THE DIAPASON AUGUST 2015
St. Mark’s Episcopal Church New Canaan, Connecticut Cover feature on pages 26–28 CHRISTOPHER HOULIHAN WITH THE LOS ANGELES PHILHARMONIC BRASS AT DISNEY HALL
“Houlihan is the next big organ talent…the evening belonged to Houlihan. The program included works for brass and organ, organ alone and brass alone. With an exception one or two, the standouts were the organ pieces.… Houlihan’s glowing, miraculously life-affirming performances…with everything sumptuously detailed…a splendidly colored performance of Bach…fascinatingly majestic performance of Vierne…enthusiastic audience. Houlihan’s solo encore was the Scherzo from Vierne’s Second Organ Symphony, and it was, as Vierne seldom is in the hands of other organists, seductive.” (Los Angeles Times, by Mark Swed, 2014) “L.A. PHILHARMONIC BRASS KINGS, ORGAN SOLOIST DAZZLE AT “A budding superstar with his WALT DISNEY HALL own veritable set of followers The Los Angeles Philharmonic affectionately known as ‘Houlifans ’… . brass section playing with Think of it [performing with the one of the brightest stars Los Angeles Philharmonic brass in the new generation section] not as an organ recital, of organists, Christopher but rather a chamber music concert Houlihan … Thunderous featuring an atypical collection of . ovation…Houlihan played wind instruments … Says LA Phil . with great passion…a rousing Principal Trumpet Thomas Hooten, ovation…magic on the pedals of Houlihan, ‘He’s a very energetic, (allisyar.com, by C.K. of the organ.” great player.’” (Pasadena Star-News, by John Dexter Haven, 2014) M. Sherrard, 2014)
[email protected] (860)-560-7800 www.concertartists.com THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 8, In this issue Whole No. 1269 Among the offerings in this issue of The Diapason, Wesley AUGUST 2015 Roberts writes about Jacques Ibert’s Choral, an organ work Established in 1909 written in 1918. August marks the 125th anniversary of the Joyce Robinson ISSN 0012-2378 composer’s birth. Stephen Schnurr recounts the history of the 847/391-1044; [email protected] organs at Emmanuel Episcopal Church in La Grange, Illinois, www.TheDiapason.com An International Monthly Devoted to the Organ, and James D. Hicks presents an overview of the organ works of the Harpsichord, Carillon, and Church Music Norwegian composer Kjell Mørk Karlsen. Larry Palmer reports on the fourth annual conclave of the CONTENTS Historical Keyboard Society of North America (held May 21–24 2016 Resource Directory FEATURES in Montréal), including the paper he delivered. John Bishop It’s not too early to remind you about The Diapason 2016 muses on makeovers—personal, literary, and of pipe organs. Resource Directory. Notify us if any of your company or orga- Jacques Ibert’s Choral for Organ by Wesley Roberts 18 Our cover feature this month is Austin Organs’ instrument nization’s information has changed, and make plans for adver- at St. Mark’s Episcopal Church in New Canaan, Connecticut. tising in the 2016 Resource Directory. Pipe Organs of La Grange, Illinois and the Architectural Edifi ces That House Them Back to school TheDiapason.com Part I: Emmanuel Episcopal Church As the summer winds down and students begin heading back We remind you that our website, TheDiapason.com, offers by Stephen Schnurr 20 to school, why not give a gift subscription to The Diapason subscribers the opportunity to view current and past issues An introduction to the organ works of to your favorite students? Student subscriptions are just $20 a online, along with additional videos. Be sure to visit the site Kjell Mørk Karlsen by James D. Hicks 23 year. Call or send an e-mail and I’ll be pleased to assist. regularly and see what’s new! Q
NEWS & DEPARTMENTS Editor’s Notebook 3 Here & There Here & There 3 Appointments 6 Nunc Dimittis 8 Events Harpsichord News by Larry Palmer 10 The Iowa Falls Summer Organ In the wind . . . by John Bishop 16 Series continues at St. Matthew’s by-the- Bridge Episcopal Church, in Iowa Falls, REVIEWS Iowa. Programs are at 4 p.m. followed Music for Voices and Organ 12 by a reception in the undercroft: August Book Reviews 12 2, David Hufford; 8/31, James Ham- New Recordings 12 New Organ Music 14 mann, assisted by Amy Christensen. For New Handbell Music 15 information, contact James Hammann, 515/943-3541, [email protected]. NEW ORGANS 28 SUMMER CARILLON CALENDAR 29 CALENDAR 30 ORGAN RECITALS 32 CLASSIFIED ADVERTISING 34
Spreckels Organ Pavilion (photo credit: Robert E. Lang, Spreckels Organ Society) Sacred Sounds concert at St. Joseph Catholic Cathedral, Hartford, Connecticut The Spreckels Organ Society continues its Centennial International The Sacred Sounds Concert Series, presented by the Catholic Archdiocese of COVER Summer Organ Festival, Monday eve- Hartford, Connecticut, and St. Joseph Catholic Cathedral, featured the American Brass Austin Organs, Hartford, Connecticut; nings at 7:30 p.m. on the 1915 Spreckels Quintet in concert with the cathedral’s Austin organ, percussion, and a bandoneón on St. Mark’s Episcopal Church, Organ in Balboa Park’s Spreckels Organ April 25. The latter instrument was developed by Heinrich Band in the 1840’s and New Canaan, Connecticut 26 Pavilion: August 3, Olivier Latry; 8/10, became popular in Argentina. The program included works ranging from Elizabethan Gordon Turk; 8/17, Paul Jacobs; 8/24, consort music through music of the Italian Renaissance, including pieces by Gabrieli Donald MacKenzie, “Silent Movie and Marenzio, as well as works by Franck and Ginastera, and a work by contemporary Editorial Director JOYCE ROBINSON Night”; 8/31, Clark Sterling and Carol composer Osvaldo Lacerda. and Publisher [email protected] 847/391-1044 Williams, “100 Years of Broadway.” All concerts are free, and friendly pets on VP/Group Publisher DIANE VOJCANIN leash are welcome. For information: its Wednesday evening organ recitals: Lutheran Church. For information, con- [email protected] spreckelsorgan.org. August 5, Brian Glikes; 8/12, Monica tact Richard Collman at 507/645-1357 or 847/391-1046 Czausz; 8/19, Anne Laver; 8/26, Carl [email protected]. Editor-at-Large STEPHEN SCHNURR Klein. Other events include: September [email protected] 18, David Carrier, Fall Scholarship Festival Internazionale di Musica 219/531-0922 Fund Organ Recital; October 3, chil- d’Organo della Verna XXVIII con- Sales Director JEROME BUTERA dren’s program, Peter and the Wolf, tinues at the Sanctuary of La Verna, [email protected] with Joyce Painter Rice; October 23, Arezzo (Tuscany), Italy (4-manual, 608/634-6253 Christopher Houlihan plays the Berj 100-stop Tamburini): August 5, Stefan Circulation/ Zamkochian Memorial Organ Recital; Therstam; 8/19 Eugenio Maria Fagiani Subscriptions DONNA HEUBERGER December 4, Holiday Open House. “A and the Coro dei Frati della Verna; [email protected] Merry Music Hall Christmas,” featuring 8/26 Livia Mazzanti. For information: 847/954-7986 music for organ and trumpet, will be www.fi moverna.org. Designer DAN SOLTIS presented 12/5 with Ray Cornils at the console and 12/6 with Peter Sykes. For Church of the Gesu, Milwaukee, Contributing Editors LARRY PALMER information: www.mmh.org. Wisconsin, presents organ recitals Tues- Harpsichord days at 7:30 p.m.: August 11, Bryan Dun- JAMES MCCRAY Northfi eld Noontime Organ Recit- newald; September 8, Jeff VerKuilen; Choral Music Methuen Memorial Music Hall organ als continue, Wednesdays from 12:15 to October 13, John Paradowski; December BRIAN SWAGER 12:45 p.m.: August 5, Bob Henstein, at 8, Rob McWilliam. For information: Carillon Methuen Memorial Music Hall, Northfi eld United Methodist Church; www.gesuparish.org. Methuen, Massachusetts, continues 8/12, Nathan Proctor, at St. John’s ³ page 4 JOHN BISHOP In the wind . . .
THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2015. Printed in the U.S.A. On Teaching 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $38; 2 yr. $62; 3 yr. $85 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers Mark Konewko Foreign subscriptions: 1 yr. $48; 2 yr. $75; 3 yr. $96. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading John Collins Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other Kola Owolabi Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. Kenneth Udy Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Jay Zoller issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 3 Here & There
³ page 3
Adele Elle-Gelernter, Emma Masse, Mason Elle-Gelernter, Ben Taylor, Richard Gress, Philip Pampreen, Rory Cunning- Margaret Harper, Alex Marin, and Marshall Joos ham, Jonathan Wessler, and Lucas Nering
On March 29, the Young Organist Collaborative of Portsmouth, New Hampshire, now in its 13th year, sponsored classes, held at Christ Episcopal Church, Exeter, New Hampshire. The group class, for fi rst-year organ students, was taught Noack organ at Shrine of Our Lady of by Margaret Harper, director of music and liturgy at St. John’s Episcopal Church in Portsmouth. She holds a DMA, MM, Guadalupe, La Crosse, Wisconsin and performer’s certifi cate from the Eastman School of Music. A masterclass for continuing organ students (grades 8–12) who participate in the collaborative was taught by Jonathan The Shrine of Our Lady of Guada- Wessler, assistant organist at St. Paul’s Church and Choir School, Cambridge, Massachusetts. He holds degrees from Ober- lupe, La Crosse, Wisconsin, concludes its lin, the University of Notre Dame, and a DMA from the Eastman School of Music. summer organ recital series August 16 at The Young Organist Collaborative raises money to “invest in the next generation of organists.” To date, more than 100 young 3 p.m. with a program by Donald VerKui- people from Maine, New Hampshire, and Massachusetts have taken pipe organ lessons with the fi nancial help of YOC. len III. For information: www.guadalupe- shrine.org/events/organ-concerts. Competitions First Church of Christ, Wethers- fi eld, Connecticut, announces the eighteenth annual Albert Schweitzer Organ Festival, September 11–13. On September 11 a celebration concert will feature organists Diane Meredith Belcher, Peter Conte, and John Walker, who will also adjudicate the competition on September 12. The three organists will be joined by the Festival Choir, con- ducted by Jason Charneski and David Spicer and accompanied by Spicer and Ezequiel Menendez. Also performing will be the Legacy of Spirituals Choir, led by Ingrid Faniel. On September 13 competition fi nalists will participate in morning worship and an afternoon masterclass. For information: fi rstchurch.org/ministries/music-and-arts/ Clara Gerdes and Nicholas Quardokus schweitzer-organ-festival/home.
On June 14 the Albert Schweitzer Organ Festival presented two 2014 festival winners in concert at Trinity Col- lege Chapel in Hartford, Connecticut. Festival of Arts at First United Methodist Church, Cumming, Georgia Clara Gerdes (high school division) played Prelude and Fugue in D Major, Todd Wilson, center, opened the annual Festival of Arts at the First United BWV 532, Bach; Cortège et Litanie, op. Methodist Church, Cumming, Georgia, on April 19. Now in its eighth season, 19, no. 2, Dupré; Hommage à Fresco- the festival’s programs include symphonic, instrumental, and solo performances, as baldi, Langlais; and Organ Sonata No. well as hundreds of visual art works displayed throughout the church over a two-week 4 in B-fl at Major, op. 65, Mendelssohn. period. John Hutchinson, right, is director of the festival, and organist/choirmaster Nicholas Quardokus (young profes- at the church. Pictured at left are Randall and Lou Anna Dyer of the organ-building sional division) played Toccata, op. 9, Cathedral of the Immaculate Concep- fi rm Randall Dyer & Associates. For information: www.artsfestivalcfumc.com. Guillou; Bergamasca (from Fiori Musi- tion of the Holy Virgin Mary, Moscow cali), Frescobaldi; Prelude and Fugue in C Minor, BWV 546, Bach; Psalm The First Odoyevsky International compositions. He contributed much to Gnessin Russian Academy of Music with Prelude, Set two, no. 1, De profundis cla- Organ Competition will take place in increase the interest in the organ and its 1871 Henry Jones organ. mavi ad te, Domine (Ps. 130:1) (1940), Moscow, November 22–29. The com- Bach in Russian musical circles. The competition program includes Howells; Pageant, Sowerby. petition is named after V. F. Odoyevsky The competition consists of four works from traditional organ repertoire For further information on this and (1804–69), a Russian music critic, writer, rounds. Participants will perform on (Bach, Franck, Mendelssohn, Liszt, and future editions of the festivel: www.fi rst- and philosopher, one of the authorities instruments of different styles and Brahms), 20th-century compositions, church.org/ministries/music-and-arts/ on Russian musicology and lexicography periods; these are installed in fi ve Mos- as well as pieces composed in Russia in schweitzer-organ-festival. and the author of the fi rst Russian organ cow halls, including the Organ Hall of ³ page 6
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4 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Daniel Bruun Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organist/Conductor Organist Organist/Harpsichordist Indiana University Montevideo, Uruguay Charlotte, North Carolina Indianapolis, Indiana Copenhagen, Denmark Ann Arbor, Michigan
Leon W. Couch III Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Henry Fairs Faythe Freese Organist/Lecturer Organist/Pianist Organist Organ/Carillon Head of Organ Studies Professor of Organ Birmingham, Alabama Hutchinson, MN Holland, Michigan University of Florida Birmingham Conservatoire University of Alabama
Simone Gheller Sarah Hawbecker Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Organist/Recording Artist Organist/Presenter Organist/Lecturer Organist Organist Professor of Music/Organist Oconomowoc, WI Atlanta, GA Hasselt, Belgium Bernardsville, NJ Brooklyn, New York Ripon College
Angela Kraft Cross David K. Lamb Mark Laubach Colin Lynch Yoon-Mi Lim Philip Manwell Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Conductor Assoc. Prof. of Organ Organist San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania Boston, Massachusetts SWBTS, Fort Worth, TX Reno, Nevada
Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Organist/Lecturer Organist U of Nebraska-Lincoln Manhattan School of Music Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College
Ann Marie Rigler Brennan Szafron Edward Taylor Michael Unger Rodland Duo Christine Westhoff Organist/Presenter Organist/Harpsichordist Organist/ Choral Conductor Organist/Harpsichordist Viola and Organ & Timothy Allen William Jewell College Spartanburg, S. Carolina Carlisle Cathedral, UK Cincinnati, Ohio Eastman School of Music/ Soprano & Organ St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 28th year of operation Here & There Appointments Christina Harmon, assistant organist at ³ page 4 she was honored by Westminster Choir Christ Episcopal Church in Tyler, Texas, has different periods. Besides compulsory College with the Alumni Merit Award, the been appointed adjunct faculty instructor of pieces, participants in the fi nal round Distinguished Merit Award, the William- organ at Stephen F. Austin State University in will have an opportunity to play a small son Medal, and an honorary doctorate. Nacogdoches, Texas. She has previously served concert program of their own design. The recent award citation reads, “Rider on the faculties of Dallas Baptist University and Participant ages range from 17 to 33. University is honored to add to these the University of Texas at Dallas. Application deadline is September 20. accolades by awarding a Sesquicentennial She is featured on several CDs, including For information: http://gnesin-academy. Medal of Excellence to Joan Lippincott Summershimmer, Music of Women Organ- ru/en/node/11679. in recognition of her long and illustrious ists; The Music at Park Cities Baptist; Sing career as an educator and performer who Gloria, the Choirs at St. Michael’s and All People has brought honor to the University.” Lip- Angels; Christmas in Dallas: Trumpet and pincott is professor emerita of organ at Organ Christmas Music; and The Organs of Christina Harmon Westminster Choir College of Rider Uni- Keeweenaw, featuring organs of Michigan’s versity, Princeton, New Jersey, and was Upper Peninsula. Harmon has concertized in the United States and Europe, principal university organist at Princeton including at Westminster Abbey, Westminster Cathedral, Notre Dame Cathe- University from 1993 to 2000. dral in Paris, and the Cathedral of Chartres. Her compositions are published by Plymouth Music Publishing, Vivace Press, Delatour Music Publishing, and Sacred Music Press and are featured on recordings by various organists. In 1989 Harmon became the director of the French and British Organ Music Seminars, in which organists can study and perform on great European organs (www.bfoms.com). She has also edited six DVDs that feature the Parisian organs and organists of Ste-Clotilde, Notre-Dame d’Auteuil, and St-Sulpice.
