm2. The total area of the channels to the pipe toes (244% at low chorus does indeed exhibit a slower and shown in Figure 4, are common in nine- manual wind trunks is 38,872 mm2, and C to 737% at high C on the Great). This grander surge on full organ. Figure 3 teenth-century American organbuilding. we see that the wind trunks afford 7.7 accounts for the small drop in static pres- shows the modeled resonant frequency The walkway behind the Great allowed times more wind than the tutti requires, sure at 76 mm to a full fl ow pressure of 70 at the original pressure of 76 mm for the access to the pipes and pallets placed at so much in fact that the trunks do not at mm with all stops drawn. Pallet openings Johnson organ. The equation for model- the rear of that chest, and the rollerboard all function as an effective resistance in are less robust and fl ow about 100% of ing the resonant frequency of a wind to the Swell division was normally placed the system. the channel area for the fi rst three octaves Interestingly, the Isnard organ at St. and 190% in the high treble. Confident pedal work Maximin, France, used the main wind The underlying dynamics of a wind trunk as a strong resistor to dampen system are the result of the mass of its comes with practice and Helmholtz resonances in the wind sys- bellows plate and the volume of air in the tem, and that organ has ratios of wind system. These factors produce a natural the right shoes trunk area to a plenum toe area of only resonance that can enhance the grand 1.07 for the coupled principal chorus of cadences of literature with a long surge on the the Grand-Orgue and Positif, but with in the wind, or it can produce a nervous no reeds, fl utes, or mutations. Helm- shake if it is too fast. A grand surge in pedals holtz resonances are the source of what the wind is characterized by a resonant is normally called wind shake, and we frequency of less than 2 Hz (cycles per x Men’s & Women’s Organ Shoes would expect some mild wind shake with second), and it is most often produced the Johnson’s large wind ducts and low by a weighted bellows. A nervous shake with suede soles and heels damping resistance. The author’s notes results from a sprung bellows. We cor- x Whole & Half from 1976 state: “Very little sustained rect the latter condition with small con- Sizes in 3 Widths shake . . . a considerable fl uctuation cussion bellows in modern organs, but in pitch when playing moderately fast the Johnson organ does not have such x Quick & Easy legato scales, which stabilizes very rap- devices; instead, it features only a large, Returns idly . . . this imparts a shimmer . . . .” weighted, double-rise bellows. In Figure 1 we also see dimensions We can model the dynamic response OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET of the key channels, pallet openings, and of an organ by using its wind pressure, 44 Montague City Rd Email: [email protected] the pallet pull length (estimated from the area of the bellows plates, and the Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 19 Pipe organ documentation

Figure 4

Notebook sketch 5 Figure 5

damaging the pipework or the key action. The author weighed less (at the time) and was barely able to navigate inside the organ. The current layout is shown in Figure 6. It is also possible that the current layout refl ects the original layout by Johnson, but that the Swell was simply lowered to fi t the height of the Piru church and brought forward to fi t the limited depth available, reducing the depth of the walkway. Q

Notes and credits All photos, drawings, tables, and illustra- tions are courtesy of the author’s collection if not otherwise noted. Most of the color photos were unfortunately taken by the author with an inferior camera in low resolution. David Sedlak used a high quality camera, lenses, and fi lm to produce the high-resolution color pho- tos of the church and its architectural details; these are all attributed to Sedlak. 1. Stephen Bicknell, The History of the English Organ, Cambridge University Press, 1996, Cambridge, pp. 185–187, 190–191, 207. 2. John Van Varick Elsworth, The Johnson Organs, The Boston Organ Club, 1984, Har- risville, p. 18. 3. A detailed study of the E. & G. G. Hook Opus 322 may be found in The Diapason, July, August, and September issues, 2017. 4. Barbara Owen, The Organ in New Eng- land, The Sunbury Press, 1979, Raleigh, pp. 18–19. 5. see: en.wikipedia.org/wiki/Boston_and_ Albany_Railroad. 6. The Johnson Organs, p. 100. 7. Ibid, pp. 23, 50, 57, respectively. 8. The Organ in New England, p. 275. 9. 5 Organ Concertos, 1984, Archiv D 150066, Simon Preston, Trevor Pinnock, The English Concert. 10. The History of the English Organ, p. 185. 11. Ibid, p. 207. 12. McNeil, Michael. Johnson_161_170807, an Excel fi le containing all of the raw data and the models used to analyze the Johnson Opus 161, 2017, available by emailing the author at [email protected]. 13. McNeil, Michael. The Sound of Pipe Or- gans, CC&A, Mead, 2012, 191 pp., Amazon. com. 14. The Organ in New England, p. 75. 15. The Johnson Organs, p. 25. 16. Ibid, p. 23. 17. The History of the English Organ, p. 187. 18. The Johnson Organs, p. 23. Figure 6 just behind this walkway, allowing access reversed, placing its pallets to the back reversed; the Swell rollerboard appears To be continued. to the Swell pallets that were placed at of the windchest, and the chest brought to have been likewise reversed and now Michael McNeil has designed, con- the front of the Swell windchest. Opus forward over the Great division. Note faces toward the walkway where the structed, and researched pipe organs 161 was installed in an opening in the the lack of clearance between the 4′ action and rollers are exposed to damage. since 1973. He was also a research engi- Piru church that was far too shallow to Principal pipe and the bottom of the To say that the Piru layout was neer in the disk drive industry with 27 allow the depth of a rearward placement Swell chest in Figure 5. The internal cramped would be an understatement; patents. He has authored four hardbound of the Swell division. framework shows signs of crude saw no one weighing over 150 pounds would books, among them The Sound of Pipe As a result, there is evidence that cuts; the order of the notes on the Swell gain access to the pipes for tuning or Organs, several e-publications, and many the Swell windchest may have been chest is the same as the Great, but it is to the action for adjustment without journal articles.

20 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Feature review

Licht im Dunkel— Lumière dans les ténèbres

Festschrift for Daniel Roth

By Anton Warde

Licht im Dunkel—Lumière dans les Neckar, provided the impulse for com- ténèbres [Light in darkness]: Fest- position of the Beuron Mass, as well as schrift Daniel Roth zum 75. Geburt- for the Roth festschrift itself. stag, Birger Petersen, editor. Bonn: In his foreword, editor Birger Dr. J. Butz Musikverlag, 2017, 432 Petersen (professor of musical theory at pages, hardbound, in German with the Johannes Gutenberg University in abstracts in English and French, Mainz) notes that “it became clear early Licht im Dunkel—Lumière dans les ténèbres numerous musical examples, stop on that the book would end up forming lists, and a bonus CD. ISBN 978-3- concentric circles around the themes of Reifenberg cites Roth’s visit to Eber- organs, both classical and romantic; 928412-23-0. €34, available from St. Sulpice, Aristide Cavaillé-Coll, Albert smünster with his father at the age of and he argues persuasively that the http://butz-verlag.de. Schweitzer, and the French organ tradi- twenty as decisive in motivating him— Cavaillé-Coll organ at Saint-Sulpice is We may fi rst think of Daniel Roth as tion.” Within those fertile spheres we already a prize-winning Paris Conserva- not only the perfect organ for the music one of today’s elite French organists. And fi nd not only ample attention to Daniel tory student—to commit fully to the of Franck but also—as Schweitzer had that he most certainly is. But given his Roth, of course (in brief hommages writ- career of a professional organist. And maintained—for performance of Bach. bi-cultural heritage as a son of Alsace, as ten by George Baker, Daniel Maurer, Vincent Warnier suggests that it was at The key for Bach, Roth explains, is to well as his numerous professional links Pascal Reber, Gregor Simon, and Jean- a joint appearance in Ebersmünster that register a Plein Jeu and add a few dis- to German institutions, we should not be Paul Sorg, as well as Michael Grüber), Roth’s and Alain’s paths fi rst crossed in crete reed voices such as Basson or the surprised that the festschrift published to but informative articles on the organ the early 1960s. The young Roth, previ- small, bright Trompette from the Positif. honor him on the occasion of his seventy- landscape of Alsace (Pierre Chevreau’s ously steeped in the music of Franck and As heard in Roth’s 2012 recording of fi fth birthday comes from Germany. “Mulhouse, Albert Schweitzer und die other composers of his era, credits Alain, Bach, re-released in 2017 and available For most of his adult life, Roth’s activ- elsässische Orgel von 1803 bis 1981”); half a generation older than he, with for purchase at Amazon (or to stream ity has been centered in Paris. After com- on the two Cavaillé-Coll instruments of introducing him properly to early music, in high quality as a complete album by pleting formal studies at the Paris Con- which Roth became the guardian and teaching him the value of composers’ searching within YouTube for “Daniel servatory in the early 1960s, principally master (Yannick Merlin’s “Daniel Roth original scores, and equipping him with Roth Plays Bach”), the result is remark- under Maurice Durufl é and Rolande und die Orgeln von Sacré-Cœur und his fundamental approach to any piece of ably successful: we get the characteristic Falcinelli, he served as Falcinelli’s sub- Saint-Sulpice” along with a short essay music: namely to analyze it closely from Cavaillé-Coll carpet of sound, rich in stitute at the Basilica of Sacré-Cœur for by Kurt Lueders on the problematic every angle in order to understand best fundamentals, yet one that seems to ten years before succeeding her as titular nature of the term fl ûte harmonique); on what the composer would have wanted match in voice-clarifying overtones the organist in 1973. From 1974 to 1976, the composers César Frank (Christiane to hear in its performance. thrilling plenum of the large Gottfried Roth took a hiatus from his duties there Strucken-Paland’s analysis and contextu- Regardless of the organ he may be Silbermann organ at Freiberg in Saxony. in order to assume the post of artist-in- alization of Frank’s neglected early works playing, Roth aims to deliver an inter- It helps, of course, that Cavaillé-Coll residence at the National Shrine of the for organ), Charles-Marie Widor (Fabian pretation that comes as close as possible incorporated many classically French Immaculate Conception and professor Kolb’s scholarly article on Widor’s push to honoring its composer’s intent. In his solo stops from the preceding 1780 Clic- for organ at the Catholic University of for the organ’s greater role in composi- own words as cited by Peter Reifenberg quot organ in his otherwise symphonic America in Washington, D.C. Upon his tions for large orchestra), and Maurice (in my translation), “[I want to place instrument for Saint Sulpice. return to France, he remained at Sacré- Durufl é (Jörg Abbing on the infl uence of myself] completely in the service of the Too often, festschriften collect essays Cœur until his appointment as organiste Vierne and Touremire on their student composer, constantly searching the com- that barely relate to the accomplishments titulaire at Saint-Sulpice in 1985. He has Durufl é, followed by Birger Petersen’s poser’s universe to determine what . . . of the luminary being honored, or pieces now presided over the grand Cavaillé- analysis of Durufl é’s infl uence, in turn, will sound correct and authentic [on the that vary so widely in their focus that Coll organ at Saint-Sulpice for more on polymodality in the compositions of instrument at hand]” (p. 220). there would otherwise be little rationale than three decades, burnishing its fame his student Daniel Roth); and on the Indeed, it may be Roth’s wide-ranging for publishing (or re-publishing) them as one of the great “destination instru- organist Marie Claire Alain, in Vincent insights on musical performance that in the same volume. But this Festschrift ments” of the world. Warnier’s study of the long friendship many readers will fi nd most fascinat- comes as a most welcome treasury of Along the way, Roth commuted to between Roth and Alain, his most infl u- ing. Examples appear throughout the interlocking themes. It will be of interest extended teaching positions in the ential post-conservatory mentor. volume, but chiefl y in the three conver- not only to students of the organ at any French cities of Marseille and Stras- Albert Schweitzer, Roth’s revered sational sections that compose more than level of profi ciency but to organ builders bourg, as well as at conservatories in Saar- Alsatian compatriot, six decades his one third of the book: a 2017 interview and enthusiasts who, incidentally, need brücken (1988–1995) and Frankfurt am senior, makes an appearance in nearly conducted by Professor Jörg Abbing (pp. not be advanced readers of German. Main (1995–2007). Other German cities every essay, most notably in Gilles Can- 213–225), Roth’s own lively 140-page dis- Most of the language is straightforward have provided the venue for the debut of tagrel’s “In Saint-Sulpice mit Widor und course on agogic, rubato, accent, attack, and clear. The book should reasonably each section of Roth’s triptych for large Schweitzer,” concerning the unlikely registration, and much more, illustrated fi nd a home in any library that serves an orchestra, Licht im Dunkel (2005–2009), teacher-student friendship between the with many musical examples and refer- organ program, as it surely will in the the fi rst of which was performed in Lud- two and in particular their reciprocal ences to specifi c organs (pp. 265–409), personal libraries of many of the count- wigshafen by the Staatsphilharmonie infl uence in appreciating the music of and fi nally in an engaging conversation less friends and admirers of Daniel Roth, Rheinland-Pfaltz under the baton of Bach; and in Wolfram Adolph’s thought- with Pierre-François Dub-Attenti, one who deserves to enjoy many more years his elder son, François-Xavier Roth, an ful essay on Schweitzer’s concept of chan- of Roth’s assistants at Saint-Sulpice (pp. of superb music making. Q accomplished conductor based in Ger- neling spiritual unity with the cosmos in 409–419). He is the young registrant many. More recently, Daniel Roth com- the meditative style of his Bach playing. we see seated at Roth’s left in most of Anton Warde (Cape Elizabeth, Maine) posed his Missa Beuronensis to serve as Like Schweitzer before him, Daniel the Saint Sulpice performances that are is an emeritus professor of German the centerpiece for a multi-day master Roth found his ears beguiled at an searchable on YouTube and viewable, as (Union College, Schenectady, New York) course sponsored by ORGANpromotion early age by the sonorities of the 1732 well, at http://www.stsulpice.com/. (It is and a past associate of David E. Wallace at the Benedictine Abbey of Beuron on Andreas Silbermann organ at bucolic Dub-Attenti we must thank for produc- Pipe Builders, Gotham, Maine. Since the Danube in September 2016. (A fi ne Ebersmünster in Alsace. In the words ing and posting those remarkable videos.) contributing his four-part series, “E. recording of this performance, with Roth of Schweitzer: “I carry [the Silbermann In his own very readable German, Power Biggs in Mozart Country” (June– at the organ, accompanies the book.) sound] in my ear always; it leads me.” Roth succinctly analyzes, for example, September 2006), he has served The The indefatigable Michael Grüber of In the volume’s opening essay entitled the differing routes of development Diapason as an occasional reviewer of ORGANpromotion, located in Horb am “In the Style of a Panégyrique,” Peter taken by French organs and German books in the German language.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 21 Cover feature

C. B. Fisk, Inc., Gloucester, Massachusetts, Opus 148 Centennial Chapel at Christ Church Cathedral, Cincinnati, Ohio

From the Builder There are precious few places any- where in the world that offer the splen- dor of San Petronio, Bologna. From the instant one walks through the West End Porta Magna—adorned with bas-relief sculptures by Jacopo della Quercia— this is overwhelmingly evident. After traversing 132 meters of marble paving under a 45-meter-high vault, arriving fi nally at the East End of the basilica one observes on the chancel south side the magnifi cent and venerable organo Epistola. With its original 24′ façade pipes still standing, it was completed by Lorenzo da Prato in 1475. Opposite, fac- ing this instrument from the north chan- cel, stands the much younger yet still impressive organo Evangelii, built by Baldassarre Malamini in 1596. Together, these two organs speak to the excellence and grandeur that defi ned San Petronio’s sacred instrumental and choral music in the sixteenth and seventeenth centu- ries. That these two organs still exist in playable condition is remarkable, some would say miraculous. Equally astounding as a small-scale, related instance is the 1588 organ by Costanzo Antegnati found at the Chiesa Centennial Chapel, Christ Church Cathedral, Cincinnati, Ohio, C. B. Fisk, Inc., Opus 148 di San Nicola in the remote village of Almenno San Salvatore, tucked into the foothills of the Alps north of Bergamo. There, perched up high in a side gallery of an exquisite stone chapel that dates from 1488, stands an impossibly beautiful instrument that was built by perhaps the most talented member of the Antegnati dynasty of organ builders. This organ, restored by Marco Fratti in the early 1990s, is in perfect playing condition and opens a wonder-fi lled window to the long ago past for the sympathetic visitor. As one would expect, all three of these organs have but one manual, all feature a ripieno whose individual Calligraphed boxwood stop labels ranks are drawn independently of one another, and all are winded on what It is precisely these elusive qualities we organbuilders today think of as that we sought to bring to the chapel extremely low pressures—from a high organ at Christ Church Cathedral, of 52 mm water column (da Prato) to Cincinnati. Stephan Casurella, canon a low of 45 mm (Malamini, Antegnati). precentor and director of music, wrote To play on them and to hear their to me in March 2014 inquiring whether Case carvings by Morgan Faulds Pike voices is an experience like no other. C. B. Fisk would be interested in Numinous, reposeful, transparent, submitting a proposal for an organ in of the cathedral’s music committee and space, with its limited fl oor dimensions ageless yet full of youthful exuberance the about to be renovated Centennial a violinist in the Cincinnati Symphony and intimate acoustical properties, was are all apt descriptors of their sounds. Chapel. While visiting Casurella and his Orchestra, who offered to perform on in fact impelling us in this direction. The da Prato and the Antegnati espe- associate Shiloh Roby a few weeks later, his Amati violin. While listening to Byers Michael Unger, professor of organ at cially respond to the acoustics of their I discovered the chapel to be a very fi ne play, accompanied by Casurella on a por- the Cincinnati College-Conservatory respective spaces in marvelous fashion, lofty neo-Gothic structure seating one tative, the idea of an Italian-based instru- of Music, enthusiastically supported enveloping anyone present in a gently hundred people and with an attractively ment took root. Acoustical consultant the Italian-based concept, opining that penetrating, breathtaking embrace of warm, clear acoustic. Casurella intro- Dana Kirkegaard, also present, and I such an instrument would offer students pure organ tone. duced me to Harold Byers, chairman agreed that this concept had merit—the opportunities heretofore unavailable in

C. B. Fisk, Inc., Opus 148 Centennial Chapel, Christ Church Cathedral, Cincinnati, Ohio

Manual I Pedal Hand carved decoration. Principale (façade) Violoni Bassi Front pipes of polished hammered tin. Ottava * Bassi Stoppi Two manuals and pedal, 56/30 Quintadecima * Principale (Man. I) Wind system: In addition to an electric blow- Decima nona * Ottava (Man. I) er, a manually operated system of 3 single- Vigesima seconda * rise cuneiform bellows, based on historic Vigesima sesta * * Stops that are brought on by depressing the examples, is included. Also included is a Cornetto III (a0–d3) Ripieno pedal mechanically controlled automatic bellows Flauto in Ottava † CC–BB from Flutta Camino lifting system. Flauto in XII Voce Umana (c0) Couplers and accessories 22 stops, 20 independent voices Manual II to Manual I 22 ranks, 1,078 total pipes Manual II Manual I to Pedal Principale Manual II to Pedal Cathedral website: Viola da Gamba Tremolo https://cincinnaticathedral.com Flauto Traverso † Builder website: www.cbfi sk.com Flutta Camino Mechanical key action Violino Mechanical stop action—Italian lever system All photos courtesy C. B. Fisk, Inc. Flauto in Selva Casework: a single cabinet of wood, designed Frazolé to harmonize with and adorn the chapel Tromba architecture.

22 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM The keydesk of Opus 148 the United States. Another vital aspect of space and so effortlessly in balance with a new chapel organ came to light at this Byers’s Amati violin that we, in the end, time—that it must have the ability to be modeled our Manual I, including pipe used uninhibitedly in collaboration with scales and alloys, after it. The Antegnati other instruments and musicians. at San Giuseppe in Brescia, which had Visits to relevant Fisk organs in New been so central to the Mount Holyoke England followed in early June. These instrument, also proved infl uential to 1536 Antegnati organ, enlarged in 1826 by Serassi included our Opus 107 (1993) in the our project. Its unforgettable ripieno, all Dover Church, Dover, Massachusetts, high tin, sounded as a blaze of light in the a small two-manual in a classic colonial Chiesa’s barrel-vaulted nave. This organ meeting house; Opus 72 (1981) in stands in its own gallery on the north side Houghton Chapel, Wellesley College, of the chancel, facing a musicians’ gallery where Charles Fisk had built his fi rst opposite. Opus 148 is placed in a similar human-powered wind system; and location in the Centennial Chapel and, Opus 84 (1985) in Abbey Chapel at inspired by our observations in Brescia Mount Holyoke College, South Hadley, and other locales, looks across the chan- Massachusetts, where, at the urging of cel at a newly constructed gallery for then organ professor Margaret Irwin- collaborating musicians. At the Basilica Brandon, Fisk experimented with the of Santa Barbara in Mantova we played The builder’s nameplate late sixteenth-century Italian style in another organ by Gratiadio Antegnati, several stops of the Great division. There this one dating from 1565. It was restored The Serassi instruments we visited in the wind pressure, chosen with some by Giorgio Carli between 1995 and 2006, Bergamo and Brescia provided inspira- trepidation by Charles Fisk, was 45 mm, and to it Carli had added a computer-con- tion for several of the voices on Manual and many of the pipe scalings were after trolled system of automatically infl ating II of Opus 148. The organ in the Duomo those found in Gratiadio Antegnati’s bellows. (Visit https://www.carliorgani. Vecchio, Brescia, was originally built 1581 instrument at the Chiesa di San it/alzamantici-wedge-bellows-inflating. in 1536 by yet another Antegnati— Giuseppe in Brescia. asp). This made an impression, and Opus Giovanni Giacomo. In 1826, while Following our submittal of a proposal 148 is, as a consequence, empowered preserving the original pipework and for a two-manual organ of twenty stops, with a similar self-infl ating wind system; retaining the single manual and 45 mm Italian-based and including a human- ours, by contrast, is mechanically con- wind pressure, Giuseppe Serassi powered wind system, C. B. Fisk was trolled—to our knowledge a fi rst in the enlarged the organ to include voices that chosen in August 2014 to build the organbuilding world. It is also possible, were more in keeping with the times. It Centennial Chapel organ. It became our instead, to make use of the integral cal- was both informative and encouraging to Opus 148. Soon after, acoustical stud- cant pedals and wind the organ via human hear how the two styles of pipe construc- ies of the chapel space, involving Mr. power rather than the electric blower. tion and voicing, separated by 300 years, Windchest of 1588 Antegnati in Al- Kirkegaard, were undertaken. And what The 1713 organ by Giuseppe Bonatti knit together so persuasively. This was menno San Salvatore, the model for turned out to be a crucial research trip at Santuario Santa Maria in Rezzato we an important consideration for us, as our Opus 148 manual I to northern Italy took place in Novem- found fascinating for a number of reasons. Manual II was conceived to add appropri- ber of the same year, with Fisk voicers Bonatti was the most important builder ate eighteenth- and nineteenth-century interior layouts. Meanwhile, my former accompanied by Messrs. Casurella and of the Schola Gardesana, or Garda Lake tone colors to a purely sixteenth-century colleague Nami Hamada and I, together Byers. Our guide for the tour was Fran- School, and he played a signifi cant role in Manual I. These sounds will enable Opus with Stephan Casurella, Harold Byers, cesco Cera, pre-eminent Italian organist, the development of the northern Italian 148 to more fully accompany the Epis- and Michael Unger, brainstormed the harpsichordist, conductor, and scholar. organ in the time period between the copal liturgy and will to a great extent fi nal version of the stoplist and, gradually, Francesco arranged visits to various Antegnati and Serassi lines. His Rezzato enlarge its potential for repertoire. For a the tonal design. The case is built of quar- instruments by the Antegnati and Serassi instrument caught our attention due to similar reason we decided not to include ter-sawn white oak darkened to match clans, an important organ by Giuseppe its strong, intense, almost German sound, in the Pedal a wooden Contrabassi the chancel furnishings, while Morgan Bonatti, and other less frequently partially due, no doubt, to the full semi- 16 ′—a seemingly ubiquitous stop in the Faulds Pike’s carvings, also of oak, are oil- encountered builders including Meia- circular, barrel-vaulted ceiling, but also late sixteenth-/early seventeenth-century fi nished to provide a contrasting appear- rini, Bossi, and Tonoli. We heard and due to the style of voicing, which seemed north Italian organs. In its stead we ance. The façade pipes, taken from the played organs in Milano, Almenno San to have had its origins north of the Alps. opted for two mild 16′ voices of diverse Manual I Principale and appearing from Salvatore, Bergamo, Urgnano, Brescia, It was the modifi ed meantone tempera- timbres, both of wood—a Violini Bassi 8′ CC, are constructed of 95% pure tin, Rezzato, Desenzano, Mantova, Casatico, ment, however, that really piqued our and a Bassi Stoppi. hammered. It was decided early on to and Bologna. curiosity and which we liked to the point Back at the Fisk workshop, visual implement the Italian horizontal hook- A handful of the organs we studied had of attempting to decipher. Giorgio Carli, designer Charles Nazarian and project down stop lever system, and, late in the substantial impact on the fi nal specifi ca- who restored the organ in 2001, graciously manager Andrew Gingery, with input construction phase, to adopt all Italian tions for Opus 148. The Antegnati in the sent me detailed temperament informa- from acoustical consultant Dana Kirke- stop names. The elegant boxwood stop afore-mentioned Almenno San Salva- tion, and this is the temperament we have gaard, worked in tandem to accomplish labels were hand-calligraphed at the Fisk tore seemed so fi tting acoustically to its chosen for the Centennial Chapel organ. case and mechanical designs, including workshop where, as usual, were made