Susan Klotzbach has been appointed organist at Kenilworth Union Church, Kenilworth, Illinois. Klotzbach received a Bachelor of Music degree from the University of Iowa, and a Master of Music and Doctor of Musical Arts in organ performance from the Eastman School in Rochester, New York. She Joan Lippincott (photo credit: Christian Steiner) Margaret Phillips has worked as a tenured music faculty mem- ber teaching applied organ, harpsichord, and Joan Lippincott received the Ses- Margaret Phillips will perform church music courses at Houghton College and quicentennial Medal of Excellence from the complete organ works of J. S. Bach Carthage College, and has served as organist in Rider University in May 2015. Previously ³ page 8 several churches.
Darryl Roland has been appointed director Susan Klotzbach of music ministry at St. Peter’s Church, Phila- delphia, Pennsylvania. Roland leaves positions at St. Mark’s Church, Philadelphia, where he started a Choir of Boys and Girls, and at St. James School, Philadelphia, as a music instruc- tor. He previously served as director of music at St. Peter’s Episcopal Church, Morristown, New Jersey, canon precentor of the Cathedral Church of St. John, Wilmington, Delaware, and artistic director of the Cathedral Choir School of Delaware. The Cathedral Choir School, developed by Dr. Roland, provides music training, leadership development, mentoring, and academic support for children from under- served areas of Wilmington and has become a nationally recognized model for such programs. Darryl Roland In 2005 he received the Coming Up Taller award, the highest honor bestowed for after-school programs for children and youth by the President’s Committee on the Arts and Humanities and its partner Piedmont College recital agencies. Roland has been a guest lecturer and presenter for the Anglican Asso- ciation of Musicians, the American Guild of Organists, universities, and semi- James F. Mellichamp, Piedmont College president, presented a collaborative naries where he has discussed developing intergenerational choir programs as concert billed as “James & Friends” with former college classmates on April 25. well as collaborative ministries. Publicity for the event enticed concertgoers with the opportunity to see and hear four hands and four feet playing “Big Bertha” (Casavant Opus 3799) in the Piedmont Barry Wenger has been appointed organist College Chapel, along with two singers performing traditional classics, spirituals, and and bell choir director at First Presbyterian musical theater, and the only time in 33 years local audiences could hear President Church of Lake Forest, Illinois, beginning Mellichamp performing at the piano. Musicians included (left to right) Steven E. August 15. Wenger previously served as princi- Lawson (New York City), organ; Diane J. Johnson (New York City), soprano; Thomas pal organist at First United Methodist Church Faracco (Philadelphia), tenor; James F. Mellichamp, organ/piano; and Sharon L. at the Chicago Temple, and as organist and Beckstead (Toronto), organ. director of worship and music at Central United Methodist Church, Kansas City, where he directed six choirs (choral and bell) and played A New Song In Switzerland the 1967 Casavant, Opus 2731, which Casavant refurbished under his guidance. He was also a staff organist at the Community of Christ Headquarters in Independence, Missouri, for 13 years, playing the 114-rank Aeolian-Skinner organ and the 102-rank Casavant tracker organ. Barry Wenger Wenger received a Doctor of Musical Arts in organ performance degree at the University of Missouri-Kansas City Conserva- tory of Music and Dance in 2003, a Master of Music in organ performance from the University of North Dakota in 1995, a Bachelor of Music in organ and piano performance, and a Bachelor of Science in Education for music educa- tion–choral from Minot State University in 1993. Q
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³ page 6 ensemble; 978-0-19-340738-1, $2.70); Go, Nunc Dimittis oncthe Richards, Fowkes & Co. organ at tell it on the mountain (SATB and piano/ Henry L. “Hank” Hokans, 84, of Ogun- St. George’s Church, Hanover Square, orchestra, 978-0-19-340741-1, $2.70); quit, Maine, died June 2. Born and raised London, in a series of weekly concerts Sans Day Carol (SATB and piano/small in Worcester, Massachusetts, he received Thursday, Friday, and Saturday evenings orchestra, 978-0-19-340739-8, $2.70); and early musical training from his parents and at 6 p.m. from September 24 to October Shepherd’s Pipe Carol (SATB and organ, studied organ with T. Charles Lee and Wil- 31. Phillips will begin the series with a 978-0-19-340740-4, $2.95). Other titles liam Self, whom he succeeded as organist performance of Clavierübung Part III, include All things bright and beautiful at All Saints Church, Worcester, serving for Henry L. Hokans and end with the complete Leipzig Cho- (SATB and piano/chamber orchestra, 978- 20 years. Hokans received bachelor’s and rales (“The 18”) in a recital that is both 0-19-340734-3, $2.70) and Be thou my master’s degrees at the New England Conservatory and was inducted into Phi the opening concert of the London Bach vision (SATB and piano/orchestra, 978- Kappa Lambda Honor Society. He was appointed organist of the Worcester Art Society’s 25th Anniversary Bachfest 0-19-340735-0, $2.70). For information: Museum, director of music at Worcester Polytechnic Institute, and chairman of and the third anniversary recital of St. www.editionpeters.com. the fi ne arts department of Worcester Academy. After serving with the 5th Air George’s organ. For information: Force in the Korean War, Hokans received a Fulbright Scholarship to study for www.stgeorgeshanoversquare.org. a year in Paris with Pierre Cochereau and Jean Langlais. Recordings Hokans served in residencies, was accompanist for many choral groups, founded and directed the Worcester Concert Choir, and played recitals in abbeys and cathedrals both in England and on the Continent. He accompanied the American choir, Canterbury Singers, USA, in England for the VE Day 50th Anniversary Commemorative Service at York Minster Cathedral in 1995. In 1989 he accepted a position at the Cathedral Church of St. Luke in Portland. He served as organist/choirmaster at St. Paul’s Anglican Church in Frederiksted, St. Croix, as musical director of St. Ann’s, Kennebunkport, and since 2001, as music director of St. Peter’s-by-the-Sea, Cape Neddick, Maine. He also worked in organ design, building, and maintenance with several organ builders, and operated his own organ service company, H. L. Hokans Associates. Henry L. Hokans is survived by his wife of 25 years, Louise (George) Hokans of Ogunquit; daughter Rebecca Hokans Nanof; son Richard W. Hokans; two grandchildren, two great-grandchildren, and sister-in-law Ruth W. Hokans.
Robert L. “Bob” Milliman, 89, died March 1 in Des Moines, Iowa. Born in Carol Williams Bryan Dunnewald CD Des Moines on January 29, 1926, he graduated from East High School and was then drafted into the U.S. Army. He served during World War II in the Pacifi c Carol Williams has released a new Bryan Dunnewald has released the from 1944–46. In 1947 he married Twylla Kurschinski at St. Paul’s Lutheran CD of her own works, Just Carol— premiere recording of the 2014 Kegg Church in Des Moines. In 1964 the family moved to Kansas City, Missouri, where Compositions, which features music Pipe Organ Builders organ at Bryn Milliman worked for AT&T until his retirement in 1982. They then returned to composed for organ, various instru- Athyn Cathedral, Bryn Athyn, Pennsyl- Des Moines, where he tuned and repaired pipe organs. Milliman was a life mem- ments with organ, and works for piano. vania. (The organ was The Diapason’s ber of the Beaverdale V.F.W. Post 9127, Urbandale, American Legion #663, and The tracks include Venus Toccata and December 2014 cover feature.) Dun- the Telephone Pioneers. Robert L. Milliman is survived by his wife of 67 years, Freedom, which were both infl uenced newald performs a diverse collection of Twylla, daughters Norma (Robert) Rees and Polly Milliman, six grandchildren, by the organ in the Walt Disney Con- works to demonstrate the instrument’s one great grandchild, and brothers, William (Barbara) Milliman and Paul (Kate). cert Hall in Los Angeles; Twilight and versatility and breadth of color. Works the Centennial Spreckels Fanfare, include the premiere recording of Cal- Robert Lawson Van Doren, 99, died May 18 in Columbia, South Carolina. inspired by the organ in Balboa Park, vin Hampton’s First Suite for Organ, Born in Roselle Park, New Jersey, on March 8, 1916, he became organist at San Diego; Dietrich’s Dilemma, Tiger Jean Guillou’s transcription of Mozart’s St. Luke’s Episcopal Church in Roselle Park at age 15. He attended Columbia Lilly Waltz and Major Something, Non Adagio and Fugue in C Minor, K. 546, University and the Juilliard School of Music, where he met his future wife, Fat Latte! have their roots in her love and pieces by Leo Sowerby, Marcel Lib, who was in the same graduate program. They married in 1943, sharing of theatre organs. Dupré, and César Franck. For informa- their passion for music for more than 59 years. After receiving a bachelor’s Other works include Suite for Organ, tion: BryanDunnewald-Organist.com or and a master’s degree from Columbia University and Juilliard, he taught in the Daisy Violin, and Dragon Dance for search the iTunes Store. public schools of Roselle Park before joining the Army during World War II. violin and organ, Three Thoughts and In 1950 he received the degree of Fellow, Trinity College of Music, London, For Michael for piano, and Bonnie England. Van Doren became an instructor in music and music education at the Eriskay, composed for the bagpipe University of South Carolina, where he rose in rank to full professor and retired group at the House of Scotland Pipe as Distinguished Professor Emeritus in 1978. Band. The CD and scores are available From 1945 until 1970 he served as organist and choirmaster at Trinity Epis- from melcot.com. copal Church (now Cathedral) and organized and directed the citywide Junior Choir Festival for 25 years. In the 1950s, he was helped organize the Sewanee Conference on Church Music in Sewanee, Tennessee, and taught there for Publishers many summers. Van Doren served as president of the Columbia Music Festival Breitkopf announces new releases Association, dean of the Columbia Chapter of the American Guild of Organ- for organ in their series Johann Sebastian ists, president of the South Carolina Music Educators Association, and vice Bach, Complete Organ Works. Volume 8 president of the Southern Division of the Music Educators National Confer- (EB 8808, €26.80) presents organ cho- ence. In 1988 he was elected to the Hall of Fame of the South Carolina Music rales of the Leipzig Manuscript, edited Educators. He was a member of other clubs, including the “Friends of Music,” by Jean-Claude Zehnder. Also included University of South Carolina School of Music. is a CD-ROM, which contains a facsim- Robert Lawson Van Doren is survived by a son and a daughter, three grand- ile of an early copy of BWV 664, and the children, and three great-granddaughters. English translation of the commentary. Le Livre de Notre-Dame For information: www.breitkopf.com. Donald Stuart Wright, 74, died June 4. Maîtrise Notre-Dame de Paris Born on December 26, 1940, he was most Doblinger announces new organ announces a new recording. Le Livre recently organist and choirmaster at St. music publications: Zeit und Leben (Time de Notre-Dame presents twelve motets Christopher Episcopal Church in Oak Park, and Life), Suite op. 33, by Jürgen Essl, and a short Mass for children’s choir; the Illinois, and for nearly a decade before that a four-movement work using Gregorian works were commissioned by Musique was at St. Richard of Chichester Episcopal chant, Alevite song, and melodies from Sacrée a Notre-Dame de Paris to cele- Church in Chicago. Throughout his life, Georgia and Mallorca (02 488, €17.95); brate the cathedral’s jubilee. Composers he served mainly Episcopal and Lutheran 7 Versetten für Orgel zu Leonhard include Jean-Baptiste Robin, Jean-Pierre parishes. A graduate of the American Con- Lechner, “Das Hohelied Salomonis” (02 Leguay, Thierry Escaich, Eric Lebrun, servatory of Music in Chicago, his organ 498, €13.95); and by Peter Planyavsky, Thomas Lacôte, Yves Castagnet, and teachers included Thomas Matthews, Austin Voluntary für Wilten (02 482, €14.95) others. For information: www.musique. C. Lovelace, and Flor Peeters. He was active Donald Stuart Wright and Toccata XIII, which recalls Muffat sacree.notredamedeparis.fr. for many years as a recitalist, largely in the and his 12 toccatas (02 483, €13.95). For Chicago metropolitan area. Don was married for 42 years to his wife, Lisa Cur- information: www.doblinger.at. ran Wright. He would always be recognized by his Hercule Poirot-like mustache Organ Builders and his dapper attire. Don was also proud of his 1930 V-16 cylinder Cadillac Oxford University Press announces The Bedient Pipe Organ Company and his “yacht” (the family’s pontoon boat kept at their Wisconsin cottage). His new choral releases in the John Rutter announces reorganization. Paul Lytle popular piece, A Gigue for the Tuba Stop, published by World Library, was Anniversary Edition, which celebrates the and Mark Miller have headed the Lin- written for his son, Michael Slane Stuart. Donald Stuart Wright is survived by 70th birthday of the British composer and coln Organ Company, doing business as his wife Lisa, children Katherine, Thomas, Nicholas, Alexandra, Veronica Solis, the 30th anniversary of his choir, the Cam- the Bedient Pipe Organ Company, since Nathaniel, and Michael, as well as four grandchildren and one sister. Q bridge Singers. Christmas titles include: Gene Bedient retired from the fi rm over Candlelight Carol (SATBB and organ/ fi ve years ago. The fi rm is now offi cially
8 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Here & There known as Bedient Pipe Organ Company C. Bobsin Organs announces its or linear transducers. For information: of Lincoln, Nebraska, LLC. For the newest team member, Lucia Blackerby. 877/457-5804 or [email protected]. time being, the company will remain Blackerby is an organ builder with over in its present location at 1060 Saltillo ten years of experience; her specialty is Whitesel Church Organs will install Road, south of Lincoln, but will look to fl ue voicing and tuning. For information: the largest Viscount organ in North relocate to a facility better suited to the curtisbobsin.wix.com/cbobsinorgans. America at St. John’s Episcopal Church fi rm’s needs. New company staff include in Portsmouth, Virginia. The installation Ryan Luckey, project manager; Jasmine Johannus Orgelbouw reports three will include a completed restoration Beach, fi nancial administrator; and Bob installations in China. The three-manual of St. John’s Austin pipe organ, to also Lundholm, attorney. For information: 65-stop Ecclesia D-470 was installed in become Viscount’s largest hybrid organ. www.bedientorgan.com. Jiangbei Fuyin Church and St. Teresa The instrument will feature a French- Catholic Church, situated together in the style console. The sound system, custom- C. Bobsin Organs has installed a Jiangbeizui Central Park in the 30-million made for use with Viscount Organs new three-manual terraced drawknob people megacity of Chongqing. The three- Klann swell shoe Physis Technology by Walker Technical console at Central Christian Church manual 99-stop American Classic 770 with Company of Zionsville, Pennsylvania, will in Austin, Texas. The project includes double power was installed in the newly Klann Organ Supply announces its utilize 51 speaker cabinets strategically extensive renovations and voicing in the built Shengai Christian Church in Jinhua, new swell shoes, now available in black placed throughout the sanctuary, without enclosed divisions as well as new cabling eastern China. The new church complex powder coat, brass, and bright nickel fi n- any being visible. The speaker system will and switching throughout this 43-rank can accommodate up to 5,000 people. For ishes. The shoes are available as expres- be powered with 8,000 watts. For infor- instrument. Ed Heenan is organist. information: www.johannus.com sion or crescendo, with potentiometers mation: www.whiteselorgans.com.