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 23 Cover feature Carillon Calendar Calendar

By Brian Swager This calendar runs from the 15th of the month of issue through the following month. The deadline Ames, Iowa is the fi rst of the preceding month (Jan. 1 for Iowa State University, Tuesdays at 7 pm Feb. issue). All events are assumed to be organ August 28, Ellen Dickinson recitals unless otherwise indicated and are grouped Bloomfi eld Hills, Michigan within each date north-south and east-west. •=AGO Kirk in the Hills Presbyterian Church chapter event, • •=RCCO centre event, +=new organ Sundays at 10 am & noon dedication, ++= OHS event. August 12, open tower Information cannot be accepted unless it August 19, carillon students specifi es artist name, date, location, and hour in August 26, open tower writing. Multiple listings should be in chronological September 2, Dennis Curry order; please do not send duplicate listings. THE DIAPASON regrets that it cannot assume Chicago, Illinois responsibility for the accuracy of calendar entries. University of Chicago, Rockefeller Chapel Sundays at 5 pm August 5, Bob van der Linde UNITED STATES August 12, Steven Karp East of the Mississippi August 19, Joey Brink Culver, Indiana 15 AUGUST Culver Academies, Saturdays at 4 pm Christopher Houlihan, lecture-recital, September 1, October 6, John Gouwens music of Bach; First Congregational, Cam- den, ME 10 am Danbury, Connecticut St. James’s Episcopal Church Wesley Hall; Mechanics Hall, Worcester, Wednesdays at 12:30 pm MA 12 noon August 1, Joanne Archibald Alexander Pattavina; Methuen Memo- August 8, Tatiana Lukyanova rial Music Hall, Methuen, MA 8 pm August 15, George Matthew, Jr. Adam Pajan; Auditorium, Ocean Grove, NJ 7:30 pm Denver, Colorado University of Denver, Williams Carillon Michael Hey, with violin; Grace Cov- Sundays at 7 pm enant Presbyterian, Richmond, VA 7 pm August 5, Hunter Chase Lee Meyer; Christ Church, Michigan August 19, Margaret Pan City, IN 12:15 pm Mario Buchanan, with English horn; First Gainesville, Florida United Methodist, Appleton, WI 12:15 pm University of Florida, Century Tower Karen Beaumont; St. Hedwig Catholic Sundays at 3 pm August 26, Laura Ellis Church, Milwaukee, WI 2 pm Marijim Thoene; Sinsinawa Mound, Sin- Glencoe, Illinois sinawa, WI 7 pm Harold Byers and Stephan Casurella at Santa Barbara, Mantova, playing music of Chicago Botanic Garden, Mondays at 7 pm Corelli August 6, Bob van der Linde 16 AUGUST August 13, Steven Karp Christopher Houlihan, lecture-recital, August 20, Wylie Crawford music of Bach; First Congregational, Cam- the music rack, veneered with a hand- proposals, we gave minimal parameters August 27, Joey Brink some quarter-matched black walnut burl, so as not to limit the builders’ creativity, September 3, Jim Fackenthal den, ME 10 am and the keyboards, here clad in boxwood indicating only that we sought a mechani- Kennett Square, Pennsylvania 17 AUGUST naturals and rosewood sharps. cal-action instrument that would respond Longwood Gardens, Sundays at 2 pm Christopher Houlihan, lecture-recital, Opus 148 was installed in the Cen- to the warmth and intimacy of the chapel, August 5, Doug Gefvert music of Bach; First Congregational, Cam- tennial Chapel in April 2018, and fi nish play the Episcopal liturgy well, and be a August 19, Thomas Gurin den, ME 10 am voicing will take place throughout the superb asset to the greater Cincinnati September 9, Lisa Lonie & Janet Tebbel summer and fall months. The instru- area for performances of repertoire suit- September 23, Margaret Pan 18 AUGUST ment will be dedicated October 17–19, able to its size and specifi cation. Mariemont, Ohio Christopher Houlihan, lecture-recital, with festivities to include a solo recital Any of the three builders we Mary M. Emery Memorial Carillon, Sundays music of Bach; First Congregational, Cam- by Francesco Cera, performances by approached would have created a beau- at 7 pm den, ME 10 am August 19, 26, September 2, Richard M. student musicians from the Cincinnati tiful instrument of the highest quality. Watson 19 AUGUST College-Conservatory of Music, and a We were, however, quite taken with the September 3, Richard M. Waston (2 pm) Christopher Houlihan, lecture-recital, masterclass given by Mr. Cera. proposal submitted by David Pike of music of Bach; First Congregational, Cam- —David C. Pike, Executive Vice- C. B. Fisk, Inc. It was clear that David Middlebury, Vermont den, ME 11 am Mead Memorial Chapel, Middlebury Col- President & Tonal Director had understood Centennial Chapel’s sig- lege, Fridays at 6 pm Benjamin Cornelius Bates; St. Paul C. B. Fisk, Inc. nifi cance to the cathedral’s worship life August 3, Elena Sadina Catholic Cathedral, Pittsburgh, PA 4 pm and to performers and audiences in the August 10, Amy Heebner Nicholas Schmelter; Trinity Episcopal, From the Director of Music community. It was also clear that Fisk August 17, George Matthew, Jr. (3 pm) Bay City, MI 4 pm In 2013 Christ Church Cathedral would not be building a typical small Svyati Duo, organ and cello; Loyola Uni- Naperville, Illinois versity, Chicago, IL 3 pm embarked upon several initiatives to mark organ such as those found in count- Naperville Millennium Carillon Tuesdays at 7 pm its bicentennial and to set the course for a less chapels across the United States, 21 AUGUST third century of ministry. One of the ini- worthy though some of them may be. August 7, Bob van der Linde August 14, Steven Karp Walt Strony; Merrill Auditorium, Port- tiatives included renovation of Centennial The Fisk proposal, rather, envisioned August 21, Sue Bergren & Tim Sleep land, ME 7:30 pm Chapel, a beautiful neo-Gothic structure a tonal design seldom heard in this Bruce Bengtson; Holy Communion used for Daily Offi ce liturgies, weekday country: foundations that offer a “warm, Northfi eld, Vermont Episcopal, Lake Geneva, WI 6 pm Eucharists, small weddings and funerals, gentle, vocal embrace,” with choruses Adams Tower, Norwich University Saturdays at 1 pm 22 AUGUST weekly noontime concerts, and other per- and a range of color stops to support August 4, Nikita Gratchev formances. The renovation project was to the Episcopal liturgy and a varied Dong-Ill Shen; Methuen Memorial Mu- involve infrastructure updates and clean- recital repertoire in a similarly intimate Ottawa, Ontario sic Hall, Methuen, MA 8 pm Peter Gonciarz; St. Paul Catholic Cathe- ing that would be suffi ciently invasive to fashion. While not a period piece, the Peace Tower Carillon July & August, weekdays at 11 am dral, Pittsburgh, PA 4 pm require removal of the existing organ, a proposed instrument would respond to Andrea McCrady, carillonneur Derek Nickels; Christ Church, Michigan 1967 installation crammed into two small the chapel’s architectural and acoustical August 14, Laura Ellis City, IN 12:15 pm overhead chambers in the arches on environment using very low wind pres- Vashni Seitzer; Faith Lutheran, Apple- either side of the chancel. sure and other tenets of late sixteenth- Rochester, Michigan Oakland University, Elliott Tower ton, WI 12:15 pm Removal of the existing instrument century Italian organbuilding. Fridays at 6 pm Marie Rubis Bauer; Sinsinawa Mound, raised a stewardship question. Given the We were delighted when in 2014 the August 3, Andy Zhang Sinsinawa, WI 7 pm organ’s failing electronics, deteriorating cathedral’s Vestry accepted the music leathers, and inaccessibility for regular committee recommendation to commis- St. Paul, Minnesota 23 AUGUST House of Hope Presbyterian Church tuning, would rebuilding and reinstalling sion a new organ from C. B. Fisk. Work- Mitchell Miller; First Presbyterian, Neen- Sundays at 4 pm ah, WI 12:15 pm the organ be wise—especially since its ing with the Fisk shop through each stage August 5, Dave Johnson shrill tonal character was in such sharp of the process—research, design, build- 24 AUGUST contrast to the chapel’s lovely intimacy? ing, installation, and voicing—has been Valley Forge, Pennsylvania Washington Memorial Chapel Gloria Dei Cantores, Pärt, Passio; Under the leadership of chairperson deeply rewarding. The artistry and pro- Wednesdays at 7:30 pm Church of the Transfi guration, Orleans, MA Harold Byers, the cathedral’s music com- fessionalism of each member of the team August 1, Hylke Banning 7:30 pm mittee accelerated its study of the matter, is inspiring. Opus 148 is an achievement August 8, Doug Gefvert with Irish Thun- der Pipes & Drums 25 AUGUST concluding that reinstallation of the exist- beyond what I had imagined possible, a August 15, Cast in Bronze ing organ would be poor stewardship. work of art whose beauty will inspire wor- Gloria Dei Cantores, Pärt, Passio; August 22, Thomas Gurin Church of the Transfi guration, Orleans, MA The committee then began exploring shipers, performers, audiences, and stu- August 29, Robin Austin 7:30 pm the possibility of a new organ for Centen- dents throughout the region and beyond Victoria, British Columbia nial Chapel. We invited three of today’s for generations to come. Netherlands Centennial Carillon 28 AUGUST fi nest builders to visit the cathedral and —Stephan Casurella Sundays at 3 pm James Kennerley; Merrill Auditorium, submit proposals. In our request for Canon Precentor & Director of Music August 12, 19, 26, Rosemary Laing Portland, ME 7:30 pm