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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 9 Harpsichord News
Pedaling the French: A ‘Tour de France’ of Revival Harpsichordists 1888–1939 I. Near-death and slow rebirth “Make what you want: this upstart piano will never replace the majestic claveçin!” Thus began my 1989 book Harpsichord in America: a Twentieth-Century Revival with these combative words from the composer Claude-Bénigne Balbastre (1727–1799). Looking back from our his- torical perspective, we all know how that prediction turned out! Even for Balbastre himself: his capitulation was a work for the new “upstart” keyboard instrument, a Marche des Marseillois, “arranged for the Forte Piano by Citizen Balbastre, and dedicated to the brave defenders of the French Republic in the year 1792, the fi rst of the Republic.” At least Citizen [Citoyen] Claude-B B survived! Following a very few antiquarian- Players and composers from the HKSNA closing Aliénor concert in Montreal. L-R: Beverly Biggs, Marina Minkin, Mark Janello, inspired appearances throughout the Elaine Funaro, Larry Palmer, James Dorsa, Rebecca Pechefsky, Andrew Collett, Sonia Lee (photo credit: John Jacob) piano-dominated 19th century, the harp- sichord’s return to the musical scene as a authoritative reference work on Cou- Clavicembalisticum) just might call his recording of her own second Bourée featured instrument occurred during the perin’s titles, written by Historical Key- own authority into question. d’Auvergne (Biddulph LHW 016) espe- Paris Exhibition of 1888 at the instigation board Society of North America honorary Eight years younger than Woodhouse, cially highlights the rhythmic dimension of Louis Diémer (1843–1919), a piano board member Jane Clark Dodgson, that the better-known Wanda Landowska of her exciting artistry. professor at the Paris Conservatoire. “Sister Monica” may not be a religious (1879–1959) made her fi rst commercial In the United States, where Land- Diémer was able to borrow a 1769 Pas- “sister,” but refers instead to girls of ill recordings for the Victor Company in owska was a welcome visitor during the cal Taskin harpsichord to play in several repute, as in a “lady of the night,” accord- 1923, just prior to her American concert 1920s, there were several earlier players concerts comprising concerted works ing to the defi nition of the word Soeur by debut with the Philadelphia Orchestra. of the harpsichord; and, not too surpris- by Rameau and solo pieces by various the 17th-century lexicographer Antoine These six sides included short pieces ingly, all of them attempted at least some French claviçinistes. Of the latter the Furetière (1619–1688), “our sisters, as by the three 1685 boys (Handel, Bach, pieces by French composers. Some of most popular composer was Louis-Claude in streetwalkers, or debauched girls.” and Scarlatti) as well as the Rigaudon these participants in harpsichord history Daquin, whose Le Coucou became one (See Jane Clark and Derek Connon, ‘The and Tambourin from Rameau’s Suite in are nearly forgotten: one of more than of the most-performed works during the Mirror of Human Life’: Refl ections on E Minor, and what might be considered passing importance was the Princeton early harpsichord revival period. François Couperin’s Pièces de Claveçin, the fi rst recording of a contemporary professor Arthur Whiting: a well-received Diémer and his concerts must have London: Keyword Press, 2011, p. 170.) harpsichord work, Landowska’s own artist in nearby New York City and a cam- inspired the salon composer Francis Bourée d’Auvergne #1. pus legend at Princeton, he was known Thomé (1850–1909) to write a Rigodon II. Early recorded sounds Lesser-known players got recorded, for his ability to attract huge crowds of for this most recent French harpsichord- Beyond printed music and pedagogical too: Marguerite Delcour recorded undergraduates for his popular recitals ist, and thus provide history with the very writings, how did the classic French key- Couperin’s Le Tic-toc-choc [Ordre on both piano and Dolmetsch-Chicker- fi rst new piece for the old instrument. board repertoire fare in the newly emerg- 18] in 1924. The following year, 1925, ing harpsichord. I have not located any Inspired by Daquin, but also meant as ing medium of harpsichord recordings? one of Landowska’s Berlin students, recordings by Professor Whiting. The a tribute to Diémer’s “legendary trilling After giving a historical salute to the 16 Anna Linde, recorded the ubiquitous New York Times did mention his concert ability,” Thomé’s pièce de claveçin was rare 1908 Berlin wax cylinders that share Rameau Tambourin and the even more at Mendelssohn Hall (NYC) on Decem- published by Lemoine in 1893. Around surface noise with some barely audible ubiquitous Coucou by Daquin. If you ber 11, 1907, which included a Gigue the middle of the 20th century this work Bach performed by Wanda Landowska, recognize Linde’s name it might well and Rigaudon by Rameau. The unnamed was discovered and later recorded in the earliest commercial recording of a be for her edition of Couperin’s L’art de reviewer praised Whiting’s playing as 1976 by harpsichordist Igor Kipnis on a harpsichord dates from about 1913 and toucher le Claveçin—with its translations “clear, beautifully phrased, and skillful in disc of favorite encores. After being cap- was issued on the Favorite label. It pre- into English and German offered side by ‘registration’ if that term may be used to tivated by its simple antiquarian charm, serves an anonymous performance of a side with the original French, and the denote the employment of the different I too was able to acquire an original work with at least tangential connections printed music made unique by her Ger- timbres that the instrument affords.” print of the work, thanks to my German to France: the Passepied from J. S. Bach’s manically precise “corrections” to the Writing a letter to the editor of The friend and European “concert manager” French Overture in B Minor (BWV 831). composer’s picturesque (but occasion- Times on January 11, 1926, the prominent Dr. Alfred Rosenberger, who found it at (See Martin Elste, Meilensteine der ally unmathematical) beaming of some music educator Daniel Gregory Mason Noten Fuchs, Frankfurt’s amazing music Bach-Interpretation, reviewed by Larry quick roulades in his preludes. Both of offered a response to a letter from Land- store, where, apparently, the yellowed Palmer in The Diapason, June 2000.) Linde’s recorded legacy pieces sound owska in which she made the statement score had been on their shelves ever More easily accessible today are the amateurish enough that I seriously doubt that she had “single-handedly [!] restored since its publication date. earliest harpsichord recordings made in that Sorabji would have enjoyed hearing the harpsichord to its rightful position in As a somewhat-related aside, the 1920 for the Gramophone Company in these performances. the world of music.” In this correspon- probable fi rst harpsichord composition England by the Dolmetsch-infl uenced As a matter of history, however, it is dence Professor Mason called attention of the 20th century, or at least the earli- harpsichordist Violet Gordon Woodhouse quite possible that Anna Linde’s 1925 to some other “‘Harpsichord Pioneers’— est one to appear in print, is a Petite Lied (1871–1948). Her repertoire included disc was the fi rst harpsichord perfor- among whom he named the Americans: by French organist/composer Henri Couperin’s L’Arlequine from the 23rd mance to be recorded electrically (rather Mr. Whiting, Miss Pelton-Jones, Miss Mulet (1878–1967). This aptly titled Ordre (as played on Great Virtuosi of the than acoustically), and the difference Van Buren, and Lewis Richards.” work of only 17 measures in 5/4 meter Harpsichord, volume 3, Pearl GEMM in sound quality became even clearer The two ladies differed greatly: Frances was issued in 1910. (See Harpsichord CD 9242) and Rameau’s Tambourin, in the years immediately following. A Pelton-Jones was one of those wealthy News, The Diapason, January 2011, p. from his Suite in E Major. Mrs. Wood- 1928 Woodhouse performance of Bach’s women who could afford to pursue her 12, for a complete facsimile of the score.) house became something of a cult fi gure Italian Concerto sounds surprisingly artistic ambitions (rather similar to the The solo harpsichord works of François among British music critics (George present even today, and the performance would-be soprano Florence Foster Jen- Couperin, in a fi ne 19th-century edition Bernard Shaw), upper-class society (the shows—perhaps best of all her recorded kins). Her recitals in New York were of the by Johannes Brahms and Friedrich Sitwells), and adventurous musicians legacy—what her admirers so rightly club-lady variety; baffl ed critics most often Chrysander, also found some popularity (including the avant-garde composer admired. Indeed her artistry is such mentioned the stage decoration and the among pianists. From the musical riches Kaikhosru Shapurji Sorabji [1892–1988]), that I have thought, often, that had Mrs. beauty of Pelton-Jones’s gowns. Lotta Van to be found in Couperin’s 27 suites, came who wrote of Violet’s powerful musical Woodhouse needed to earn her living as Buren, however, was a thoroughly profes- the lone musical example to be included presentations that her playing was “dig- Landowska did, she could have eclipsed sional player and harpsichord technician in the 20th-century’s fi rst harpsichord nifi ed, moving, and expressive, and of a the divine Wanda as a concert harpsi- whose work with Morris Steinart’s instru- method book: Technique du Claveçin by broad, sedate beauty, completely free chordist. However, as the wife of a titled ment collection at Yale was very benefi cial, Régina Patorni-Casadesus (1886–1961), from any pedagogic didacticism or stiff- Englishman she could not make a career as was her association with Colonial Wil- a slim volume of only eight pages, most limbed collegiate pedantry.” (Quoted in onstage for money . . . and that was that! liamsburg and its program of historical of them devoted to stop-changing pedal Jessica Douglas-Home: Violet, The Life It would have been fascinating to have recreations, including musical ones. exercises (thus the genesis of my title— and Loves of Violet Gordon Woodhouse, had two such determined women com- As for Lewis Richards, Mason pro- “Pedaling the French”). This one tiny bit London: The Harvill Press, 1966, p. 228.) peting for the title of “the world’s most ceeds: “Mr. Richards, who has played of Couperin’s music is the oft-performed This should put many of us in our rightful famous harpsichordist.” the harpsichord throughout Europe as Soeur Monique from his 18th Ordre, a places, although Sorabji’s own excursions Realistically, however, Landowska’s a member of the Ancient Instrument work admired and used by many church into keyboard literature lasting from four tenacity, as well as her superb musical Society of Paris, was, I believe, the musicians—some of whom doubt- to nine hours in performance (example: knowledge and sensitivity, should not fi rst to appear as a harpsichordist with less would be shocked to read in the a Busoni homage with the title Opus be denigrated in any way. The 1928 orchestra (the Minneapolis Symphony)
10 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM By Larry Palmer
Wanda Landowska in America (Momo Aldrich Bequest to Lotta Van Buren (Van Buren Collection, Brigham Young Lewis Richards at his Pleyel Harpsichord (from a publicity Larry Palmer) University) brochure, gift of Miss Elsa Richards, Larry Palmer Collection)
(Laura Snowden: French Suite), Larry Palmer (Sviatoslav Krutykov: Little Mon- key Ten Snapshots), James Dorsa (Ivan Bozicevic: If There is a Place Between, and his own composition Martinique), Andrew Collett (playing his own Sonatina for Harpsichord), and Marina Minkin (Dina Smorgonskaya: Three Dances for Harpsichord). Following an intermission during which the audience submitted ballots naming their three favorite works, Aliénor presented world premieres of two commissioned works for two harpsichords: Edwin McLean’s Sonata No. 2 (2014), played by Beverly Violet Gordon Woodhouse recording Biggs and Elaine Funaro, and Mark Arthur Whiting (Collection of the Library of Louis Diémer (WikiMedia Public Domain) Janello’s Concerto for Two (2015), played Congress) and six former students who organized by Rebecca Pechefsky and Funaro. individual Couperin pieces, culminating a tribute to McGill organ professor And the three pieces chosen by the in this country, and contributed much in Les Barricades Mistérieuses, and fi ve emeritus John Grew. Saturday’s concert audience? Smorgonskaya’s Three Dances to the interest of Mrs. F. S. Coolidge’s movements from Rameau’s E-minor set, brought the fi nal stage of the ninth for Harpsichord, Collett’s Sonatina, and festival in Washington . . .” I ended this essay with the Rameau Tam- Aliénor international competition for Dorsa’s Martinique. Bravi tutti. Q Richards did indeed precede Land- bourin (as played on The Musicraft Solo contemporary harpsichord music. Six owska as the fi rst known harpsichord Recordings, Great Virtuosi of the Harpsi- winning works (selected by a jury from Comments, news items, and questions soloist with a major symphony orchestra chord, volume 2, Pearl GEMM CD9245). nearly fi fty submitted pieces) were per- are always welcome. Address them to Dr. in the U. S. He was one of the few Ameri- Kirkpatrick’s mesmerizing foot-controlled formed by HKSNA President Sonia Lee Larry Palmer, e-mail: [email protected]. can musicians to record commercially in decrescendo gives a perfect example of the 1920s. His Brunswick 10-inch discs his skill in “pedaling the French.” of The Brook by Ayrlton, Musette en (From a paper read in Montréal, May 23.) Rondeau by Rameau, Handel’s Harmo- nious Blacksmith, and the Mozart Rondo HKSNA 2015 International alla Turca were played for me by Rich- Conference in Montréal ards’ daughter, whom I was able to visit Hosted by McGill University’s Schul- in her East Lansing, Michigan, home ich School of Music, the fourth annual (on the day following an organ recital I conclave of the Historical Keyboard had played there). The sound is some- Society of North America (May 21–24) what compromised, for I was recording offered lectures, mini-recitals, and eve- a scratchy 78-rpm disc that spun on an ning concerts, far too many events for any JOHNSON ORGANS ~ 1844–1898 ancient turntable in a garage; but one single auditor to encompass. Two papers IN 1984, The Boston Organ Club chapter of gets the impression that Mr. Richards that followed mine, Elisabeth Gallat- the Organ Historical Society issued The John- was a charismatic and musical player. Morin’s beautifully illustrated “The These discs went on to make quite a Presence of French Baroque Keyboard son Organs, a ground-breaking study by John lot of money in royalties, and Richards Instruments in New France” and Gra- Van Varick Elsworth. It featured the first pub- actually taught harpsichord at the Michi- ham Sadler’s innovative “When Rameau lished, annotated work list of an American gan State Institute of Music in