24 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Clara Gerdes; Old West Church, Boston, 19 AUGUST Park Ridge Presbyterian Church MA 7 pm Chase Olson; Cathedral of St. Mary of Park Ridge, IL GRACE CHURCH Amanda Mole; Portageville Chapel, Por- the Assumption, San Francisco, CA 4 pm Pickle Piano / Johannus Midwest NEW YORK tageville, NY 7 pm Bloomingdale, IL 20 AUGUST 29 AUGUST Steven Ball; Spreckels Organ Pavilion, Colin Lynch; Methuen Memorial Music Balboa Park, San Diego, CA 7:30 pm Hall, Methuen, MA 8 pm Christopher Babcock Michael J. Batcho Carol Garrett; Christ Church, Michigan 25 AUGUST City, IN 12:15 pm Joseph Adam, with The Esoterics; St. Director of Music Ralph & Marilyn Freeman; St. Paul Lu- James Catholic Cathedral, Seattle, WA 8 pm St. Andrew’s by the Sea, theran, Neenah, WI 12:15 pm Jonathan Dimmock; Legion of Honor Hyannis Port CATHEDRAL OF ST. JOHN David Jonies; Sinsinawa Mound, Sin- Museum, San Francisco, CA 4 pm MILWAUKEE sinawa, WI 7 pm 26 AUGUST 2 SEPTEMBER Norman Paskowsky; Cathedral of St. Mark Steinback; Brown University, Prov- Mary of the Assumption, San Francisco, Dean W. Billmeyer idence, RI 11:59 pm CA 4 pm University of Minnesota 8 SEPTEMBER 27 AUGUST Kent Tritle; Smithfi eld Church, Armenia, Raúl Prieto Ramírez, with piano; Minneapolis 55455 • [email protected] NY 3:30 pm Spreckels Organ Pavilion, Balboa Park, Alan Morrison; Grace Episcopal, San Diego, CA 7:30 pm Gainesville, GA 7:30 pm 2 SEPTEMBER 9 SEPTEMBER Amanda Mole; Grace Episcopal Cathe- GAVIN BLACK Byron L. Blackmore Don Fellows; St. Paul Catholic Cathe- dral, San Francisco, CA 3:45 pm Princeton Early Keyboard Center dral, Pittsburgh, PA 4 pm Crown of Life Lutheran Church Ken Cowan; St. John United Methodist, 8 SEPTEMBER 732/599-0392 Sun City West, Arizona Augusta, GA 3 pm Martin Ellis; Kenyon Hall, Seattle, WA www.pekc.org 623/214-4903 1:30 pm 16 SEPTEMBER Christopher Houlihan; Cathedral Basil- 9 SEPTEMBER ica of the Sacred Heart, Newark, NJ 4 pm Monica Czausz; St. Andrew’s Episcopal, THOMAS BROWN Alan Morrison Amarillo, TX 7:30 pm Carson Cooman ; Ursinus College, UNIVERSITY Collegeville, PA 4 pm Isabelle Demers; Cathedral Church of St. John, Albuquerque, NM 3 pm PRESBYTERIAN CHURCH Composer and Concert Organist Karen Beaumont; St. Hedwig Catholic Harvard University Church, Milwaukee, WI 2 pm Angela Kraft Cross; Cathedral of St. CHAPEL HILL, NORTH CAROLINA Mary of the Assumption, San Francisco, ThomasBrownMusic.com www.carsoncooman.com 18 SEPTEMBER CA 4 pm Scott Dettra; Union University, Jackson, Jeannine Jordan, with media artist; St. TN 7:30 pm John’s Lutheran, Orange, CA 7 pm Your professional card 21 SEPTEMBER 10 SEPTEMBER DELBERT DISSELHORST + Stephen Tharp; St. John Lutheran, Monica Czausz, educational event; St. could appear here! Wheaton, IL 7 pm Andrew’s Episcopal, Amarillo, TX 10 am Professor Emeritus Contact: [email protected] University of Iowa–Iowa City or 608/634-6253 22 SEPTEMBER 11 SEPTEMBER Alan Morrison, educational event; Spiv- Alcee Chriss; First Christian, Stillwater, ey Hall, Morrow GA 3 pm OK 7:30 pm 23 SEPTEMBER 16 SEPTEMBER STEVEN EGLER JOHN FENSTERMAKER Choral Evensong; St. John’s Episcopal, + Ken Cowan; A&M United Methodist, Central Michigan University West Hartford, CT 5 pm College Station, TX 6 pm School of Music TRINITY-BY-THE-COVE Katelyn Emerson; St. Peter’s Episcopal, Isabelle Demers; Christ Episcopal, Eu- Mt. Pleasant, MI 48859 reka, CA 2 pm Salisbury, MD 4 pm [email protected] NAPLES, FLORIDA David Higgs; Christ Episcopal, Warren, Nathan Laube; St. John’s Lutheran, OH 4 pm Sacramento, CA 3 pm Norberto 28 SEPTEMBER 21 SEPTEMBER TENET; Church of St. Joseph in Green- Andrew Koch; Christ Episcopal, Taco- wich Village, New York, NY 7 pm ma, WA 12:10 pm Susan Goodson Guinaldo Nicole Keller; St. Paul Catholic Cathe- Emanuel United Church of Christ His Music dral, Pittsburgh, PA 7:30 pm 23 SEPTEMBER See—Listen—Buy Thomas Heywood Manchester, Michigan Jean-Baptiste Robin; Providence Unit- ; Meyerson Sympho- www.GuinaldoPublications.com ed Methodist, Charlotte, NC 7:30 pm ny Center, Dallas TX 2:30 pm Craig Cramer; Stetson University, De- Letizia Romiti; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm Land, FL 7:30 pm A Professional Card in 30 SEPTEMBER 30 SEPTEMBER STEPHEN HAMILTON Raúl Prieto Ramírez; First United Meth- + Martin Jean; Christ Lutheran, Minne- The Diapason odist, Schenectady, NY 4 pm apolis, MN 4 pm For rates and digital specifi cations, recitalist–clinician–educator The Chenault Duo; River Road Baptist, Christoph Tietze; Cathedral of St. Mary contact Jerome Butera www.stephenjonhamilton.com Richmond, VA 2:30 pm of the Assumption, San Francisco, CA 4 pm 847/391-1045; [email protected] John Schwandt; St. Peter Catholic Church, Canton, OH 3 pm INTERNATIONAL Monica Czausz; First Congregational, Columbus, OH 4 pm 15 AUGUST David Herman Ken Cowan; Basilica of St. John the Marie Sophie Goltz; Stiftskirche, Tübin- Baptist, Canton, OH 4:15 pm gen, Germany 12:15 pm Trustees Distinguished Professor Emeritus of Music and University Organist Hey-Liberis Duo (Michael Hey, organ, & Stanislav Šurin; Jesuitenkirche St. Mi- Christiana Liberis, violin); Cathedral of the chael, München, Germany 4 pm The University of Delaware Q [email protected] Blessed Sacrament, Detroit, MI 4 pm Andreas Brassat, with mezzo-soprano; Klosterkirche, Fürstenfeldbruck, Germany UNITED STATES 5 pm West of the Mississippi Markéta Schley-Reindlová, with sopra- no; Stadtpfarrkirche St. Martin, Bamberg, 15 AUGUST Germany 5:30 pm Janean Hall & Larry Archbold; Car- Samuel Kummer; St. Mikaelis Kirche, Lorraine Brugh, Ph.D. leton College, Northfi eld, MN 12:15 pm Hamburg, Germany 7 pm Anna Vavilkina, silent fi lm; Frieden- Professor of Music 17 AUGUST skirche, Potsdam, Germany 7:30 pm University Organist Christopher Holman; Christ Episcopal, Keiko Inoue; Frauenkirche, Dresden, Valparaiso, Ind. Tacoma, WA 12:10 pm Germany 8 pm Ulrich Reinhardt, with soprano; St. Jo- valpo.edu 18 AUGUST sef, Kollnau, Germany 8 pm 219.464.5084 John Walko; Legion of Honor Museum, Terence Atkins; Chingford Parish [email protected] San Francisco, CA 4 pm Church, Chingford, London, UK 1:10 pm

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 16 AUGUST 24 AUGUST New York, NY Syracuse, NY 13203-2816 Christian Skobowsky, with cello; Dom Kay Johannsen; Stiftskirche, Stuttgart, St. Petri, Bremen, Germany 7 pm Germany 7 pm (315) 471-8451 www.andrewhenderson.net Willibald Guggenmos; Dom, Altenberg, Kensuke Ohira; Münster, Konstanz, Germany 8 pm Germany 8 pm Michel Robert, organ & piano; Notre- Junko Ito; Église Saint-Pierre-Le-Vieux Dame des Neiges, Alpe d’Huez, France catholique, Strasbourg, France 12:30 pm Richard Barrick Hoskins Brian Jones 8:45 pm Lorenzo Ghielmi; Église du Bouclier, Director of Music & Organist Helen Tucker; Church of St. Andrew & Strasbourg, France 6:30 pm Director of Music Emeritus St. Chrysostom's Church St. Paul, Montréal, QC, Canada 12:15 pm Monica Melcova; Église Saint-Paul, Chicago TRINITY CHURCH Strasbourg, France 8:30 pm [email protected] 17 AUGUST BOSTON Martin Schmeding; Stiftskirche, Stutt- 25 AUGUST gart, Germany 7 pm Michael Schönheit; Dom, Merseburg, Franz Josef Stoiber; Dom, Frankfurt, Germany 5 pm JAMES KIBBIE Germany 8 pm Johannes Quack; St. Wolfgang, Reutlin- KIM R. KASLING Jean-Baptiste Robin; Münster, Kon- gen, Germany 8 pm D.M.A. The University of Michigan stanz, Germany 8 pm Jens Wollenschläge, with Landesju- St. John’s University Ann Arbor, MI 48109-2085 gendchor NRW; Stiftskirche, Tübingen, 734-764-1591 FAX: 734-763-5097 18 AUGUST Germany 8 pm Collegeville, MN 56321 email: [email protected] Rudolf Peter, works of Bach; Au- Ivo Smets; Basilika, Tongeren, Belgium gustinerkirche, Landau/Pfalz, Germany 4 pm 6 pm Antonio Garcia, with panfl ute; Le Mu- David K. Lamb, D.Mus. Gunter Kennel; Stiftskirche, Tübingen, sée Suisse de l’Orgue, Roche, Switzerland Karen Schneider Kirner Germany 8 pm 5:15 pm Director of Music Luc Ponet; Basilika, Tongeren, Belgium Serge Schoonbroodt, with dance; Salle Director, Notre Dame Handbell Choir 4 pm Trinity United Methodist Church de l’Aubette, Strasbourg, France 4 pm Nathalie Effenberger; Le Musée Suisse Assistant Director, Notre Dame Folk Choir New Albany, Indiana Pascal Vigneron, Bach, Goldberg Varia- de l’Orgue, Roche, Switzerland 5:15 pm University of Notre Dame 812/944-2229 tions; Chapelle Saint-Etienne, Strasbourg, Thomas Ospital; Victoria Hall, Hanley, France 6 pm Stoke-on-Trent, UK 12 noon Vincent Warnier; Église Saint-Guillau- me, Strasbourg, France 8:30 pm 19 AUGUST Nathan Laube; Jesuitenkirche, Vienna, 26 AUGUST A.S.C.A.P. Austria 6:20 pm Ulrich Walther; Jesuitenkirche, Vienna, FELLOW, AMERICAN GUILD OF ORGANISTS Fabian Wöhrle; Weltkulturerbe Kloster, Austria 6:20 pm

345 SADDLE LAKE DRIVE Maulbronn, Germany 11 am Wolfgang Seifen; Klosterkirche, ROSWELL-ATLANTA, GEORGIA 30076 Rolf Müller, with euphonium; Dom, Al- Fürstenfeldbruck, Germany 12:10 pm (770) 594-0949 tenberg, Germany 11:45 am Hartmut Haupt; Kilian-Kirche, Bedheim, Angela Metzger; Klosterkirche, Fürsten- Germany 5 pm feldbruck, Germany 12:10 pm Giulio Mercati; St. Johannes Baptist Frank Hoffman, with trumpet; St. Justin- Kirche, Herford, Germany 6 pm ius, Frankfurt, Germany 5 pm Heinz-Peter Kortmann, with trumpet; Arvid Gast, with soprano & trumpet; Maria-Waldrast, Krefeld-Forstwald, Ger- Professor Emeritus – University of Michigan – Ann Arbor Friedenskirche, Potsdam, Germany 5 pm many 6 pm Professor of Organ for 67 years Enrico Zanovello; Neuapostolische Ansgar Schlei, with Vokalsolisten Fulda; MarilynThe University’s longest-serving faculty memberMason Kirche, Herford, Germany 6 pm Willibrordi-Dom, Wesel, Germany 6 pm Roland Uhl; Pfarrkirche St. Gertrudis, Peter Wagner; Liebfrauenkirche, Hamm, Krefeld-Bockum, Germany 6 pm Germany 6:30 pm Linda Sítková; Evangelische Stadt- Richard Townend; Abbatiale d’Ebers- A two-inch Professional Card in The Diapason kirche, Karlsruhe, Germany 8:30 pm munster, Ebersmunster, France 5 pm Herman Jordaan; Methodist Central Thierry Escaich; Église Saint-Paul, For information on rates and specifi cations, contact Jerome Butera: Hall, Westminster, London, UK 3 pm Strasbourg, France 8:30 pm Mélanie Barney; St. Paul’s Cathedral, Matthew Jorysz; Westminster Abbey, [email protected] 608/634-6253 London, UK 4:45 pm London, UK 5:45 pm Ïoan Bastarache; Basilica Notre-Dame, Denis Bonenfant; Basilica Notre-Dame, Trois-Rivières, QC, Canada 2 pm Trois-Rivières, QC, Canada 2 pm

21 AUGUST 27 AUGUST LARRY PALMER Barbara Wagner & Bernd Wintermann; Matthias Grünert; St. Thomae, Soest, PHILIP CROZIER Erlöserkirche, München-Schwabing, Ger- Germany 7:30 pm CONCERT ORGANIST Harpsichord – Organ many 9 pm Robert Marsh; Christ Church, Skipton, Roman Summereder; St. Michael & St. UK 11 am ACCOMPANIST Gudula Cathedral, Brussels, Belgium 8 pm Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 Michael Overbury; St. George’s, Ha- 28 AUGUST nover Square, London, UK 1:10 pm Xavier Deprez, with Ensemble Oxalys; Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas St. Michael & St. Gudula Cathedral, Brus- Canada 22 AUGUST sels, Belgium 8 pm Siegfried Gmeiner; Stiftskirche, Tübin- Philip Crozier; Church of St. Simon and (514) 739-8696 Recitals — Lectures — Consultancies gen, Germany 12:15 pm St. Jude, Tignish, Prince Edward Island, [email protected] Giampaolo di Rosa; St. Mikaelis Kirche, Canada 7 pm [email protected] + 214.350-3628 Hamburg, Germany 7 pm Steffen Walther; Erlöserkirche, Pots- 29 AUGUST dam, Germany 7:30 pm Horst Allgaier; Stiftskirche, Tübingen, Wayne Marshall; Kathedrale, Dresden, Germany 12:15 pm Germany 8 pm Andreas Liebig; St. Mikaelis Kirche, Constance Taillard, with violin; Église Hamburg, Germany 7 pm A gift subscription to Saint-Paul, Strasbourg, France 12:10 pm Rudolf Lutz; Friedenskirche, Potsdam, Benjamin Alard; Église Sainte-Aurélie Germany 7:30 pm Strasbourg, France 6:30 pm Hayo Boerema; Kreuzkirche, Dresden, Martin Moudrý; Saint-Pierre-le-Vieux, Germany 8 pm The Diapason Harald Vogel; St. Pankratius Kirche, Strasbourg, France 8:30 pm The perfect gift for Rory Thorndyke; Chingford Parish Hamburg-Neuenfelde, Germany 8 pm Church, Chingford, London, UK 1:10 pm Michael Emerson; Chingford Parish + organist colleagues + choir directors Church, Chingford, London, UK 1:10 pm + students + organ builders 23 AUGUST Martin Baker; Westminster Cathedral, Iris Rieg; Dom St. Petri, Bremen, Ger- London, UK 7:30 pm + teachers + clergy many 7 pm Philip Crozier; St. Dunstan’s Basilica, Andreas Meisner Charlottetown, Prince Edward Island, Can- Each month your gift will keep on giving by providing the ; Dom, Altenberg, Ger- many 8 pm ada 1 pm important news of the organ and church music fi eld. Know that Jean-Luc Ho, with soprano; Église your gift will be just right. Sainte-Madeleine, Strasbourg, France 30 AUGUST For information, contact Kim Smaga, 847/481-6234; 12:30 pm Martin Strohhäcker; Dom St. Petri, Bre- [email protected]. Or visit www.thediapason.com and click Véronique Le Guen & Anne Vataux; men, Germany 7 pm Michael Utz, with orchestra; Abteikirche, “subscribe.” Église Saint-Thomas, Strasbourg, France 8:30 pm Brauweiler/Köln, Germany 7:30 pm Gerhard Löffler; Ss. Peter & Paul Kirche, $42 one year USA; $35 one year digital; $20 one year student Tom Sheehan; Church of St. Andrew & St. Paul, Montréal, QC, Canada 12:15 pm Cappel, Germany 8 pm

26 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Ines Maidre; Dom, Altenberg, Germany Nicholas Schmelter; St. Paul’s Cathe- Southminster Presbyterian Church 8 pm dral, London, ON, Canada 12 noon SHORT HILLS Arlington Heights, IL 60005 Jonathan Oldengarm; Church of St. Andrew & St. Paul, Montréal, QC, Canada 5 SEPTEMBER 12:15 pm Manuel Gera; St. Mikaelis Kirche, Ham- burg, Germany 7 pm ANDREW SCHAEFFER, M.MUS 31 AUGUST Michael Schönheit; Kulturpalast, Dres- DEREK E. NICKELS, DMA Jörg-Andreas Bötticher, with violin; den, Germany 8 pm Church of the Holy Comforter First United Methodist Church Cosmas & Damian Kirche, Bockhorn, Ger- Edmond, Oklahoma many 7 pm 6 SEPTEMBER Kenilworth, IL 60043 [email protected] Giampaolo di Rosa; Münster, Konstanz, Wolfgang Baumgratz; Dom, Altenberg, (847) 251-6120 • [email protected] Germany 8 pm Germany 8 pm Recitals — Hymn Festivals

1 SEPTEMBER 7 SEPTEMBER Carsten Igelbrink; Dom, Limburg, Ger- Pavel Kohout; Abtei, Marienstatt, Ger- Stephen G. Schaeffer A one-inch Professional Card many 4 pm many 7:30 pm in The Diapason Edoardo Bellotti; St. Nicolai Kirche, Recitals – Consultations Cuxhaven-Altenbruch, Germany 5 pm 8 SEPTEMBER Director of Music Emeritus For information on rates and specifi cations, Jan Ernst; Dom, Merseburg, Germany Giulia Biagetti; St. Martin, Leutkirch, Cathedral Church of the Advent 5 pm Germany 11:15 am contact Jerome Butera: Haydn, Creation; Dom, Altenberg, Ger- Hans Leitner; Stiftskirche, Tübingen, Birmingham, Alabama [email protected] 608/634-6253 many 6 pm Germany 8 pm Edoardo Bellotti; St. Jacobi Kirche, Luc Ponet; Basilika, Tongeren, Belgium Cuxhaven-Lüdingworth, Germany 7 pm 4 pm Jeffrey Schleff, Ed.D. Jan Doležel; Evangelische Kirche, Reut- Dominique Bréda, with oboe; Le Mu- Organist – Teacher – Consultant STEPHEN SCHNURR lingen, Germany 8 pm sée Suisse de l’Orgue, Roche, Switzerland Konstantin Reymaier; Stiftskirche, 5:15 pm Saint Paul Catholic Church Tübingen, Germany 8 pm Sulphur Public Schools, Sulphur, OK Dana Hemelaer; Basilika, Tongeren, United Disciples Christian Church, Richardson, TX Valparaiso, Indiana 9 SEPTEMBER [email protected] Belgium 4 pm Giampaolo Di Rosa; Jesuitenkirche, Vi- Elie Jolliet; Le Musée Suisse de l’Orgue, enna, Austria 6:20 pm Roche, Switzerland 5:15 pm Christoph Hauser; Klosterkirche, Graham Barber; St. Alphage, Edgware, Fürstenfeldbruck, Germany 12:10 pm ROBERT L. UK 7:30 pm Gunter Kennel; Erlöserkirche, München- Schwabing, Germany 4 pm Mark Steinbach 2 SEPTEMBER SIMPSON Andreas Meisner; Dom, Altenberg, Ger- Brown University Hampus Lindwall; Jesuitenkirche, Vi- Christ Church Cathedral many 4:30 pm enna, Austria 6:20 pm 1117 Texas Avenue Houston, Texas 77002 Christophe Knabe; Klosterkirche, Gudrun Forstner; Abtei, Marienstatt, Fürstenfeldbruck, Germany 12:10 pm Germany 5 pm Janette Fishell; Münster, Obermarchtal,