East Lan- Met Scarlatti? Refl ections on a Probable organ builder, and included all 860 of his or- sing, which almost certainly certifi es him Encounter in the 1720s” attested to the as the fi rst formally continuing collegiate depth of innovative scholarship. gans! Now, thirty-one years later, under the teacher of harpsichord to be employed McGill’s instrument roster includes the affectionate direction of the noted author in the United States in the 20th century. superb Helmut Wolff organ in Redpath and historian, BARBARA OWEN, the John- All of these players played early Hall and 15 harpsichords. One third of son list has been re-annotated in greater de- revival instruments. All have, therefore, these came from the workshop of the used their pedal techniques to obtain a Montréal builder Yves Beaupré; among tail and brought up to date. Combined with more kaleidoscopic range of colors than the other ten instruments is a 1677 single- dozens of facsimiles, a year-by year account- we may be used to. Of great interest (at manual Italian instrument from the col- ing of the firm, and a detailed restoration re- least to me) is the recent emergence lection of Kenneth Gilbert. This unique port by nationally respected organ restorer, of curiosity about, and interest in these historic treasure was available for viewing revival instruments and their playing and playing for small groups of attendees. SCOT L. HUNTINGTON, this two-hundred and techniques, frequently demonstrated by The Vermont builder Robert Hicks fifty-page volume is sure to fascinate. The questions received from students. One of was the only harpsichord maker who NON-MEMBER PRICE: $24.95 book should be in the library of every devotee the fi nest concert fi gures of the “pedal” brought an instrument for display. of the American pipe organ. generations was the distinguished Yale Max Yount demonstrated this eloquent MEMBER PRICE: $19.95 professor Ralph Kirkpatrick (now more double harpsichord in a masterful recital knowable than previously, courtesy of presentation of Marchand’s Suite in D IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! his niece Meredith Kirkpatrick’s recently Minor. Clavichord took center stage for published collection of the artist’s letters; Judith Conrad’s program. Karen Jacob’s ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG see our review in the April 2015 issue). In thoughtful memorial tribute to Southeast- his early Musicraft recordings, especially ern Historical Keyboard Society founder those from 1939, we are able to hear the George Lucktenberg was enhanced by ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we young player show his stuff, just before several solicited remembrances from P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. Media Mail shipping is $5.00 for your entire his 1940 appointment to Yale, display- others whose lives had been touched by Telephone: (804) 353-9226 ing superb musical mastery of his Dol- the late iconic early keyboard fi gure. order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA metsch-Chickering harpsichord. From Evening concerts were presented [email protected] SHIPPING or MasterCard. Kirkpatrick’s program that included four by harpsichordist/organist Peter Sykes
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 11 Reviews
Music for Voices and Organ rhythms in all the voices. Later the organ Holy Trinity Blessing, Matthew in the church. Chapter 1 addresses the by James McCray part has soft chords that assist the choir, Owens. SATB and organ, Oxford reality of confl ict: struggles with the pas- and extended trills. The fi nal section is University Press, 978-0–19-340649- tors, musicians, and within the church. The partnership: Choral music mostly unaccompanied. The anthem 0, £1.60 (M). In chapter 2, the author places utmost featuring the organist concludes with a brief organ solo. Very This short three-page anthem on a importance on the concept of a team. sophisticated and esoteric music. text from Common Worship Services Accepting and acknowledging differ- There let the pealing Organ blow, To the full voic’d Quire below, and Prayers is fi lled with short fanfare ences between clergy and musicians, the In Service high, with Anthems cleer, Jubilate! John Leavitt. SATB and motives in the right hand of the organ author offers strategies for team building. As may with sweetness, through mine ear, organ, Augsburg Fortress, 978–1- part. The choral music is on two staves Chapter 3 is a thoughtful essay that Dissolve me into extasies, 4514-8586-8, $2.25 (D-). with all voices having the same rhythms. challenges both parties to refl ect on the And bring all Heav’n before mine eyes. —John Milton (1608–1674) In this exciting work, the organ has Warm, seventh-chord harmonies are ego and work style while making the Il penseroso (1632) extended passages of sixteenth notes in quietly attractive. Singers will enjoy this connection between self and other. This septuplets, which give the music a driv- sensitive music, and the organist will is all framed within the servant-leader How often do you choose your rep- ing and busy character. These passages enjoy the solo passages. model. In chapters 4 and 5, the qualities ertoire to feature the organist? If the are not really diffi cult, just unrelenting. and skills of effective church musicians answer is “probably never,” then perhaps Much of the text is from Psalm 100. The O Give Thanks Unto the Lord, John and clergy are presented. Both chapters it’s time that you add that to your “to do” choral parts are on two staves. Later, Rutter. SSA and organ, Oxford Uni- end with the reciprocal question, “What list, at least once a year. the music moves with a majestic spirit versity Press, 978-0–19-340830-2, do clergy/musicians want musicians/ Most church choir directors already and is much simpler. The choir sings in £2.20 (M). clergy to know?” These two chapters are consider level of diffi culty, range for unison the text “Come We That Love Based on Psalms 130 and 67, this particularly strong. the sections of the choir, congregational the Lord” as the music moves into a anthem’s organ part, with scales in the right Chapter 6 lays out strategies for appeal, service use/calendar, and a myr- more traditional style and ends with a hand, helps drive the vivace tempo of the developing supportive relationships by iad of other items when the yearly pur- triumphant “Hallelujah!” opening measures. The energetic opening understanding roles, sharing goals, being chase of music is made. But all too often is followed by a tranquil rubato section. a team player, and working toward an the organist is treated as accompanist Choral Trilogy, Samuel Adler. SATB The faster tempo and mood return in the understanding regarding the function rather than partner, so consider adding and organ, Paraclete Press, PPM closing section, a loud and exciting Gloria of music in worship. The author offers an anthem that will not only challenge 01503, $5.30 (D). Patri. Highly recommended. additional approaches and ends with the organist, but also feature her/him as a The three works that make up the the paramount goal of developing trust. soloist. Highlight this repertoire in some trilogy are based on biblical texts: Psalm Easy with solo organ passages Chapter 7 centers around confl ict: harm- way so that the choir and congregation 22, Psalm 149, and Romans 8. Adler Sing to God, Walter L. Pelz. SATB ful confl ict, causes of confl ict, and strate- are aware of this special performance. points out that these settings “refl ect and organ, Augsburg Fortress, gies for dealing with confl ict. In chapter The organist is certain to be thrilled a great interplay of organ and choir so 978–1-4514-8595-0, $1.80 (M-). 8 the author addresses the reality that by your effort. Naturally, it will take often missing in ordinary church music.” The organ part provides good sup- indeed musicians do leave. The decision careful planning so that the organist has This interplay can be seen especially port for the singers, but there are also to leave and the reasons for leaving are ample time to prepare the music, and in the setting of Psalm 22, which has a organ solo passages. Written in a tra- analyzed. Chapter 9 follows with a clear the music itself must fi t the worship ser- very diffi cult organ part. The fi rst two ditional style, this is an Easter anthem discussion of the sense of loss, stages in vice, but if accomplished, the rewards pieces are slow, but do not seem that way highlighting that Christ is risen with the transition, and the new beginning will be signifi cant. The important ele- because of the very busy rhythms in the bold chordal statements that are echoed when a musician leaves. Chapter 10 ment is that the organist is recognized organ part. The last work is a triumphant by the organ. This outburst is preceded consists of a series of refl ections from as a partner. To make sure that the song of praise that builds to celebrative by a strong ATB unison and descant that church musicians that present a variety accompaniment is appropriate for the hallelujahs at the end. These works will builds from a quiet organ interlude. of real-life situations, from healthy to instrument at hand and not too diffi cult require skilled performers. The text for this jubilant setting is by dysfunctional and painful. for the performer, be sure to consult the Thomas Troeger. This book is a useful resource for the organist before ordering music. Perhaps Angel Song, Dan Locklair. SATB discussion of clergy-musician relation- the choir director could suggest several and organ, Subito Music Publishing, Adon Olam, Max Janowski. SATB ships. It places great importance on possibilities, and the organist could 91480720, $3.00 (D). and organ, Friends of Jewish Music, mutual respect and the value of working choose the work, thus emphasizing the Locklair’s setting of an expressive C-010, $2.80 (M-). as a team. The bibliography is helpful partnership aspect. poem by Moncure Daniel Conway is The text is in Hebrew. The fi rst line for those interested in pursuing addi- With the goal of partnership in mind, subtitled “A Christmas Anthem.” The of the translation is “Light of the world, tional reading on the subject of confl ict this month’s selections review repertoire organ part, on three staves, begins with a the King supreme.” A vocal soloist sings resolution. Although this reader would that, in some way, features the organ. rhythmic solo, leading to a unison choral throughout. The choir often comments have preferred more scholarship, this Levels of diffi culty have been identifi ed. opening on the text “Now let the angel on the solo with statements below it. book is an easy read that addresses the As Lord Byron pointed out to us: “All song bring forth!” There are several The organ part, on two staves, has short perennial topic of confl ict resolution in who would win joy, must share it; hap- musical effects including organ tremo- interludes. While the vocal solo is not church leadership. Recommended. piness was born a twin.” Your success as los, varied dynamics for the choir (Sfz-p- diffi cult, it is important. In addition to —Mark Konewko a choral director is directly in proportion cresc), and repeated chords on contrast- the text, there are passages sung on “la, Shorewood, Wisconsin to the success of your partner. Always be ing manuals that add to the exuberant la, la.” Although sparse, the organ part is mindful of the following: making mean- spirit of the music. The opening choral very independent. ingful music is a joint effort! theme recurs several times throughout New Recordings the setting. Lovely music! Trabaci: Music for Organ and Harp- Difficult organ part Book Reviews sichord. Francesco Cera, organ and I say that we are wound with mercy, Moderately difficult organ part Rivals or a Team: Clergy-Musician harpsichord. Brilliant Classics 94897, Gabriel Jackson. SATB and organ, It is Good to Give Praise, Howard Relationships in the Twenty-First 2 CDs, www.brilliantclassics.com. Oxford University Press, 978-0–19- Helvey. SATB and organ, Paraclete Century, by Eileen Guenther. Morn- These two CDs present some 33 340327-7, £2.60 (D-). Press, PPM 01505, $2.20 (M). ingStar Music Publishers, ISBN 978- pieces taken from the two volumes of With a text by Gerard Manley Hop- Although there are a few tricky spots, 0944529-54-6, paperback, 179 pages, keyboard music published in 1603 and kins, this anthem has numerous rhyth- the organ part is only moderately dif- $18.95, www.morningstarmusic.com. 1615 by Giovanni Maria Trabaci, a pupil mic complexities, especially in the organ fi cult. In this very tuneful setting of the This book is a series of thoughtful sto- of Giovanni de Macque, chapelmaster score. It opens with a long passage for the fi rst four verses of Psalm 92, the choir has ries and refl ections on the relationships at the court of the Spanish viceroy in sopranos and organ in which the organ some unison passages. There are expres- between clergy and musicians. Not all the Naples and publisher of much sacred does not double the singers. The choral sive choral effects such as sfz-p and sus- situations are positive, but the courage vocal music. The volumes feature many passages are not especially diffi cult and tained chords. The organ part is on three that the author displays in addressing the of the compositional genres prevalent at are usually block chords with similar staves with several short solo interludes. issue of the complex interaction between the turn of the 17th century, the clergy and musicians is laudable. The organ used in this recording is the Rivals or a Team: Clergy-Musician 1570 single-manual organ in the church Whole & Fast Relationships in the Twenty-First of Sant’Antonio, Salandra (Matera- Half Sizes Shipping! Century is an important book, not only Basilicata), Italy, which after some in 3 Widths for clergy and musicians but also, and 18th-century rebuilding was restored by foremost, for the people who come to Fratelli Ruffatti of Padua in 1998. The Try our suede soles and experience worship. Eileen Guenther’s writing is Principale chorus extends to 29th. The supported by numerous years of practi- Voce Humana has been unison-tuned to the perfect combination of cal experience. She received her DMA the Principale especially for this record- slide and grip from the Catholic University of America. ing. The 16′ Pedal Contrabassi, playing on the pedals! She is professor of church music at from the keyboard, was silenced for this Wesley Theological Seminary and pro- recording. The harpsichord used here is Mens & Unisex fessorial lecturer in music at the George a copy of a mid-17th-century Neapolitan Women’s Mary Oxford $60.50* and up Jane $52.50* Washington University. instrument, utilizing the same special *plus postage This book is organized into ten chap- construction techniques of the original. TOLL FREE: 1 (888) 773-0066 organmastershoes.com ters that address the importance of The fi rst CD, recorded on organ, 44 Montague City Rd, Greenfield, MA 01301 USA respectful relationships between clergy features twelve tracks from the 1603 and musicians to the success of ministry volume and four from the 1615 volume.
12 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Reviews
Compositions of different genres are not is not uncommon in published books of of pieces of widely varying styles, Fran- The music of 20th-century Czech played en bloc, but as part of a carefully keyboard music in the 16th and early 17th cesco Cera shows why he continues to composer Petr Eben has often been com- chosen set. We hear four canzonas, all centuries. Both follow the patterns set in be regarded as one of the leading expo- pared to that of Olivier Messiaen. Both of which feature sections in triple time the fi rst volume, with fast passagework nents of early Italian keyboard music. composers developed a uniquely per- and a tightly woven four-part texture for juxtaposed with sections based on motifs His enthusiasm and love of the music sonal harmonic language, and both wrote most of their length. The fi rst CD opens and sequential patterns. The fi nal three and an understanding of how to apply music that was profoundly infl uenced with the seventh canzona, subtitled “cro- of the fi ve gagliards in fi ve voices are the rhetorical affetti and added orna- by their Roman Catholic faith. Whereas matica,” which is based on an ascending included. Two of the third gagliard’s four ments shine through his playing, which Messiaen’s organ music explores the chromatic fourth. The fi rst canzona sections are in common time, with the ranges from the virtuosic and rhapsodic mystical side of Roman Catholic theol- concludes in a shower of thirty-second opening section based on the dactylic pat- in the toccatas, canzonas, and gagliards ogy, Eben paints vivid depictions of bibli- notes, while the third and sixth both con- tern of the canzona; the fi fth is subtitled to delicately nuanced subtlety in the cal characters and stories. tain sixteenth-note passaggi. In the slow cromatica, venturing into F-sharp. Cera academic ricercars. Persuasively dem- Such is the case with Eben’s eight- Consonanze stravaganti and the Durezze again displays his rhythmic control admi- onstrating that much of this repertoire movement cycle Job for organ, com- et ligature, Cera relishes the dissonances rably in the virtuosic setting of Ancidetemi is equally suitable for performance on missioned by the 1987 Harrogate and the interplay between major and pur, also specifi ed for harp. The sweeping both organ and harpsichord, this CD is International Festival and premiered by minor thirds, while his capacity to dis- rush of passagework in the right hand is highly recommended as an introduction David Titterington at Ripon Cathedral play improvisatory freedom and a tightly very well executed and shaped. The CD to the extravagant world of Neapolitan in August 1987. Each movement of this controlled rhythm in different sections closes with the restrained and subdued keyboard music—perhaps even inspiring work is based on a quotation from the of the same piece is clearly evident in the Ricercar on the Fourth Tone with three some listeners to buy the new editions Old Testament book of Job, and Eben’s two toccatas. subjects and their inversions. and tackle this music for themselves. preface gives a brief description of how The second and fourth Canto Fermo The booklet contains a short biogra- —John Collins he attempts to portray each scriptural are based on the tune known as La phy of the composer and informative Sussex, England passage in his music. The prefatory Spagna, presented in double whole notes on the music and its enormous remarks and Eben’s detailed registra- notes in the bass and the tenor respec- importance in the history and develop- Peter Eben: Job for Organ. Andrzej tions give the performer a clear idea of tively. The second Canto Fermo is ment of early Baroque Italian keyboard Białko plays the organ of the Karol how to realize the composer’s ideas. This livelier than the rather more subdued music. The music’s infl uence on Fresco- Szymanowski Philharmonic Hall in is faithfully achieved in Andrej Białko’s fourth one. Two Ricercata are included, baldi will become apparent on careful Kraków. Dux Recordings, Dux0913, performance. Białko, professor of organ that on the ninth tone having three listening. Through this careful selection www.arkivmusic.com. ³ page 14 subjects and being far more sedate than that on the tenth tone, which is based on just one subject, includes a triple- time section, and closes with a fl ourish of thirty-second notes in the treble over held chords. The four pieces from the second volume include some of the Versetti for the Magnifi cat, the chant being sung. The different character of each verso is immediately apparent. The Toccata Quarta contains a mix of passaggi and a more formal closing section in eighth notes in the four voices. Two subdued ricercars are included, one on the sixth tone (subtitled “cromatico” and includ- ing a triple-time section), and one on the fi rst tone based on one subject. The organ’s quarter-comma mean-tone tun- ing at A=400 makes the frequent spiky dissonances—particularly the numerous seconds, sevenths, and ninths—even more ear-catching. The clarity of the organ tone enables the listener to per- ceive the compositional intricacies of both the strict counterpoint and the vir- tuosity of the passaggi without anything being lost. The second CD presents ten pieces from the 1603 volume and seven from the 1615 volume, all played on the harp- sichord. From the fi rst volume we hear two canzonas—the second with its toc- cata-like closing section and the fourth with virtuosic fl amboyant opening and closing sections. The two sets of Partite from the book are included. The major- ity of the 21 short variations on Fidele are in triple-time and generally looser than the 15 on Ruggiero, which contains some more concentrated rhythmic writ- ing. The Cantus Firmus on the First Tone also contains some concentrated writing. In gagliards numbers four, seven (which opens imitatively and contains a section in common time in eighth notes), and eight, the instrument is beautifully suited to the impulsive drive and verve of the dances. Preceding the Partite on Ruggiero, Francesco Cera plays the Ricercar on the Eighth Tone, also based on Ruggiero and with three subjects, which has a triple-time section and more lively writing than many of the ricercars. The fi nal piece from the fi rst volume is the rather more subdued Ricercar on the Fourth Tone, with three subjects and inganni (“deceptions”). The remaining tracks include seven pieces from the second volume pub- lished by Trabaci. Cera plays the fi rst and second of the four demanding toccatas. The second is indicated for harp, which
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 13 Reviews
³ page 13 Given that this piece would be unfamil- dactylic fi gure in nos. 2 and 5, and nos. 3 In each edition there is a brief intro- at the Academy of Music in Kraków, has iar to most listeners, one could not ask for and 4 progress more slowly, the shortest duction in Dutch, French, and English, made 20 recordings and is a fi rst-prize a more ideal interpreter of this music than note value being an eighth note. A short but no critical commentary. The printing winner of several competitions including Andrzej Białko. His playing is masterful written-out cadenza closes no. 1, and is clear, with six systems to the page in the International Organ Competition and convincing, with a virtuoso technique no. 5 closes with a rather longer fl urry the Helmont and fi ve to the page in the in Rome, 1981, and the Polish National that can handle the most challenging pas- of thirty-second note scalar runs before Lafosse. The volumes can be ordered Organ Competition in Bydgoszcz and sages of this score and an innate expres- winding down over a dominant pedal. No directly from the editor, who will then Gdansk, 1985. The instrument on this sivity that can be heard in the many lyrical registration is given, leaving the player to quote a price to include postage. It is recording is a three-manual, 50-stop sections. He is very faithful to Eben’s reg- make his or her own selection. Although very much to be hoped that sales will organ built by Johannes Klais Orgelbau, istrations, and many of his tempos are the too short to be considered individually persuade him to publish some further Bonn. The eclectic specifi cation, with exact metronome marking in the score. for recitals, these pieces would be useful collections of Belgian keyboard music neo-baroque leanings in the Hauptwerk There are a few passages marked agitato when a shorter piece is required at any from this period. and Positiv and a more Romantic-style where Białko’s tempos are considerably point before, during, or after a service. —John Collins Swell, makes this instrument ideal for the faster than what is indicated, but in each The four pieces in the Lafosse Sussex, England realization of Eben’s colorful soundscape. case the faster tempo serves to heighten Orgelwerken are found in the so-called Eben’s cycle tells the whole story of the drama of the music. The playing is Coquiel manuscript, dated 1741 and Feet Don’t Fail Me Now, series edited Job, from Satan’s wager with God to always clear and accurate. I highly recom- now in the Royal Library of Belgium by Alan J. Hommerding. World Job’s loss of his property, the death of his mend this recording to anyone who is an in Brussels. The manuscript is the only Library Publications 003056; www. family members, his own sickness, his admirer of Petr Eben’s music or to those source of the organ works of Abraham wlp.jspaluch.com. despair and crying out against God, his who would like an introduction to this van den Kerckhoven and a few other After twenty years of presenting repentance, and, fi nally, God’s rewarding prolifi c composer’s works. composers, as well as many anonymous workshops at the National Association him with numerous blessings. There are —Kola Owolabi pieces, ranging from versets on the eight of Pastoral Musicians, Alan J. Hom- a few passages in the work where Eben’s The University of Michigan tones to larger-scale fantasias, that were merding has now published an organ music literally depicts the action in the signed L.F. and have been attributed to method designed to help pianists quickly story. In the middle section of the sec- Jacques Lafosse (1671–1721), organist of transition to playing the organ for ond movement the fl ourishes leading up New Organ Music Antwerp Cathedral from 1704. Roman Catholic worship services. The to big fortissimo chords represent “the Charles Joseph Van Helmont: Six The fi rst piece in this modern edition, series consists of a small introductory resounding strokes of misfortune which Fugues. Jacques Lafosse: Orgelwerken. Fuga—Volspel (i.e., full organ), is a lively pamphlet, an instructional volume, and descend upon Job’s name and family.” Edited by Jan Van Mol. Calcant, no. 9 piece in C major in common time with fi ve volumes of manualiter and minimal- However, for the most part, the music and 10 respectively. Available from the several passages for sixteenth notes in pedal repertoire. simply refl ects Job’s emotional state. editor at [email protected] or thirds in the right hand. The part-writing An Introduction to the Organ for Eben’s cycle Job contains the typical Chris Riddy at [email protected] is quite fl uid. The second piece, headed Pianists is a succinct, 18-page summary elements that characterize his style: use Van Helmont (1715–90) was organist Cornet, is in D minor; it opens in com- perfect for someone needing a “quick of various modes, tonality and bitonal- and subsequently maître de musique of mon time and is followed by a section in and dirty” overview of the organ. It cov- ity alternating with freely chromatic the chapel of Saint Gudule, Brussels. His 3/4 with a different subject. The number ers getting to know the instrument (con- or atonal sections, cluster chords, and only published work was a 1741 set of of voices in the left-hand accompaniment sole, stops, ranks, divisions, couplers, ostinatos. He makes use of three plain- Pièces de clavecin, comprising two suites. is again quite fl uid; the solo line contains pistons, expression and crescendo ped- chant melodies: Veni Creator Spiritus, A large amount of his liturgical music much sixteenth-note passagework and als, tutti, pipe length/pitches, mutations, the Exultet, and the Gloria from Mass survives in manuscripts, as does this col- sequential fi gures. In the second section, mixtures), registration (diapasons, fl utes, IV. The third movement features the lection of six short fugues for keyboard, three-part chords and two-part writing strings, undulating stops, reeds, etc.), Lutheran chorale Wer nur den lieben now in the Berlin State Library. Four of also appear in the solo line at cadences. getting to know and play the pedals, and Gott lässt walten. Each movement them (numbers 1–3 and 5) plus the fi rst The third piece, in G minor, Trompet manual technique (attack and release, begins with one or two themes being suite from the harpsichord pieces were bas, is again in two sections, an opening legato and non-legato). laid out clearly, before being developed edited by Jos Wathelet and published in 3/4 followed by a 6/8. The fi rst section From the Piano Bench to the Organ in a freer, improvisatory style during 1948, but the complete set of six fugues opens with a ten-bar passage for the Bench is 62 pages designed for self- the middle section of each piece. The is now available for the fi rst time in a accompaniment in the right hand in teaching, with occasional input from dissonant aspects of Eben’s harmonic modern edition, based on a manuscript quarter and eighth notes; the solo voice, a teacher. The method begins with an language are balanced by an expressive copy made by Wathelet that is now in the marked Vivace, exploits octave arpeggios explanation of the console, stops, pistons, lyricism often found in his melodies. Antwerp Conservatoire library. in the French manner when it enters, pitches, etc. The next sections cover the Eben’s organ music features colorful All six fugues are quite short, fi tting unaccompanied. The following short families of tone, pedal exercises, and registrations that stem from his love of onto a double-page spread, so no page passage for the right hand is marked manual exercises. The book then takes improvising on the organ and exploring turns are necessary. Keys used are G, G Largo, followed by the return of the solo a big leap into principles of congrega- new ideas on how to combine stops. minor, C minor, F, E minor, and D. All marked Vivace. The movement contin- tional accompaniment, including hymn The seventh movement opens with are in common time. Several ornament ues in this dialogue format, although introductions, accompanying psalms, a slow melody played on the Positiv signs are used, including the wavy line subsequent sections omit the tempo and ten techniques for varying hymn Krummhorn 8′ alone, punctuated with for a trill, the turn, the mordent, and designations. There is a most effective introductions and/or accompaniments. staccato interjections played on the the appoggiatura, and dynamics of p section in bars 40–50 of sequential It concludes with in-depth chapters on Pedal Posaune 16′ alone. Elsewhere and f are included in numbers 1 and 5, writing for both hands, with sixteenth adapting piano accompaniments to the we see colorful combinations such as although how these can be best achieved notes in the left hand against right-hand organ, improvisation, and conducting Quintadena 8′, Krummhorn 8′, and is not immediately apparent. There are eighth notes. The second section has from the console. Hommerding observes Quint 11⁄3′. This combination is bal- a few long notes that can be taken by more imitative writing, with sequential that 21st-century accompanists must be anced by warmer registrations such as the pedals, but since the octave above motivic eighth notes following dotted able to read chord symbols the way 18th- Great Principal 8′, Flute 8′, and Salicio- is included, all of these fugues can be quarters, a close in the dominant being century continuo players had to be able nal 8′. Eben often gives the performer played on manuals only. Passagework in followed by a double bar. Although lack- to read fi gured bass. The many musical choices in registration, such as a pas- sixteenth notes appears throughout no. ing repeat marks, quite possibly each illustrations are useful. sage that calls for Swell strings 8′ and 1 and to a lesser degree as part of the half is to be repeated. Five volumes offer repertoire for 4′, with the option of adding strings at subject in no. 6, but with less frequency This exciting piece is followed by the manuals only, or manuals with easy 16′ and/or 2′ pitch. in the others. There is an insistent fourth and fi nal piece, Vol spel—Fuga, pedal. Volume 1: Advent/Christmas in C major. In two sections, the opening presents eight hymn- and chant-based is in cut time followed by a 6/8 section. pieces, including some gems from the Although the subject is quite sedate, World Library Publications’ archives like there is much episodic passagework in Eugene Englert’s (b. 1931) arrangement sixteenth notes, including runs in thirds of Veni, Veni Emmanuel. Volume which will need careful preparation, and 2: Lent/Easter includes seven hymn- in the second section, whose subject is and chant-based pieces, including Jan based on trumpet calls. There are further Nieland’s (1903–63) fresh setting of St. runs in thirds in the right hand as well Theodulph from 1957 and excellent as some in sixths. The collection fi nishes arrangements of Easter Hymn and with a short binary-form Aria in C. Pub- Lasst uns erfreuen by John Hebden lished in 1877 in a collection of old pieces Schaffner (1945–95). by Dutch composers, it was attributed to Volume 3: Seasonal Sampler presents Lafosse but without source details. It cer- ten hymn arrangements by Robert tainly seems markedly different in style, Edward Smith (b. 1946) that cover the possibly being written at the end of his entire liturgical year. These pieces are life, but it is a charming piece. The four mostly in a contrapuntal style and could more substantial pieces would make good be adapted to the piano. His setting of voluntaries, and the cornet and trumpet Sine Nomine is of particular interest. pieces would stand out in recitals. Each Volume 4: Classic Christian Melodies Like us on Facebook! piece requires dexterity, especially in the offers 25 mostly two-page chant- and www.facebook.com/TheDiapason runs in thirds, and there is much scope hymn-based pieces by Russell Schulz- www.pipe-organ.com for adding extra ornaments. Widmar (b. 1944). All are written on two
14 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Reviews staves with stems-down pedal notes, sim- Volume 1 (A–L) and Volume 2 (M–Z); The communion hymn “Jesus, Greatest Jesus Calls Us, arranged for 3, 4, 5, or ilar to French harmonium/organ pieces Volume 3 (A–M) and Volume 4 (N–Z). at the Table” is the longest setting in the 6 octaves of handbells, with optional from the last century. There are no regis- Highly recommended. book at fi ve pages. Very solemn, with the 3, 4, or 5 octaves of handchimes, by trations or manual indications suggested, —Kenneth Udy tune in the left hand, it would make a Karen Thompson. Choristers Guild, but the possibilities are abundant. University of Utah wonderful communion meditation. CGB868, $4.50, Level 2+ (M). Volume 5: Preludes, Offertories, and “O Darkest Woe” shows Biery’s tone The familiar hymn tune Galilee is set Postludes includes 14 mostly freely com- James Biery, Journey to the Cross: painting at its best. A black, bitter, in a lovely, gentle arrangement that high- posed pieces, including some on three Hymn Preludes for Lent and Holy descending theme, which is treated in lights the melody and text throughout. staves by Robert Hilf (b. 1941). The Week. Concordia Publishing House a fugal manner, it would serve well for The piece begins with material using just pieces utilize mildly modern harmonies, 97-7537, $24.00, www.cph.org. Good Friday! Another grim setting, “In handchimes; the handbells enter in a fl ow- rhythms, and meters. James Biery has written a series of Silent Pain the Eternal Son,” calls for ing eighth-note pattern under the treble very approachable pieces for church use. reeds in open fi fths in the pedal and melody. A key change brings this arrange- David Maxwell, Final Stanzas: Hymn Much of the music contains tone paint- accompanying hand. The accompani- ment to a luscious, peaceful ending. Settings for Organ and Descanting ing appropriate to the mood of the tune. ment alternates manuals with the mel- Instrument, Volume 3 (97-7495, The somber mood of “A Lamb Goes ody, which should stand out, whichever Passacaglia in C Minor, arranged $21.00), Volume 4 (97-7662, $30.00). Uncomplaining Forth” is depicted with manual it appears on. It is diffi cult to for 3, 4, or 5 octaves of handbells by Concordia Publishing, www.cph.org. clashing, grim chords in a short prelude, keep this pain quiet! Fred Gramann. Choristers Guild, David Maxwell (b. 1944) is currently and later in interludes between sections I look forward to using some of this CGB875, $4.50, Level 2 (M-). minister of music at State Street Church of the melody, which is indicated on a music next Lent. More demanding in The piece begins with a passacaglia (UCC) in Portland, Maine. Like the fi rst solo manual against a rhythmic pattern. mood than in the execution, this is not dif- melody based on the tune “Built on the two volumes of Final Stanzas published In “O Lord throughout These Forty fi cult music to play. Highly recommended. Sure Foundation,” and continues with in 2011, both of these volumes feature Days” the melody is broken up into short —Jay Zoller a set of variations that include several elegant free accompaniments for organ of phrases, which are then echoed on suc- Newcastle, Maine special techniques and puts the ringers twenty different hymn tunes. The accom- cessively softer stops. The piece works through their paces with some good, paniments are equally effective with best on a three-manual organ, but is eas- solid ringing. This should be a wonderful organ alone or with the optional descant. ily played on two manuals. It is a short, New Handbell Music piece not only to ring, but to hear. Maxwell has a real knack for compos- but effective treatment. Set Fire to the Rain, music by Adele ing free organ accompaniments. Each “Sing My Tongue, the Glorious Battle” Adkins and Fraser Smith, arranged for Easy Favorites for the Handbell Solo- one can stand on its own, with especially features an ostinato for left hand and 3–6 octaves of handbells with optional ist, by Cathy Moklebust, accompani- nice use of pedal points and logical voice pedal, based on the chorale melody, which rhythm by Chris Peck. Agape (a divi- ments by David Moklebust (includes leading that lies well under the fi ngers. continues during the iteration of the tune. sion of Hope Publishing Company), pull-out book for soloist). Choristers Like the last-stanza accompaniments by The effect is very march-like. In this, as Code No. 2647, $5.25; performance/ Guild, CGB862, $39.95 (E). Noel Rawsthorne, these arrangements in others, the music matches and conveys accompaniment CD, Code No. 2647C; This collection of hymns and carols for keep the hymn tune in the top voice. the thought of the chorale. The setting of rhythm instrument parts (guitar, bass, the church year should be easily prepared Thus, they can function as hymn intro- “No Tramp of Soldiers Marching Past” is synthesizer, drum), Code No. 2647R, and complemented by keyboard or piano. ductions or stand-alone voluntaries and an homage to the composer of BWV 721. $12.50, Level 3 (D-). An audio accompaniment CD is avail- will help timid congregations sing the Left hand and pedal form the plodding This exciting arrangement of Adele’s able, CGCD56, $49.95. Titles include fi nal stanza with confi dence. The music accompaniment to the melody and, if it mega-hit is especially appropriate as a Jesus, Jesus, Rest Your Head; Savior of is easy to read; the organ part is printed were not for the different tune, you would concert piece. There is the opportunity the Nations, Come; Greensleeves; Medi- on two staves with a stems-down pedal think you were listening to Bach. to add special effects throughout with tation on Beautiful Savior; The Lord Is line. Each volume has reproducible parts “My Song Is Love Unknown” features rhythm instruments and more. This My Shepherd; Amazing Grace; and God, in the back for optional C and B-fl at a lush, chromatic setting for this well- piece affords a real challenge to the ring- Who Stretched the Spangled Heavens. descant instruments. The tunes are for- known tune. It is an effective piece that ers and players, but the end result should —Leon Nelson matted alphabetically in paired volumes: I wish lasted longer than its three pages. be well worth the effort. Vernon Hills, Illinois
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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 15 In the wind...