Andreas Meisner, with blockfl ute; Dom, ] Altenberg, Germany 4:30 pm Germany 5 pm Johannes Skudlik; St. Marien Kirche, Frank Hoffman, with Bolongaro Sextett; Joe Utterback Herford, Germany 6 pm St. Justinius, Frankfurt, Germany 6 pm David Wagner ]] ] Michal Markuscewski; Pfarrkirche St. Heinz-Peter Kortmann, with Crescen- www.jazzmuze.com DMA Cyriakus, Krefeld-Hüls, Germany 6 pm dochor Krefeld; St. Josef, Krefeld-Stadt- www.davidwagnerorganist.com Iveta Apkalna; Weltkulturerbe Kloster, mitte, Germany 6 pm 203 386 9992 Maulbronn, Germany 6 pm Stefan Kagl, with brass; Münster, Her- Konstantin Reymaier; Aureliuskirche, ford, Germany 6 pm Calw-Hirsau, Germany 7 pm Marcin Szelest, with orchestra; Ss. 12 SEPTEMBER Cyprian- & Corneliuskirche, Ganderkesee, Xavier Deprez; Kathedrale, Dresden, Kevin Walters KARL WATSON Germany 8 pm Germany 8 pm Benjamin Alard, harpsichord & clavi- M.A., F.A.G.O. SAINT LUKE’S chord; Abtei, Marienstatt, Germany 5 pm 15 SEPTEMBER Rye, New York Tobias Lindner; Peterskirche, Basel, Ansgar Schlei, children’s concert; Willi- METUCHEN Switzerland 5 pm brordi-Dom, Wesel, Germany 5 pm Ashley Grote; Farnborough Abbey, Farn- Hans-Bernhard Ruß; Augustinerkirche, borough, UK 3 pm Würzburg, Germany 7:30 pm Hayo Boerema; Dominikanerkirche St. Alan G Woolley PhD Andreas, Köln, Germany 8 pm RONALD WYATT 4 SEPTEMBER Musical Instrument Research Cedric Trappmann, children’s concert; Torsten Wille; Evangelische Kirche, Reutlingen, Germany 8 pm Edinburgh Trinity Church St. Marien Kirche, Herford, Germany 10 am [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 A U 1832 - Another Prom Date . . . we revisit London’s celebrated Royal Albert Hall for a performance from the A two-inch Professional Card in The Diapason G immensely popular BBC Proms 2018 season. For information on rates and specifi cations, contact Jerome Butera: U 1833 - In the Fullness of Sound . . . a collection of S expansive and expressive works that blend organ with [email protected] 608/634-6253 T orchestra. 1834 - Remembering Lenny . . . a centenary tribute to one of America’s most original composers and profoundly ArtistArtist Spotlights Spotlightspotlight s 2 LQÀXHQWLDOPXVLFLDQV/HRQDUG%HUQVWHLQ   0 Artist Spotlights 1835 - Beauty in Belgium . . . recalling favorite instruments are available on 1 from the 2018 Pipedreams Tour in the Low Countries. Your professional card The Diapason 8 website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 27 Calendar Recital Programs

Guy-Baptiste Jaccottet, silent fi lm, Ruben Sturm; St. Moritz, Rottenburg, MALCOLM ARCHER, St. Luke’s Episco- A, op. 65, no. 3, Mendelssohn; Berceuse (24 Buster Keaton; Le Musée Suisse de Germany 5 pm pal Church, Evanston, IL, April 2: Passacaglia Pièces en style libre), Vierne; Deux Danses à l’Orgue, Roche, Switzerland 5:15 pm Serenella Secchiero; Cathedral, Pis- and Fugue in c, BWV 582, Bach; Adagio in E, Agni Yavishta, Litanies (Trois Pièces), Alain. Richard Pilliner; St. John the Evangelist toia, Italy 5 pm Bridge; Choral No. 3 in a, Franck; Prelude on East Dulwich, London, UK 11 am Sophie-Véronique Cauchefer-Choplin; Now the Green Blade Riseth, Cantilene, Ar- RICHARD GRAY, St. George’s Episcopal Matthew Martin; Buckfast Abbey, Dev- St-Sulpice, Paris, France 4 pm cher; Carillon Sortie, Mulet. Church, Nashville, TN, March 4: Fanfare, on, UK 7:30 pm Phillips; Psalm Prelude, Set 1, No. 2, Howells; JACKSON BORGES, Presbyterian Psalm Prelude, Phillips; Fantasia and Fugue 24 SEPTEMBER 16 SEPTEMBER Homes, Evanston, IL, April 23: Praeludium in in g, BWV 542, Bach. Ekaterina Kofanova, with blockfl ute a, BuxWV 153, Buxtehude; Andante Cantabile Gerlinde Bachinger; Jesuitenkirche, Vi- & cello; Peterskirche, Basel, Switzerland enna, Austria 6:20 pm for Cello & Organ, Andrée, transcr. Borges; ANDREA HANDLEY, Presbyterian 7:30 pm Entrée, Canzona, et Sortie, op. 62, Dupré; Homes, Evanston, IL, February 26: Fanfare, Christian Domke, with saxophone; Nightsong, Elmore; Festival Toccata, Fletcher. Lemmens; Toccata and Fugue in d, BWV Dom, Altenberg, Germany 11:45 am 26 SEPTEMBER 565, Bach; Andante in F, K. 616, Mozart; Gregor Simon; Münster, Obermarchtal, Wolfgang Kläsener; Wallfahrtsbasilika, PAOLO BOUGEAT, Brown University, Variations on Joyful, Joyful, We Adore Thee, Germany 5 pm Werl, Germany 7:30 pm March 18: Ciaccona in B-fl at, Johann Bernhard Crisafulli; Variations on Jesus, Lover of My Wladimir Matesic ; Cathedral, Pistoia, Barbara Dennerlein; Willibrordi-Dom, Bach; Liebster Jesu, wir sind hier, BWV 731, Soul, Goode; Be Thou My Vision, Lovelace; Italy 5 pm Wesel, Germany 7:30 pm Fuge über dem Magnifi cat, BWV 733, Bach; Va Berceuse (24 Pièces en style libre), Carillon de pensiero (Nabucco), Verdi, transcr. Bougeat; Westminster (24 Pièces de fantaisie), Vierne. 19 SEPTEMBER Samuel Kummer; Frauenkirche, Dres- den, Germany 8 pm Chorale No. 3 in a, Franck; Praeludium, Kell- Holger Gehring; Kreuzkirche, Dresden, ner; Fugue sur les jeux d’anches, Bougeat. CHRISTOPHER HOULIHAN, St. Ste- Germany 8 pm phen’s Episcopal Church, Milburn, NJ, Feb- 28 SEPTEMBER Eva Wohlfarth, with clarinet; St. Marga- ADAM BRAKEL, First Presbyterian ruary 18: Toccata, Sowerby; Italian Concerto, rethen, Waldkirch, Germany 8 pm Barry Jordan; Dom, Magdeburg, Ger- Church, Naples, FL, March 4: Coronation BWV 971, Bach, arr. Houlihan; Romance Stephen Farr; Westminster Cathedral, many 7:30 pm March (Le Prophéte), Meyerbeer; Ciacona (Symphonie IV, op. 32), Vierne; Sketch in London, UK 7:30 pm Matteo Messori; S. Ignazio, Pistoia, Italy in e, BuxWV 160, Buxtehude; Variations on f, Sketch in D-fl at (Four Sketches for Pedal 6:30 pm Shenandoah, Hyman, transcr. Brakel; Toccata Piano, op. 58), Schumann; Passacaglia and 20 SEPTEMBER Bálint Karosi; Izumi Hall, Osaka, Japan in D, Lanquetuit; Sonata Eroïca, op. 94, Jon- Fugue in c, BWV 582, Bach. Otto Maria Krämer; Abteikirche, Brau- 7 pm gen; Partita diverse sopra Sei gegrüsset, Jesu weiler/Köln, Germany 8 pm gütig, BWV 768, Bach. DAVID HURD, St. Paul’s Chapel of Trin- Carl Jackson; St. John the Evangelist 29 SEPTEMBER ity Church Wall Street, New York, NY, March Upper Norwood, London, UK 7:30 pm Ansgar Wallenhorst; Kiliansdom, Würz- ADAM CHLEBEK & RICHARD 9: Praeludium in G, Nun komm der Heiden burg, Germany 7 pm HOSKINS, St. Chrysostom’s Episcopal Heiland, Bruhns; Sonata V in D, op. 65, no. Church, Chicago, IL, March 2: Fanfare, 5, Mendelssohn; Fantasia on Wondrous Love, 22 SEPTEMBER Alex Fleirl; Dominikanerkirche St. An- Cook; Cortège et Litainie, Dupré; Toccata Hurd; Allein Gott in der Höh sei ehr, BWV Willi Kronenberg, with oboe; Kilian- dreas, Köln, Germany 8 pm Kirche, Bedheim, Germany 5 pm and Fugue in F, Buxtehude; Prélude, Fugue, 663, Allabreve in D, BWV 589, Bach. et Variation, Franck; Toccata, Mushel; Mag- Johannes Krutmann; Liebfrauenkirche, 30 SEPTEMBER Hamm, Germany 7 pm nifi cat primi toni, Buxtehude; Vater unser im SIMON THOMAS JACOBS, First Presby- Roman Hauser; Jesuitenkirche, Vienna, Himmelreich, Bach; Les Enfants de Dieu, Les terian Church, Naples, FL, March 18: Magni- Philippe Lefebvre; Kiliansdom, Würz- Austria 6:20 pm Anges, Desseins Éternels, Dieu parmi nous fi cat en a Mi la 3# (8e Ton), Corrette; Sonata burg, Germany 7 pm Michael Seibel; St. Stephanus, Hamm- (La Nativité du Seigneur), Messiaen. in e, BWV 528, Prelude and Fugue in b, BWV Harald Gokus & Ralf Borghoff; Lieb- Hessen, Germany 3:30 pm 544, Bach; Hymn: Veni Redemptor (I), Tallis; frauenkirche, Hamm, Germany 8 pm Johannes Krutmann; St. Agnes, Hamm, PHILIP CROZIER, with Frédéric De- Master Tallis’s Testament, Howells; Fantasia Liselotte Kunkel; Liebfrauenkirche, Germany 4:30 pm mers, trumpet, Église Saints-Anges, Lachine, and Toccata in d, Stanford; Imperial March, Hamm, Germany 9 pm Darius Bakowski; Dom, Altenberg, Ger- QC, Canada, March 25: Suite in D, HWV 341, op. 32, Elgar, transcr. Martin. Elisa Freixo; Le Musée Suisse de Handel; Scherzo in g, op. 49, no. 2, Bossi; many 4:30 pm l’Orgue, Roche, Switzerland 5:15 pm Okna, Eben; Toccata (Deuxième Symphonie, MARTIN JEAN, Second Presbyterian Manuel Braun; St. Justinius, Frankfurt, op. 26), Dupré; Sonate pour trompette et Church, Indianapolis, IN, March 23: Sym- 23 SEPTEMBER Germany 5 pm orgue, Bédard. phonie Romane, op. 73, Widor; Symphonie V, Jean-Christophe Geiser; Jesuiten- Heiko Ittig; Pauluskirche, Hamm, Ger- op. 47, Vierne. kirche, Vienna, Austria 6:20 pm many 5:30 pm ISABELLE DEMERS, The Neighborhood Hans Eberhard Rufl ; Dom, Altenberg, Heinz-Peter Kortmann, with fl ute; Lieb- Church, Palos Verdes Estates, CA, February JAMES KENNERLEY, Merrill Audi- Germany 11:45 am frauenkirche, Hamm, Germany 6:30 pm 25: Variations de Concert, op. 1, Bonnet; Har- torium, Portland, ME, April 18: Overture Jean-Pierre Leguay; Münster, Ober- Ulrich Pakusch, with trombone quartet; ry Potter Symphonic Suite, Williams, transcr. (William Tell), Rossini, transcr. Kennerley; marchtal, Germany 5 pm Wallfahrtsbasilika, Werl, Germany 7:30 pm Demers; Sonata in c, BWV 526, Bach; Rosace Chorale No. 2 in b, Franck; Overture (Die (Byzantine Sketches), Mulet; Sonata IV in B- Meistersinger von Nürnberg), Wagner, transcr. fl at, op. 65, no. 4, Mendelssohn; Symphonic Lemare, Kennerley; Concert Overture No. 2 Etude for solo pedal, op. 72, Laurin. in c, Hollins; The Dancing Pipes, Dove; An- dantino in D-fl at, Lemare; Overture (Can- THOMAS GOUWENS, Fourth Presbyte- dide), Bernstein, transcr. Kennerley. rian Church, Chicago, IL, February 9: Toccata in e, Pachelbel; Suite No. 1, Clérambault; Gait- ALAN LEWIS, Cathedral of St. Philip, illa de mano izquierda, Durón; Sonata III in Atlanta, GA, February 4: Prelude and Fugue