Total Makeovers In the March 3, 2005, issue of the Lincoln County News (our local weekly paper in Newcastle, Maine), under the headline, “Family puts real in reality TV,” we read that Del and Fran Pelle- tier’s granddaughter Christina appeared on the ABC television program, Total Makeover. Del said, “She’s 26 and we were happy with the way she looked as she was, but she did have my ears that kind of stuck out from her head through her hair, and she had a trifl e too long nose.” (Ouch!) When the show was over, Fran said, “She was stunning . . . E. Power Biggs (Biggs Archives, Organ I thought she looked very much like a Library, Boston AGO) young Jackie Kennedy.” (Apparently Del was no longer available for comment.)
Revival Today we revere the music of Johann Sebastian Bach as an essential corner- stone for all that followed. But while he was at the pinnacle of his creative career, the world of music had moved on. Franz Joseph Haydn was eighteen years old, roaring away at the start of his prolifi c career when Bach died in 1750, and even Carl Philipp Emmanuel Bach (born 1714), fi fth child of the great Johann, was helping to blaze the trails that would leave his father’s work in the dust, stylistically. There are lots of legends about J. S. Bach’s manuscripts being used to wrap fi sh and Felix Mendelssohn (watercolor painting by the like, and I freely admit that I am not James Warren Childe, 1829) up to date on the scholarship about how all that actually happened. But it’s clear a friend saw the revival of Rodgers and that Felix Mendelssohn had an important Hammerstein’s The King and I. She had part in reviving interest in Bach’s music, seen it years ago, loving as we all do the some seventy-fi ve years after his death. I sing-song parts of it. “Shall we dance? From James Hewitt’s The Battle of Trenton (imslp.org) remember reading a quote from a letter Ba-dum bum bum . . . ” This time, she Felix wrote (was it to his sister Fanny?) reported how the production brought out urging Joshua Rifkin released the record- striped double-breasted suit with an in which he described practicing Bach’s the dark side of the story—the personal ing Scott Joplin: Piano Rags on Nonesuch enormous bow tie, holding a straw hat music on the organ for hour after hour, tensions, the racism, and imperialism Records in 1970. It sold 100,000 copies in against his chest, with an old-time steam- and then walking the streets in the fi gures that must have been glossed over before. the fi rst year and ultimately was the fi rst boat in the background. This was late in of pedal passages, a recipe for a citation Revisiting another Rodgers and Ham- million-seller in the Nonesuch catalogue. Biggs’s career—he died in 1977—and it for jaywalking in today’s world. merstein masterpiece, Oklahoma, we In 1973, Gunther Schuller formed was a pretty cool project for a stuffy old James Hewitt (1770–1827) was born in see more into the depth of class warfare the New England Conservatory Rag- Englishman, out in the noonday sun. The Dartmoor, England, and arrived in New between farmers and cowhands, and time Ensemble and released The Red harpsichord he used (I believe he owned York City around 1792. By 1805 he was the angry, brooding Judd Fry has all the Back Book on Angel Records. Schuller’s it personally) was a clattering, jangly working part time in Boston and shut- makings of a mass-murderer. engaging arrangements of Joplin’s music affair, like a herd of banjoes, but I’ve got tling back and forth between those two for small instrumental ensemble took the to give the guy credit as a hot-shot! cities, in the days before the expensive The King of Ragtime music world by storm, and the record- I was in high school when all this and frustrating Delta Shuttle. He wrote We woke up this morning to the news ing was awarded a Grammy for “Best was going on, and I loved that music. a keyboard sonata called The Battle of of the death of Gunther Schuller—tire- Chamber Music Performance.” Because I bought the big white book with the Trenton, which depicts General George less educator, conductor, and composer. of previous engagements, Schuller was green maple leaf on the cover, and Washington mustering his troops, cross- As a young man, he was a precocious not able to answer fi lm producer George before I was done, learned all the rags. ing the Delaware River during the night French horn player, playing under Roy Hill’s invitation to write the musical And when I was a freshman at Oberlin, of Christmas, 1776, attacking and defeat- Arturo Toscanini as a teenager, joining score for his new movie. Marvin Ham- my teacher, Haskell Thomson, surprised ing the British. The popular tune Yankee the Cincinnati Symphony Orchestra at lisch answered the call, and with the his organ class with a leisurely, sensitive Doodle fi gures prominently, and there’s a the age of nineteen, and moving on after strong inspiration of The Red Back Book, rendition of “The Entertainer,” played raucous celebration following the victory. two years to join the orchestra of the the score for The Sting (starring Robert on the Steinway in his studio. The tunes are simple, and the harmo- Metropolitan Opera. Redford and Paul Newman, released in nies seem childish, as the musical lan- In 1963, Aaron Copland invited Schul- 1973) continued the nearly manic revi- Take a fresh look. guage of America during the Revolution- ler to teach at the Berkshire Music Center talization and immortalization of Joplin’s In recent years we’ve witnessed a ary Era was far behind that of Europe. (now Tanglewood), where he served as wonderful music. Joplin’s greatest hit, number of literary makeovers. New It’s interesting to note that Hewitt and artistic director from 1969 to 1984. He “The Entertainer,” is still popularly translations of Tolstoy’s Anna Karenina, Beethoven had exactly the same life published more than 180 compositions, known as “The Sting.” Homer’s Iliad and Odyssey, and the plays span, and around 1805 when Hewitt one of which was awarded a Pulitzer Prize, I especially love the scene in which of Socrates have shed fresh light and wrote The Battle of Trenton, Beethoven and he was an innovator, introducing the Lieutenant Snyder of the Joliet Police understanding on those landmarks of the was in the heart of his “Middle Period,” concept of serious study of jazz at the New Department chases “Hooker” (Robert history of literature. Those huge efforts during which he churned out such tune- England Conservatory of Music, where he Redford) and loses him as “Hooker” leaps are analogous to the revitalization of the ful ditties as his Symphonies 3–8 and the served as president for about ten years. off the roof of an “El” station, and runs performance of early music. Pioneers “Waldstein,” “Appassionata,” and “Ham- Besides all that, Gunther Schuller was part off into the distance. Snyder hollers after like Ralph Kirkpatrick, Igor Kipnis, and merklavier” sonatas. of a snazzy revival that had a real impact him in a Cagney-esque snarl, “Hooker, I’ll Wanda Landowska were followed by the Harpsichordist Ralph Kirkpatrick on the musical life of this country in the get you, Hooker,” as the orchestra sweeps wave of brilliant harpsichord makers such revived The Battle of Trenton in the last decades of the twentieth century. into Joplin’s “Cascades.” Wonderful. as William Dowd and Frank Hubbard. 1940s, and E. Power Biggs famously J. S. Bach left us more than a thousand Hamlisch had specifi cally taken Gustav Leonhardt was an early champion recorded it on the organ in 1960, with pieces of music, those that were left after inspiration from Rifkin’s piano style and of the revival of the harpsichord and of his distinctive voice narrating the sub- wrapping the fi sh. Scott Joplin’s oeuvre Schuller’s orchestrations. When Ham- thoughtful performances of orchestral titles. I loved playing that piece on my comprises forty-four “Rags,” one ballet, lisch won the Academy Award for Best and choral music of the Baroque era. childhood recitals, and put the subtitles and two operas—a miniscule body of Original Song Score and Adaptation, Nikolaus Harnoncourt and John Eliot before the audiences using Magic Mark- work—but it’s hard to imagine the course Schuller harrumphed that Hamlisch Gardiner joined the ranks of conductors ers and poster board. of American music without it. His was a “got the Oscar for the music he didn’t and impresarios who accomplished huge unique style—a new invention—purely write, arrangements he didn’t write, and recording projects, enlightening us all Getting to know you . . . American music. Joplin’s ragtime dances ‘editions’ he didn’t make. A lot of people through the second half of the twentieth A year or two ago, Wendy and I saw were the forerunner of “Stride Piano,” as were upset by that, but that’s show biz!” century. Imagine, recording the com- the revival of Cole Porter’s Anything developed by Fats Waller, Art Tatum, and Later in 1973, E. Power Biggs Plays plete cantatas of Bach. Like the Stephen Goes on Broadway. It was a lot of fun others. Composer/scholars William Bol- Scott Joplin on the Pedal Harpsichord Mitchell translation of The Iliad (2011), with lighthearted music and some goofy com and William Albright were aware of was released by Columbia Records. The live and recorded performances of Bach gangster stuff. But recently, Wendy and Joplin’s music in the 1960s, and with their jacket photo showed Biggsy in a snappy by Leonhardt and Harnoncourt using
16 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM By John Bishop period instruments gave us a new lens If you are a regular reader here, you hearing the latest thing out there, and through which to study, appreciate, and know that I love the myriad novels about rewarded by exposure to the thoughtful- understand that music. the British Navy during the Napoleonic ness of the storytelling. (Of course, I real- Pioneers like E. Power Biggs, Marie- War, particularly the Aubrey/Maturin ize that there are a lot of movies out there Claire Alain, Bernard Lagacé, and series by Patrick O’Brian, and the Horn- that are not about storytelling!) Harald Vogel led the charge to crack blower series by C. S. Forrester. When There’s a controversial restoration the code of sensitive performance of they were fi rst recommended to me, I underway at the cathedral in Chartres, the “Golden Age of the Organ.” As in picked one up and was put off by the old- France, in which the interior is being the world of the harpsichord, a veritable fashioned, melodramatic language. But cleaned so it will look as it did when it platoon of young organbuilders set to then I bought Master and Commander as was new—in the twelfth century! Peel- work in the 1960s. Charles Fisk, Fritz an audio book read by Patrick Tull (back in ing away nine hundred years of grime, Noack, Karl Wilhelm, Hellmuth Wolff, the days of cassette tapes), I instantly got lichen, and soot reveals gleaming white John Brombaugh, John Boody, George the gist of the colloquialisms and fell in stones. A lot of people are horrifi ed Taylor, and many others dedicated their love with the stories and the storytelling. by it, but it’s a fascinating concept. I lives to producing hundreds of marvel- § remember having the same revelation ous instruments inspired by the work of when restoring an organ built by E. & the masters of earlier times. It’s fun to look back on the half-century G. G. Hook in 1868. I acquired some away centuries of innovations of musical They traveled Europe with calipers and movement of historically informed per- original miscellaneous and orphaned instruments, and the infl uence of sub- tape measures, measuring scales, pipe formances and boil it all down to a fresh Hook Bourdon pipes, and sawed up the sequent generations of composers, and mouth cut-ups, metal thickness and com- look. Like Homer, Socrates, and Shake- wood to make new trackers. Amazing— hear the music of Bach as he did. position, wind pressures, windways, and speare, our beloved Bruhns, Buxtehude, the freshly sawn 125-year-old wood was And here’s the special treat. Once toe holes. They analyzed tuning systems, and Bach were expressing themselves in snowy white. I realized that when the you’ve done that, you know that much wind systems, and mechanical actions, the language of their times. Compare the organ was new, its interior was the same more about the heart of the music, and all the time wondering how the minutia congregant’s experience hearing a new bright white wood, not the dark, aged if you prefer to “soup it up” with expres- affected the sound of the music as played Bach cantata on a sunny Sunday in 1741 look that we’re all used to. sion shutters, soloing out melodies, and by the original composers and performers. with modern moviegoers thronging to the Peel away centuries of interpretation gradual crescendos, have a blast. After Now, fi fty-fi ve years later, many of them opening of the latest offering from Hol- and misunderstanding from a Shake- all, you’re the artist. Just be sure you’re have passed away or retired, but their dis- lywood. All are excited about seeing and speare play and tell it like it is. And peel telling the true story. Q ciples are still at it. And while at its height the “Revival of Classic Organ Building” seemed like a zealous rush to many, the importance of that movement is only now starting to be really understood. The huge concerted effort that allowed renewal of understanding of ancient practices, prin- ciples, and philosophies made possible the subsequent renewal of interest and understanding of those organs that the original revivalists allegedly disdained. GET REAL Just as Nikolaus Harnoncourt and the Concentus Musicus Wien took on Mozart and Beethoven, bringing the same vitality of interpretation to music of later centuries, organbuilders turned their newly acquired scholarship skills Are you purchasing sounds, to the work of innovative builders like Aristide Cavaillé-Coll, Henry Willis, and Ernest Skinner. We at the Organ Clear- or samples of sounds? ing House can remember the moment when fi rst it seemed appropriate to list an organ by Skinner as a viable, exciting ...real pipes can last for centuries. available organ.
Say it as if you understand it. Organists and organbuilders are nec- essarily steeped in history. We play the music of the ancients, and we revel in the sounds of the instruments built dozens of generations ago. We have focused on the relationships between the music and the instruments of earlier times, but I think we fall short of connecting that music to the wider world that surrounded it. NORTH AMERICA’S PREMIER PIPE ORGAN A few weeks ago, Wendy and I BUILDING AND SERVICE FIRMS attended a reading of Socrates’ play Anti- gone at Joe’s Pub, a venue in the Public Theater, which is around the corner from our home in New York. It’s a casual, cabaret-style place with good drinks and table service—a great place for a live Call today for performance. Antigone was presented by a line-up of actors in casual dress, sitting APOBA’s free 66+ on stools with microphones. One of them had adapted the play and “freshened” the language, and the reading gave us a great page color prospectus view of Socrates’ intentions. It was a tale of love and betrayal, intrigue, jealousy, Please watch and share anger, disappointment, and regret—all APOBA.COM the ingredients of the human condition our short video at: that make the world go around. 1-800-473-5270 www.apoba.com/video Have you ever sat through a play by Shakespeare, wishing you were smart enough to understand it? (Come on, BUILDER MEMBERS SUPPLIER MEMBERS admit it.) When you get lucky and fi nd ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PARKEY ORGANBUILDERS RANDALL DYER & ASSOCIATES, INC. HARRIS PRECISION PRODUCTS actors who want to share the story, rather BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PARSONS PIPE ORGAN BUILDERS SCHANTZ ORGAN COMPANY INTEGRATED ORGAN TECHNOLOGIES, INC. than show off their haughty accents, you BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. SCHOENSTEIN & CO. SOLID STATE ORGAN SYSTEMS realize that Shakespeare was as much BUZARD PIPE ORGAN BUILDERS, LLC J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES TAYLOR & BOODY ORGANBUILDERS SYNDYNE CORPORATION C.B. FISK, INC. KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN OSI - TOTAL PIPE ORGAN RESOURCES a forerunner of Sigmund Freud as of CASAVANT FRÈRES LÉTOURNEAU PIPE ORGANS PETERSON ELECTRO-MUSICAL PRODUCTS Arthur Miller or Tony Kushner. Good- ness, how the Bard understood human relations and feelings.