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GAN BUILDERS - EST E OR . 187 PIP 7 Schoenstein SAN FRANCISCO w ww 58 .sch 47-58 oenstein.com - (707) 7 ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

28 Q THE DIAPASON Q AUGUST 2018 WWW.THEDIAPASON.COM Recital Programs in G, BWV 541, Vater unser im Himmelreich, Reverie for Organ, Oquin; Variations on a lair; Cantilène, op. 29, no. 2, Pierné; Sortie in JOSHUA STAFFORD, Holy Trinity Epis- BWV 682, Bach; Cantabile, Pièce héroïque theme of Herbert Howells, op. 87, Bourgeois. E-fl at, Lefébure-Wély. copal Church, Gainesville, FL, March 18: (Trois Pièces), Franck. Overture to Le Nozze di Figaro, K. 492, Mo- MARK PACOE, Cathedral of St. Philip, WOLFGANG RÜBSAM, Valparaiso Uni- zart, transcr. Scott; Harmonies du soir, op. 27, RENÉE ANNE LOUPRETTE, Covenant Atlanta, GA, March 4: Celebration (Crystal versity, Valparaiso, IN, March 21: Prelude and no. 1, Karg-Elert; Praeludium und Fuge über Presbyterian Church, Charlotte, NC, Febru- Cathedral Organ Collection), Hebble; Saluto Fugue in E-fl at, BWV 552, Kyrie, Gott Vater B-A-C-H, Liszt; Romance (Symphonie IV, op. ary 9: Prelude and Fugue in E-fl at, BWV 552, Angelico (Cathedral Windows, op. 106, no. 5), in Ewigkeit, BWV 669, Christe, aller Welt 32), Vierne; Final, op. 21, Franck; Concerto in Bach; Récit du Chant de l’Hymne Précédent Karg-Elert; Miroir, Wammes; Chant de Mai, Trost, BWV 670, Kyrie, Gott heiliger Geist, a, BWV 593, Vivaldi, transcr. Bach; Two Pre- (Pange lingua), de Grigny; Intermezzo, Moto op. 53, no. 1, Jongen; Chaconne (Symphonies BWV 671, Pastorella in F, BWV 590, Passaca- ludes, Shearing; Carnival Overture, op. 92, perpetuo, Fugue triangulaire (Douzes Cour- d’Alcione), Marais; Hamburger Totentanz glia and Fugue in c, BWV 582, Bach. Dvorák, transcr. Lemare. tes Pièces pour orgue, op. 43, vol. 1), Laurin; (Trois Préludes Hambourgeois), Bovet. Myto, Wammes; Deuxiéme Fantaisie, Alain; DAVID SCHRADER, Presbyterian MARK STEINBACH, Brown Univer- Suite, op. 5, Durufl é. SONGYI PARK & ROBERT JACOBY, Homes, Evanston, IL, March 19: Toccata in sity, Providence, RI, March 11: Prelude and First Presbyterian Church, Topeka, KS, Feb- d, BuxWV 155, Buxtehude; Pange lingua, Ti- Fugue in e, BWV 548, Herr Jesu Christ, RENÉE ANNE LOUPRETTE with with ruary 4: Offerte en fugue et dialogue, Nivers; telouze; Intermezzo, Alain; Sonata VI in D, dich zu uns wend’, BWV 709, Bach; Sonata Ivan Goff, Uilleann pipes, Church of St. Igna- Prelude and Fugue in G, BWV 541, Bach; op. 65, no. 6, Mendelssohn-Bartholdy. I, Hindemith; Étude No. 1 for Organ (Har- tius Loyola, New York, NY, February 18: Ky- Offertoire sur les Grands Jeux, de Grigny; monies), Ligeti; Praeludium in C, BuxWV rie, Gott heiliger Geist, BWV 671, Vater unser Variations on Weinen, Klagen, Sorgen, Za- BENJAMIN SHEEN, Calvary Episcopal 137, Buxtehude. im Himmelreich, BWV 682 (Clavierübung gen, Liszt; Grand dialogue a trios Choeurs- Church, Pittsburgh, PA, March 9: March for III), Bach; Pange lingua (Livre d’Orgue), de Offerte, Corrette; Choral No. 3 in a, Franck. “A History of the English-Speaking Peoples,” REBECCA GROOM TE VELDE, Uni- Grigny; Myto, Wammes; airs and dances from Walton, transcr. Winpenny; Sicilienne (Suite, versity of St. Thomas, Houston, TX, March Ireland and Scandinavia; Improvisation (Trois ROBERT POOVEY, Cathedral of St. op. 5), Durufl é; Passacaglia in c, BWV 582, 3: Introduction and Passacaglia in d, Reger; Pièces pour Orgue ou Harmonium), Bou- Philip, Atlanta, GA, February 11: Hymne Bach; The Dancing Pipes, Dove; Toccata Partita on Werde munter, mein Gemüte, langer; Suite, op. 5, Durufl é. d’Actions de grâces, Te Deum (Trois Para- alla Rumba, Planyavsky; Non allegro (Sym- Pachelbel; Jesu, Joy of Man’s Desiring, phrases Grégoriennes), op. 5, Langlais; An- phonic Dances, op. 5), Rachmaninoff, transcr. Bach, arr. Biggs; Passacaglia in c, BWV 582, CHRISTOPHER LYNCH, Cathedral of dante sostenuto (Symphonie Gothique, op. Sheen; Valse mignonne, op. 142, no. 2, Karg- Bach; Divinum mysterium, L. H. Groom; St. Philip, Atlanta, GA, February 25: Sym- 70), Widor; Scherzo (Symphonie II, op. 20), Elert; Festive Overture, op. 96, Shostakovich, Conditor alme siderum, te Velde; Appari- phonie-Passion, op. 23, Dupré. Vierne; Choral No. 1 in E, Franck. transcr. Sheen. tion de l’église éternelle, Messiaen; Aria on a Chaconne, Martinson; Passacaglia (Sym- SARAH MACDONALD, St. Francis in HAROLD PYSHER, Bethesda-by-the-Sea JOHN SHERER, Fourth Prebyterian phony in G), Sowerby. the Fields Episcopal Church, Harrods Creek, Episcopal Church, Palm Beach, FL, February Church, Chicago, IL, February 23: Te Deum KY, March 4: Aus tiefer Not schrei’ ich zu 4: Trumpet Tune in C, Miller; Psalm-Prelude (Hymne d’Actions de graces), Langlais; Prae- DAVID TROIANO, Zion Lutheran dir, BWV 686, Schmücke dich, o liebe Seele, (Set 1, Number 1), Howells; Three Familiar ludium, Fuge, und Ciacona, BuxWV 137, Bux- Church, Ann Arbor, MI, February 25: Ein BWV 654, Bach; Prélude et Fugue sur le nom Sunday School Tunes, Ore/Wood; Prelude tehude; Schmücke dich, o liebe Seele, BWV 654, feste Burg, Whitfi eld; Prelude and Fugue in d’Alain, op. 7, Durufl é. and Fugue on B-A-C-H, Liszt. Bach; Praeludium und Fuge in G, op. 37, no. 2, e, Bach; Vater unser in Himmelreich, Krieger; Mendelssohn; Allegretto (Skizzen für den Pe- Vater unser in Himmelreich, Mendelssohn; JEREMY MCELROY & CLINTON RAÚL PRIETO RAMÍREZ, Westminster dalfl ügel, op. 58, no. 4), Schumann; Benedictus, Vater unser in Himmelreich, Bach; Gelobt MILLER, Cathedral of St. Philip, Atlanta, United Church, Winnipeg, MB, Canada, op. 59, no. 9, Reger; Carillon de Westminster seist du, Jesu Christ, Böhm; Fugue in g, Bach; GA, March 11: Duet for Organ in C, Wesley; February 18: Toccata, Adagio, and Fugue in (24 Pièces de fantaisie, op. 54, no. 6), Vierne. Komm, heiliger Geist, op. 100, no. 3, Peeters; Dance Suite for Organ Duet, Kloppers. C, BWV 564, Liebster Jesu, wir sind hier, Christ lag in Todesbanden, Manz; Sei gegrüs- BWV 731, Bach; Clair de Lune (Suite Berga- HERNDON SPILLMAN, University set, Jesu gütig, Bach. CHRISTA MILLER, Loyola Univer- masque), Debussy, transcr. Ramírez; Finale of Iowa, Iowa City, IA, March 10: Prélude sity, Chicago, IL, February 18: The Embrace (Sonata I in d, op. 42), Guilmant; Suite, op. (Suite, op. 5), Durufl é; Benedictus, Chro- THOMAS TROTTER, Bloomsbury Cen- of Fire, Hakim; Sacratissimi Cordis Jesu 5, Durufl é; Prelude to Die Meistersinger von morne en Taille (Messe pour les paroisses), tral Baptist Church, London, UK, March 17: (L’Orgue Mystique, No. 28), Tournemire; Joie Nürnberg, Wagner, transcr. Ramírez. Couperin; Prelude and Fugue in c, BWV 546, Prelude and Fugue in e, BWV 548, Bach; Ride et Clarté des Corps Glorieux (Les Corps Glo- Bach; Choral No. 3 in a, Franck; In Paradis- in a High-Speed Train, Wammes; Sonata, El- rieux), Messaien; Soleil du Soir (Cinq Soleils), NAOMI ROWLEY, Aurora University, um, Daniel-Lesur; Intermezzo (Sonata XVII, gar; Rondo Capriccioso, Lemare; Overture Langlais; Moto Ostinato (Sunday Music), Aurora, IL, March 20: Praeludium in D, op. 181), Rheinberger. Rienzi, Wagner, transcr. Lemare. Eben; Antienne (Mariales), Te Deum, Hakim. BuxWV 139, Buxtehude; Andante with Varia- tions, Mendelssohn; Allegro (Concerto in a, JOSHUA STAFFORD, University of Buf- GRANT WAREHAM, Fourth Presbyte- JONATHAN OBLANDER, Loyola Uni- BWV 593), Bach; Swing Low, Sweet Chariot, falo, Buffalo, NY, March 2: O Lamm Gottes, rian Church, Chicago, IL, March 23: Pageant, versity, Chicago, IL, March 18: Carillon, op. Simpson; El Flautista Alegre, Noble; The Em- unschuldig, BWV 656, Bach; Rondo Capric- Sowerby; Chorale No. 2 in b, Franck; The 27, no. 4, Dupré; O Lamm Gottes, unschul- peror’s Fanfare, Soler; Festive Gloria, Miller; cio, op. 64, Lemare; Carnival Overture, Fires of Silence (Hypérion ou la rétorique du dig, BWV 656, Bach; Variations on Amazing Variations on Amazing Grace, Bédard; The Dvorák; Fantasy and Fugue on Ad nos, ad feu), Guillou; Variations sur un vieux Noël, Grace (Gospel Preludes, Book II), Bolcom; Peace May Be Exchanged (Rubrics), Lock- salutarem undam, S. 259, Liszt. op. 20, Dupré.

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Morel and Associates, Organ Builders of Den- Organs of Oberlin chronicles the rich history of World Library Publications: From the Piano Yun Kim plays the 57-rank Dobson organ ver, Colorado, is seeking an experienced pipe organs at Oberlin College, the Conservatory of Bench to the Organ Bench, by Alan J. Hommerd- at First Presbyterian Church, Battle Creek, organ technician to join our company to assume Music, and the town of Oberlin, Ohio. The hard- ing. This complete method book offers a variety Michigan, on a new CD from Raven. The organ the position of Service Manager. Please mail or bound, 160-page book with many illustrations of exercises to increase pedal technique and incorporates remaining ranks of the much rebuilt email résumé to: Rick Morel, 4221 Steele St., is the most comprehensive study of traceable manual/pedal dexterity. Explore topics such as 1928 E. M. Skinner op. 720, other old and new service playing/accompanying—when to lead, Denver, CO 80216; email: [email protected]. stops, and new mechanism. Yun Kim is organist organs from 1854 to 2013. The book measures when to follow; playing pianistic accompaniments 8½″ x 11″ and features a dust jacket with color- of Christ Episcopal Church, Dayton, Ohio, and on the organ; introduction to improvisation on the a winner of regional and national AGO competi- ful illustrations not found in the book. Organs by organ; basics of choral conducting from the con- Wanted: Organists visiting Maui. Lahaina’s tions. Unusual works include Summerland by the Skinner Organ Company, Aeolian-Skinner, sole; and much more. 003057, $19.95, 800/566- Holy Innocents Episcopal Church invites visit- William Grant Still (arr. Nies-Berger); Prokofi ev: C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, 6150, Wlpmusic.com. ing organists to play its Beckerath Positiv organ Toccata, op. 11 (trans. 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Holy Innocents acquired the instrument in 1977 James Hicks on a variety of recently restored and Clair de Lune) and Brahms (Herzlich tut Swedish organs. It’s a little bit like Widor, Reger and moved it to Maui where it has been played mich erfreuen). Raven OAR-142 $15.98 post- and Karg-Elert, but with a Nordic twist. Check it paid. Raven, Box 25111, Richmond, VA 23261; by parish musicians such as Carol Monaghan New from Fruhauf Music Publications: Johann out at www.proorgano.com and search for the 804/355-6386, RavenCD.com. and visiting artists including Angus Sinclair of Sebastian Bach’s Fanatasia and Fugue (frag- term “Nordic Journey.” Canada and Dalibor Miklavcic of Slovenia. The ment) in C-minor, S. 562, is featured in two paired instrument is extremely responsive and fi lls the complimentary online publications. Presented The Tracker—The Organ Historical Society worship space beautifully. The parish community in letter-sized PDF booklets that include notes, Ed Nowak, Chicago-area composer, arranger, quarterly journal includes news and articles and church musician, announces his new web- is “exemplary in its hospitality to all visitors,” and music scores and appendices, the fantasia’s about the organ and its history, organ builders, site, featuring Nowak’s original choral works, that especially includes visiting organists. For notation has been clarifi ed in a performance edi- exemplary organs, and regional surveys of information: 808/661-4202; holyimaui.org. hymn concertatos, chamber and orchestral tion, and the fugue fragment includes a specula- works, organ hymn accompaniments, organ instruments. Both American and European organ tive realization. Visit www.frumuspub.net and and piano pieces, electronic music, and psalm topics are discussed, and most issues run 32 pages with many illustrations and photographs. PUBLICATIONS / RECORDINGS scroll down to the Bulletin Board to access both settings. The website offers scores and recorded fi les for download. examples that are easy to sample and can be Membership in the OHS includes a subscrip- purchased in downloaded (PDF and MP3) or tion to The Tracker. Visit the OHS Web site for Scherzo in G Minor by René Becker, the printed form. Visit ednowakmusic.com. subscription and membership information: www. famous Alsatian-American composer, is his Kola Owolabi of the University of Michigan organsociety.org. lesser-known scherzo from 1926 that is both plays on a new Raven CD, Four Suites from the Pipe Organs of the Keweenaw by Anita playful and sinister. michaelsmusicservice.com Second Livre d’Orgue by Jacques Boyvin, on the Campbell and Jan Dalquist, contains his- 1732 Andreas Silbermann organ in Ebersmunster REED ORGANS FOR SALE 704/567-1066 tories, stoplists, and photos of some of at Saint-Maurice Abbey Church. Raven OAR-997 the historic organs of the Keweenaw Pen- $15.98 postpaid. Raven, Box 25111, Richmond, insula, the northernmost tip of Michigan’s Donation: Collector’s reed organ, Mason & Certified appraisals—Collections of organ VA 23261; 804/355-6386, RavenCD.com. Upper Peninsula. Organs include an 1899 Hamlin, Liszt model, No. 41, with blower, built books, recordings, and music, for divorce, Barckhoff and an 1882 Felgemaker. The booklet circa 1889; 12 sets of reeds; optional decorative estate, gift, and tax purposes. Stephen L. ($8.00 per copy, which includes postage) is pipes now detached, 2 manuals, full pedalboard; Pinel, Appraiser. 629 Edison Drive, East Wind- Organa Europae calendars featuring famous available from the Isle Royale and Keweenaw playable condition. Can still be hand-pumped; sor, NJ 08520-5205; phone: 609/448-8427; pipe organs of Europe; years 1969 to 1977. Parks Association, 49445 US Hwy 41, Hancock, in storage, Hackensack, NJ. Contact: Deborah email: [email protected]. $10.00 each. 219/662-0677, [email protected]. Michigan 49930. For information: 800/678-6925. Shnek, [email protected].

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Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

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ELECTRONIC ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

Rodgers model 578, two manuals and pedals. JC Taylor 2001 tracker pipe organ. Two manu- Practice organ by Mark Lively (built 1988 for Complete Pipe Organ Services from the Organ Six years old, like new; medium dark fi nish; used als, fi fteen ranks, solo stop in pedal. Picture Anne & Todd Wilson). Mechanical action, 2 Clearing House: 450 vintage pipe organs avail- in my home. Google this model and discover its and disposition at stjamesgreenbay.org. Mint manuals, 5 stops, 4 ranks. 61/32 compass, AGO able, renovation, tuning, consultation. Other many features. Located in Shorewood, Illinois. condition. Price negotiable. More information at standard pedalboard. Case dimensions: 63″ services include transportation, cleaning and 815/531-9558. 920/351-3045. wide X 34″ deep X 95″ high. Pedalboard and renovation of carvings, reredos, liturgical furnish- bench extend 29″ from front of case. $20,000. ings. Call John Bishop at 617/688-9290. john@ Purchaser responsible for removal and reloca- organclearinghouse.com. PIPE ORGANS FOR SALE 26-rank Casavant - Létourneau pipe organ for tion (instrument is in Cleveland, Ohio). Contact sale. Orgues Létourneau is offering a 22-stop Todd Wilson: [email protected]. Casavant Frères pipe organ (Opus 1274 from 1968 Wicks, one divided manual and AGO 216/774-0421. Releathering all types of pipe organ actions 1928) for sale. This electro-pneumatic instru- pedalboard. Excellent condition. Self contained; and mechanisms. Highest quality materi- ment was rebuilt by Létourneau in 1987 and is direct electric action; chiffy, open toe voicing, als and workmanship. Reasonable rates. currently in storage at the Létourneau shops. It is Circa 1860 Pfeffer eight-rank organ, available 85 unenclosed pipes. Ideal for small church or Columbia Organ Leathers 800/423-7003. available for purchase in “as is” condition for USD rebuilt and custom fi nished. Also 1884 choir home. Fits under 8′ ceiling. $4,000 or best offer. www.columbiaorgan.com/col. $35,000 with its original two-manual console. organ by Louis Debierre. Both are pictured on the [email protected]. Likewise, Létourneau would be pleased to pro- Redman website: www.redmanpipeorgans.com. vide a proposal to rebuild this instrument, taking Do you have a pipe organ that you would 2005 Wahl pipe organ, Ann Arbor, Michigan. into account any desired changes to the stoplist like to interface with an electronic or digital Exquisite cherry casework and craftsmanship. as well as installation costs, voicing, casework MISCELLANEOUS FOR SALE organ? We can interface any digital organ or Six-stop, two-manual tracker. Concave parallel as required, and rebuilding the two-manual any organ console with any pipe organ. For more pedalboard. Requires 9′ ceiling. $80,000 or console with a new solid-state switching system. Deagan tubular tower chime, pre-1936, 15 information e-mail [email protected] (not best offer; would be $145,000 new. Contact The organ requires approximately 360 sq. ft. note, E3 chromatic to G4, except omitting F#4. Comcast) or call 215/353-0286. ′ ′ [email protected]. Pictures and specs at with 20 ceiling for 16 ranks. For more details, Old action bases and actions available; no frame, www.wahlorganbuilders.com/organs/practice/ visit www.letourneauorgans.com, email info@ nor additional equipment. Asking $19,000. Prefer Aeolian/Robert Morton-style maroon Six-stopPO.shtml letourneauorgans.com or call Andrew Forrest at pick-up, located Southwest Ohio. Can ship at leather is now available from Columbia Organ 450/774-2698. additional charge; rebuilding services avail- Leathers! Highest quality. 800/423-7003, able. Contact [email protected], or call www.columbiaorgan.com. Aeolian Duo-Art Pipe Organ, Opus 1560. 937/378-2355. 3 manuals: Great, Swell, Choir, and Pedal— Rieger 23-rank mechanical pipe organ for sale. enclosed. 48 ranks, Harp and Chimes, all stops Two 61-note manuals and 32-note AGO concave, THE DIAPASON E-Newsletters: Go to www. 73 pipes. Restored Dave Junchen 1990, moved radiating pedals. 1,221 pipes, manual and pedal Consoles, pipes and numerous miscellaneous couplers, and tremulant; includes 3 separate TheDiapason.com, click on Subscribe to our Pasadena, CA to San Antonio, TX. Pipe crate parts. Let us know what you are looking for. newsletter. Questions: [email protected]. storage in air-conditioned house. 214/991-1009, mixture stops and 2 reed stops. Gently voiced for E-mail [email protected] (not comcast), [email protected]. a chapel or home use. Compact design: width: phone 215/353-0286 or 215/788-3423. ′ 1 ″ ′ ″ ′ ″ 5 -8 ⁄8 , depth 7 -3¼ , height 7 -3½ with sepa- Postal regulations require that mail to THE ′ ′ ″ ′ ″ rate electric blower 2 x 2 -1 x 2 -5 . Mechanical DIAPASON include a suite number to assure Historic 1859 ROBJOHN, II+Ped, 11 ranks. key and stop action, slider windchest. Reduced to Gothic White Oak Organ Case. 25′ x 25′ x 12′ delivery. Please send all correspondence to: ′ ″ Drop dead gorgeous rosewood case, 14 -2 tall. $45,000.00. For more details call 360/945-0425 deep. Excellent condition. Spiky towers, lots of THE DIAPASON, 3030 W. Salt Creek Lane, Suite Lovely for chapel, large residence, or museum. or see OHS Organ Data Base, Rieger Orgelbau, fi ligree. The Organ Clearing House, 617/688- 201, Arlington Heights, IL 60005. www.bigeloworgans.com. Click on News. Gaspar Schulek Residence. 9290, [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2018 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Stefan Engels* Thierry Escaich*László Fassang* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Westminster Cathedral United Kingdom (October 2018)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole Saint Thomas Church New York City (March 2019) New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth* Notre-Dame Cathedral Paris (April 2020) Celebrating Our 97th *=Artists based outside Season! the U.S.A. Jonathan Ryan Thomas Trotter* Todd Wilson Christopher Young