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 17 Organ repertoire Jacques Ibert’s Choral for Organ By Wesley Roberts
he infl uence of César Franck’s Trois TChorals on the works of early twen- tieth-century French composers was not signifi cant. One of the few exceptions was the composer Jacques Ibert (1890– 1962), the 125th anniversary of whose birth is being quietly celebrated in 2015. Born in Paris on August 15, 1890, Ibert studied at the Paris Conservatoire in the early 1910s with Émile Pessard, André Gédalge, and Paul Vidal and later served as director of the French Academy in Rome from 1937 to 1960. Ibert’s experience at the Paris Con- servatoire found him in classes where the teaching and attitudes of professors was inconsistent from one to another. Gédalge (1856–1926), who taught coun- terpoint and fugue, disliked the music of Example 1. Jacques Ibert, Choral pour orgue, Justorum animae in manu dei sunt Naval officer Jacques Ibert, 1919 (photo Franck and the counterpoint exercises (©1921 rights transferred to Alphonse Leduc, all rights reserved; used with permission) courtesy Jean-Claude Ibert) adopted by the conservatory, choosing instead to teach Bach chorales rather French men. He was rejected for health coastline and liked to play their organs. gratamque memoriam” (In pious and than fugues as the basis for study. By reasons but was fi nally accepted into the These experiences inspired him to write grateful memory) and dedicated it to contrast, Vidal (1863–1931) taught using Red Cross as a stretcher-bearer and hos- four short works for organ between 1917 Abbé Joubert, adding a preface quote the principles of Franck and Riemann, pital attendant. In the next two years he and 1919. The fi rst was a Musette in from the Apocrypha, “Justorum animæ with a strong emphasis upon chromati- would serve in northern France near the 1917, followed by a Fugue and Choral in in manu Dei sunt,” Sap. III.1 (The souls cism and was undoubtedly pleased when front lines, assisting with the wounded 1918, and fi nally the Pièce Solennelle in of the righteous are in the hand of God, a new society devoted to Franck was and preparing soldiers for emergency 1919, the latter as a gift for his bride on The Wisdom of Solomon III:1). This established in Paris in 1913. Caught surgery, including the administration their wedding day.3 verse had inspired a Gregorian chant between opposing points of view during of anesthesia. During this time he centuries earlier that was used as the conservatory study, Ibert’s compositional composed for piano and harp. Charac- Genesis of the Choral offertory in certain Roman Catholic ideas became exploratory, and while he teristic of these would be Le Vent dans The Choral seems to have been writ- Masses honoring martyrs. Interestingly, utilized a strong melodic line and pleas- le Ruins (1915), which one biographer ten upon the suggestion of Abbé Joseph Ibert’s manuscript contained the Roman ing harmonies, his style was eclectic, a called “an odd combination of Debussy’s Joubert (1878–1963), organist at the numeral “I” before the title, suggesting trend which would extend throughout Impressionism, Ravel’s clarity, Roussel’s Cathedral of Luçon from 1904 until that at least one, if not more, additional his life. ruggedness, and Liszt’s romanticism.”2 1935, and later from 1940–1946. Ibert pieces were in the making. However, To earn a living while studying at the In early 1916 he contracted paratyphoid probably met Joubert in Paris while the no other piece is known to have been Conservatoire, Ibert gave piano lessons fever and was sent to southern France latter was a student at the Schola Can- composed for a collection. and improvised at the piano for silent following a brief stay in Paris to recuper- torum from 1902–1904. Joubert did not In a letter a little more than a year later fi lms at the American Theater in Paris. ate during the spring. Upon recovery complete his studies at the Schola Canto- on October 15, 1919, Joubert informed He played on weekends and occasional he returned to Paris and by September rum, having been called to the Cathedral Ibert that the proofs for the Choral weeknights, sometimes for up to twelve had composed the Pièce Romantique of Luçon upon the premature death of were available, and commented that it is hours at a time, earning fourteen francs for piano, a work strongly infl uenced by the previous organist. A tireless worker, “needless to add that I always stay very on the longest days. Many years later he late 19th-century chromaticism in a style Joubert compiled an eight-volume col- grateful—and may be even proud—of would describe the experience as an art reminiscent of Franck. lection of short organ pieces by over one your kind and artistic collaboration to of deception, functioning as “pianist- With his health now much stronger, hundred French and Belgian composers Les Voix de la Douleur Chrétienne.” The composer-improviser-commentator” Ibert was allowed to enlist in the navy in entitled Les Maîtres Contemporains de Choral appeared in the fi rst volume of before the silent screen where “my fi n- May 1917 and was appointed an offi cer l’Orgue (Contemporary Masters of the the collection in 1921 along with Voces gers would try to terrorize or to charm based upon his skill in mathematics, in Organ; 1912–1914)4. Toward the end of Belli by Fernand de la Tombelle, the according to the gist.”1 He was also occu- which he had excelled for his baccalau- World War I, he embarked upon another Marche funèbre and Épitaphe by Henry pied during the conservatory years help- reate. He was fi rst sent to Sète along large-scale project and began compiling Defosse, and In Memoriam, Quatre ing his father’s import/export business, the Mediterranean Sea and then to a fi ve-volume collection of organ music improvisations by Joseph Jongen. which had suffered from a disaster at sea Dunkerque along the Atlantic, serving (1921–24) dedicated “to the heroes of and was in diffi cult economic straits. for eighteen months and participating the Great War,” titling it Les Voix de Style Upon the outbreak of World War I in the destruction of numerous enemy la Douleur Chrétienne (The Voices of Years later Ibert acknowledged that his in 1914, Ibert attempted to enlist in the positions. During his free time, Ibert Christian Suffering). It was for this latter organ works as a whole were infl uenced armed forces, as did nearly all young visited churches in villages along the project that Ibert submitted his Choral by Franck. He commented, “Franck, for publication. whom Gédalge detested, charmed me The Choral is the longest of the with a certain appeal through the mysti- four pieces for organ and was written cal sensuality of his works.” The Choral The Sound of Pipe in July 1918. Ibert was undoubtedly was written for a three-manual organ touched by Joubert’s dedicatory plan and is nearly eight minutes in duration. Organs to honor soldiers for their sacrifi ces. Its grandeur approaches that of Franck’s M. McNeil, 191 pages He marked the cover page “In Piam Trois Chorals but it is shorter and more A new technical study of the relationships between scaling, voicing, the wind system, and tuning. Search on the title at the Organ Historical Society and Amazon websites.
18 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Example 2. Ibert, Choral, measures 119–126 (Alphonse Leduc, used with permission)
Ibert playing Debussy’s piano in his office at the Villa Medici, Rome, 1959 (photo courtesy Jean-Claude Ibert)
Example 3. Ibert, Choral, measures 151–161 (Alphonse Leduc, used with permission) compact. The melody appears to be it in 1999. It has since been recorded by original and not derived from an existing John Scott Whiteley, Philippe Delacour, plainchant. Ibert’s Choral commences and John Kitchen. Ibert and his wife Rosette in London for the fi rst performance of Bacchanale for with a chordal passage marked “Andante An effective piece with deep emo- orchestra, August 1957 (photo courtesy Jean-Claude Ibert) religioso” in C-sharp minor (Example 1) tional feeling and grandeur, Ibert’s and proceeds through a series of short Choral recalls late nineteenth-century The concert was devoted to sacred music and label (FUG 009); and Kitchen’s on the Priory included performances by the Lutheran Cho- label (PRCD 858). homophonic passages, each interrupted compositional techniques through short rale and the Orchestre de la Cité. by contrasting materials derived from sectional passages. Its majestic coda 8. Jacques Ibert, Choral pour Orgue (Par- Wesley Roberts is professor of music at the principal theme. Midway through brings the work to a triumphant close is: Alphonse Leduc, 1999). Campbellsville University, Campbellsville, two recitative-like phrases there is a at fff in tribute to those whose lives had 9. Whiteley’s recording is on the Priory la- Kentucky. This article is adapted from his series of interlocking fi ve-note patterns, been lost defending their country. Q bel (PRCD 619); Delacour’s on the Fugatto forthcoming book on Jacques Ibert. which soon climax at fortissimo through a winding set of melodic fi gures in both Notes hands. A brief reprieve consisting of a 1. «Mes doigts tentaient de terroriser ou four-note phrase repeated three times de charmer selon l’action». In a letter from Jacques Ibert to José Bruyr, dated October 29, yields to a fugato on the principal theme 1951. A copy of this letter is in the Ibert family A Precious Gift in four voices (Example 2). The fugato archives. increases in intensity without delay fol- 2. Gérard Michel, liner notes, Jacques lowing the exposition and reaches its Ibert: L’Œuvre pour Piano, Françoise Gobet, piano (long-playing record, Metropole 2599 from the Past peak in a fi nal fortissimo statement of 016, 1979). the theme in the parallel major key of 3. The Musette, Fugue, and Pièce Solennelle C-sharp (Example 3). were published as Trois Pièces by Heugel in for the Present The Choral slipped out of sight not 1920. See Kit Stout’s article “Jacques Ibert,” The American Organist vol. 14, no. 5 (May 1980), long after publication by A. Ledent- 38–39, for more details about these works. and the Future Malay and was soon forgotten. Such 4. The collection is available online at seems to have been the fate of most IMSLP/Petrucci Music Library, imslp.org. Supremely beautiful and blendable works in Joubert’s massive collection. 5. «Inutile d’ajouter que je demeure tou- tonal color – a Gift from the Venetian No information regarding the Cho- jours très reconnaissant—et plus fi er encore si possible—de votre si aimable et artistique col- School of organbuilding, a monumental part of our ral’s fi rst performance has survived. A laboration aux Voix de la Douleur Chrétienne.» performance of it was heard on May The letter also contained a congratulation JUHDWKHULWDJH7KHUHVXOW DYHUVDWLOHDQGÁH[LEOH 29, 1952, at La Madeleine in Paris by upon Ibert’s receipt of the Prix de Rome, be- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN organist Edouard Mignan and then no stowed upon him only four days earlier. The author is grateful to Jean-Claude Ibert for sup- evidence of performance until the early plying this information from family archives in Intriguing? Let us build your dream. 1990s, when this writer discovered the a letter to the writer on December 28, 1998. score at the Bibliothèque Nationale and 6. Gérard Michel, Jacques Ibert (Paris: began distributing copies to the Ibert Éditions Segher, 1967), 28–29. 7. Mignan (1884–1969) was organist at family and various organists. With the La Madeleine from 1935 until 1962. In addi- encouragement of Jean-Claude Ibert, tion to Ibert’s Choral, Fauré’s Requiem plus the composer’s son, Leduc republished a number of short works were performed. Duchon’s Organ Pipes CLAYTON ACOUSTICS GROUP Builders of Fine Pipe Organs to the World 2 Wykagyl Road Carmel, NY 10512 New Reeds & New Flues 845-225-7515 [email protected] Additions & Repairs www.claytonacoustics.com www.ruffatti.com CLAYTON ACOUSTICS AND SOUND SYSTEM 330/257-0491 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected] Via Facciolati, 166 Padova, Italy 35127 [email protected] In the U.S. 330-867-4370
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 19 Pipe organ history Pipe Organs of La Grange, Illinois and the Architectural Edifi ces That House Them Part 1: Emmanuel Episcopal Church
By Stephen Schnurr
This article was delivered as a lec- Grange are named, would provide other ture for the Midwinter Pipe Organ memorials to the church over the years. Conclave on January 19, 2015, in La The parish was formally organized on Grange, Illinois. The research for this December 15, 1874, and is the oldest project provides a history of a number congregation in the community. The cor- of pipe organs in the village, but not all. nerstone of the fi rst church was laid on For instance, organs in residences and June 17, 1875, and the fi nished building, theaters are not surveyed. This article seating 400, was consecrated on October will be continued in future issues of 5, 1878. The Gothic edifi ce, 90 feet long The Diapason. and 32 feet wide, was built from stone quarried a few blocks distant. ccording to the 2010 census, the vil- A larger Victorian gothic structure, Emmanuel Episcopal cornerstones (photo credit: Stephen Schnurr) Alage of La Grange numbered 15,550 seating 650, replaced the fi rst church in people. The area was fi rst settled in the 1894. The cornerstone was laid July 16, until it was replaced by a new organ from 1909, in the amount of $400, delivered 1830s. Located thirteen miles from the 1893. The building, of Naperville stone, the M.P. Möller fi rm of Hagerstown, “in good playing condition.” Möller was Chicago Loop, it was a quiet area to featured a Tiffany altar and reredos, Maryland, in 1908. The 1884 organ was to provide “one man to erect and tune come and escape the growing city on which were exhibited by the maker at taken in trade and resold by Möller as said organ at $7.00 per day and expenses Lake Michigan. the World’s Columbian Exposition in their Opus 950, without alteration, to the (board), also experienced helper at $4.00 Founded by Franklin Dwight Cossitt, Chicago between 1893 and 1894. This Second Presbyterian Church, Oak Park, per day, if desired by” the church. The who was a successful wholesale grocer in artwork was purchased thereafter by Illinois. (The specifi cation of the John- organ was already crated when the con- Chicago, La Grange was incorporated David Lyman and his wife. The original son & Son organ comes to us from the tract was signed and was shipped by train on June 11, 1879. Cossitt had purchased church became the parish house. The contract for Möller Opus 950.) The con- from La Grange to Oak Park three days farmland along the Chicago-Dixon Road, consecration occurred on December tract for Opus 950 was dated January 15, later on January 18. now Ogden Avenue (US 34). The Chi- 17, 1894. On December 1, 1924, the cago-Burlington-Quincy Railroad had parish plant was completely destroyed STOPLIST 2 a milk stop here, which was then called by fi re. Hazel Glen. By autumn 1925, a temporary build- 1908 M.P. Möller Opus 891 Cossitt laid out his ideal suburban ing was erected for services. Plans for village, platting streets, planting trees, a new church began immediately and GREAT (Manual II) PEDAL and donating land for churches, schools, resulted in the present building, in elev- 16′ Double Open Diapason 16′ Double Open Diapason and parks. He became a homebuilder, enth-century French Gothic style. John (wood and metal, 61 pipes) (“large scale,” wood, 42 pipes) selling the fi nished product to new resi- Tilton, architect and son of the architect 8′ Open Diapason (metal, 61 pipes) 16′ Violone (wood and metal, 42 pipes) dents, along with liquor restrictions to of the 1894 church, drew the plans for 8′ Melodia (wood, 61 pipes) 16′ Bourdon (wood, 30 pipes) 8′ Gross Flute (wood, 61 pipes) 16′ Lieblich Gedacht make sure the town retained an idyllic the $375,000 building. 8′ Viola D’Gamba (metal, 61 pipes) (from Swell, 16′ Bourdon) atmosphere. After the Great Chicago The fi rst services were conducted in 8′ Dulciana (metal, 61 pipes) 8′ Bass Flute (extension, Fire of October 8–10, 1871, residents the present church on Easter Day, April 4′ Octave (metal, 61 pipes) 16′ Double Open Diapason) began to move to La Grange rather 4, 1926. Dedication occurred on May 11. 4′ Flute D’Amour 8′ Violincello (extension, 16′ Violone) (wood and metal, 61 pipes) quickly. As the village grew, new con- Near the principal entrance of the nave, 2′ Super Octave (metal, 61 pipes) Couplers gregations were formed, representing a one can see the cornerstones of each of 8′ Trumpet (metal, 61 pipes) Great to Pedal number of denominations. the three church buildings this congre- Great to Pedal Super (Octave) gation has constructed. The baptismal SWELL (Manual III, Enclosed) Swell to Pedal 16′ Bourdon (wood, 61 pipes) Choir to Pedal Emmanuel Episcopal Church font includes four stones brought from 8′ Open Diapason (metal, 61 pipes) Great Sub Octave Initial services for Episcopalians in the the Sea of Galilee and the Dead Sea. 8′ Stopped Diapason (wood, 61 pipes) Great Super Octave village were conducted in the residence Emmanuel Church has had a rich 8′ Aeolina (metal, 61 pipes) Swell to Great Sub (Octave) of David Lyman. A parish brochure musical history, which has included four 8′ Voix Celestes Swell to Great (from tenor C, metal, 49 pipes) Swell to Great Super Octave relates, “later he and village co-founder notable organs. In 1884, the congrega- 8′ Salicional (metal, 61 pipes) Choir to Great Sub (Octave) Franklin Cossitt had a surveyor plot tion purchased Johnson & Son Opus 4′ Flute Harmonique (metal, 61 pipes) Choir to Great the exact center of the fl edgling com- 627, a two-manual, 13-rank, mechanical- 4′ Violina (metal, 61 pipes) Choir to Great Super (Octave) munity for this church, and donated action organ. (See stoplist 1.) 2′ Harmonique Piccolo [sic] Choir Sub Octave (metal, 61 pipes) Choir Super Octave the land.” The Cossitt family, for whom The Johnson & Son organ served the 8′ Cornopean (metal, 61 pipes) Swell to Choir a prominent avenue and a school in La parish in the fi rst and second churches 8′ Oboe & Bassoon (metal, 61 pipes) Swell Sub Octave 8′ Vox Humana (metal, 61 pipes) Swell Super Octave STOPLIST 1 Tremolo Echo Sub Octave Echo Super Octave CHOIR (Manual I, Enclosed) 1884 Johnson & Son Opus 627 8′ Violin Diapason (metal, 61 pipes) Mechanicals 8′ Concert Flute (wood, 61 pipes) Wind Indicator 8′ Dolce (metal, 61 pipes) Crescendo Indicator GREAT (Manual I) PEDAL 8′ Unda Maris 8′ Open Diapason (metal, 58 pipes) 16′ Bourdon (stopped wood, 27 pipes) (from tenor C, metal, 49 pipes) Adjustable Combination Pistons 8′ Melodia (wood, 58 pipes) 4′ Rohr Flute No. 1-2-3 and 4 affecting Swell and Pedal stops 8′ Dulciana (metal, 58 pipes) Couplers (wood and metal, 61 pipes) No. 5-6 and 7 affecting Great and Pedal stops 4′ Octave (metal, 58 pipes) Great to Pedal 8′ Vox Humana (metal, 61 pipes) No. 8 and 9 affecting Choir and Pedal stops 4′ Flute d’Amour Swell to Pedal Chimes (20 tubes) No. 10 and 11 affecting Echo and Pedal stops (wood and metal, 58 pipes) Swell to Great Tremolo 2 2⁄3′ Twelfth (metal, 58 pipes) Pedal Movements 2′ Fifteenth (metal, 58 pipes) Pedal Movements ECHO (Manual II, Enclosed) Great to Pedal Reversible Great Piano 8′ Violin Diapason Balanced Swell expression shoe SWELL (Manual II, Enclosed) Great Forte (from Choir, 8′ Violin Diapason) Balanced Choir expression shoe 8′ Open Diapason (metal, 58 pipes) 8′ Concert Flute Grand Crescendo shoe 8′ Stopped Diapason Treble Accessories (from Choir, 8′ Concert Flute) 11 Pedal Combination Pistons (from tenor C, wood, 46 pipes) Balanced Swell expression shoe 8′ Dolce (from Choir, 8’ Dolce) (duplicating above) 8′ Stopped Diapason Bass Pedal Check 8′ Unda Maris (wood, 12 pipes) Bellows Signal (from Choir, 8′ Unda Maris) 8′ Dolce Wind Indicator 4′ Rohr Flute (from tenor C, metal, 46 pipes) (from Choir, 4′ Rohr Flute) 4′ Fugara (metal, 58 pipes) 8′ Vox Humana 8′ Oboe & Bassoon (metal, 58 pipes) (from Choir, 8′ Vox Humana) Tremolo Chimes (from Choir, Chimes) Tremolo
20 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Emmanuel Episcopal Church, 1894 building
A vintage postcard view of the present church Emmanuel Episcopal interior (photo credit: Stephen Schnurr)
Meanwhile, back in La Grange, the 31-rank organ was housed in a quartered There were some problems with at the time. The Diapason of January contract for M.P. Möller Opus 891 was oak case. The instrument was shipped the instrument, for the church signed 1, 1925, noted that Slade lost his organ signed on May 2, 1908, for completion from Hagerstown on November 7, 1908. an agreement with Möller (undated, library in the fi re. on or before October 19 of that year. The The Choir division was located over though approximately 1914) to “correct The present church was fi rst served by organ was to cost $8,250, from which the choir room and was placed on a the Adjustable Combinations, change a three-manual, 22-rank, electro-pneu- $750 was credited for the Johnson organ duplex chest, eighty feet from the con- location of wind motors operating matic action organ built by W. W. Kim- (which was sold to the Oak Park church sole. Thus, the entire Choir division same, go over the entire organ and put ball of Chicago. William H. Barnes of for $350 less). Upon completion of the was duplexed to the Great manual as it in good condition, including tuning Evanston served as architect/consultant, organ, $1,500 was due, with $3,000 the Echo division. At its dedication on throughout,” and to maintain the organ drawing the specifi cation for the three- due one year after completion and the December 20, the organ was noted to be for three years (with tuning four times manual organ. (See stoplist 3.) Barnes balance of $3,000 due two years after “one of the largest church pipe organs in each year), for $350.00. The church played the dedication recital on Septem- completion, both notes at six percent Cook County outside of Chicago.” (See had the option to have Möller continue ber 26, 1926, to a capacity audience. The interest per annum. The three-manual, stoplist 2.) maintenance on the organ in 1917 and program: Caprice Heroique, Bonnet; 1918 at a cost of $75.00 per year. The Reverie, Bonnet; Allegretto, Volkmann; organ burned with the church in 1924. The Legend of the Mountain, Karg- Mason Slade was organist-choirmaster Elert; Scherzo, Rogers; Andante (Sixth
EAST TEXAS PIPE ORGAN FESTIVAL
November 8-12, 2015
Honoring the Life and Work of Roy Perry
Thirteen recitals on five Aeolian-Skinners with David Baskeyfield Matthew Lewis Charles Callahan Adam Pajan Ken Cowan Caroline Robinson Scott Dettra Damin Spritzer Mark Dwyer Bradley Welch Jelani Eddington Todd Wilson and special presentations honoring the life and career of Albert Russell.
East Texas Pipe Organ Festival P. O. Box 2069 Kilgore, Texas 75663
www.EastTexasPipeOrganFestival.com [email protected]
Kimball advertisement from May 1, 1926, issue of THE DIAPASON
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 21 Pipe organ history
Symphony), Tschaikowsky; Nocturne, Ferrata; Ronde Francaise, Boëllmann; Allegro con brio (D Minor Sonata), Mailly; Beside the Sea, Schubert; Scherzo (from Fifth Sonata), Guilmant. The builder trumpeted the organ in a full-page photographic advertise- ment in the May 1, 1926, issue of The Diapason. The specifi cation and dedication program were printed in the November issue. Mr. Barnes featured the organ in his regular column in The American Organ- ist magazine for December 1926. He noted the specifi cation
to be nearly ideal for a moderate sized three-manual designed to meet both the limitations of money and space. I would be glad to have any of the dyed-in-the-wool- at-all-costs Straight Organ enthusiasts make us a scheme with ten additional reg- isters that would have the usefulness of this organ, or an even better ensemble. It must be understood I am speaking of intelligent unifying and borrowing, used with discre- tion and done by artist voicers.
At some point, the Kimball organ was signifi cantly altered. Eventually, a three- year fund-raising drive for a new organ began. The present organ in the church 1970 Casavant console (photo credit: Stephen Schnurr) Casavant Opus 3062 (photo credit: Stephen Schnurr) was built by Casavant Frères, Limitée, of Saint-Hyacinthe, Québec, Canada, in and an Antiphonal division with appro- The present organ is installed in Stephen Schnurr is director of music 1970, as their Opus 3062, a 3-manual, priate couplers to various other divisions. what had been chambers for the pre- for St. Paul Catholic Church, Val- 46-stop, 63-rank, electro-pneumatic The specifi cation was drawn by Lawrence vious Kimball instrument, opened paraiso, Indiana, and editor-at-large action organ. The specifi cation is dated Phelps, tonal director for Casavant, John for better tonal egress, to the right of for The Diapason. His most recent October 14, 1968. Agreements dated F. Shawhan, Casavant representative, and the chancel. The drawknob console book, Organs of Oberlin, was published January 6 and March 13, 1970, provided William H. Murray, organist-choirmaster is located opposite. This instrument in 2013 by Chauncey Park Press (www. for preparation for Chimes on the Great for Emmanuel Church. (See stoplist 4.) is one of Chicago’s best examples of a organsofoberlin.com). He has authored large pipe organ from the late oeuvre several other books and journal articles, STOPLIST 3 of Lawrence Phelps’s tenure as tonal principally on the history of the pipe director for Casavant. Q organ in the Great Lakes states. 1926 W.W. Kimball Co. organ STOPLIST 4 GREAT (Manual II) CHOIR (Manual I, Enclosed) 8′ Diapason Phonon (73 pipes) 8′ Melodia (fr. Gt., 8′ Melodia) 1970 Casavant Frères, Limitée, Opus 3062 8′ Viola Diapason (73 pipes) 8′ Dulciana (fr. Gt., 8′ Dulciana) 8′ Tibia Minor (73 pipes) 8′ Unda Maris (61 pipes) 8′ Melodia (85 pipes) 4′ Flute (fr. Gt., 8′ Melodia) GREAT (Manual II) 16′ Posaune (32 pipes) 8′ Gemshorn (73 pipes) 4′ Dulcet (fr. Gt., 8′ Dulciana) 16′ Quintaden (56 pipes) 16′ Basson (from Recit, 16′ Basson) 8′ Dulciana (85 pipes) 2′ Piccolo (ext., Great 8′ Melodia) 8′ Prinzipal (56 pipes) 8′ Trompete (32 pipes) 4′ Flute (extension, 8’ Melodia) 2′ Dolce Fifteenth 8′ Rohrfl öte (56 pipes) 4′ Rohrschalmei (originally to have 8′ Trumpet (85 pipes) (ext., Great 8′ Dulciana) 4′ Oktav (56 pipes) been a 4′ Klarine, 32 pipes) Chimes (20 tubes) 8′ Clarinet (73 pipes) 4′ Spitzfl öte (56 pipes) 8′ French Horn (73 pipes) 2′ Oktav (56 pipes) ANTIPHONAL SWELL (Manual III, Enclosed) Tremolo 2′ Blockfl öte (56 pipes) 6 knobs prepared without engraving 1 ′ 16′ Bourdon (101 pipes) V Mixture (1 ⁄3 , 280 pipes) 8′ Open Diapason (73 pipes) PEDAL 16′ Trompete (half length, 56 pipes) ANTIPHONAL PEDAL 8′ Chimney Flute (ext., 16′ Bourdon) 16′ Diaphone (metal, 12 pipes, 8′ Trompete (56 pipes) 1 knob prepared without engraving 8′ Viola (85 pipes) remainder from Great, Chimes (20 tubes, from tenor A) 8′ Voix Celeste (73 pipes) 8′ Diapason Phonon) COUPLERS 8′ Salicional (73 pipes) 16′ Bourdon (12 pipes) POSITIV (Manual I) Great to Pedal 4′ Flute d’Amour (ext., 16′ Bourdon) 16′ Lieblich Gedeckt 8′ Gedackt (56 pipes) Positiv to Pedal 4′ Violina (73 pipes) (from Swell, 16′ Bourdon) 8′ Erzahler Celeste II (second rank Recit to Pedal 2 2⁄3′ Nazard (ext., 16′ Bourdon) 8′ Octave (32 notes) from tenor C, 100 pipes) Antiphonal to Pedal 2′ Piccolo (ext., 16′ Bourdon) 8′ Still Gedeckt 4′ Prinzipal (56 pipes) Pedal Unison Off 3 ′ 1⁄5′ Tierce (ext., 16′ Bourdon) (from Swell, 16′ Bourdon) 4 Koppelfl öte (56 pipes) Great Unison Off III Mixture (183 pipes) 8′ Viola (32 notes) 2′ Oktav (56 pipes) Positiv to Great 1 ′ 8′ Tromba (73 pipes) 4′ Flute (32 notes) 1⁄3 Quintfl öte (56 pipes) Recit to Great 8′ Oboe Horn (73 pipes) 16′ Trombone (ext., Great 8′ Trumpet) 1′ Octavlein (56 pipes) Antiphonal to Great 8′ Vox Humana Chimes (from Great, Chimes) II Sesquialtera (from tenor C, 88 pipes) Recit to Positiv 2 ′ (“with vibrato”, 61 pipes) IV Scharf ( ⁄3 , 224 pipes) Recit Unison Off 1 ′ Tremolo III Zimbel ( ⁄4 , 168 pipes) Antiphonal to Recit 8′ Krummhorn (56 pipes) Tremulant ACCESSORIES 7 General Pistons (thumb and toe) RECIT (Manual III, Enclosed) 5 Recit Pistons (thumb) 8′ Cor de Nuit (56 pipes) 5 Great Pistons (thumb) 8′ Salicional (56 pipes) 5 Positiv Pistons (thumb) 8′ Voix Celeste (56 pipes) 5 Pedal Pistons (thumb and toe) 4′ Principal Conique (56 pipes) General Cancel (thumb) 4′ Flûte (56 pipes) Combination Adjustor (thumb) 2 2⁄3′ Nasard (56 pipes) Great to Pedal Reversible 2′ Quarte de Nasard (56 pipes) (thumb/toe) 3 1⁄5′ Tierce (56 pipes) Positiv to Pedal Reversible V Plein Jeu (2′, 280 pipes) (thumb/toe) 16′ Basson (half length, 56 pipes) Recit to Pedal Reversible 8′ Trompette (56 pipes) (thumb/toe) 16355, avenue Savoie 8′ Hautbois (56 pipes) Positiv to Great Reversible Saint-Hyacinthe (Québec) J2T 3N1 4′ Clairon (56 pipes) (thumb/toe) Canada Tremulant Recit to Great Reversible (thumb/toe) T 450 774-2698 PEDAL Balanced Recit expression shoe [email protected] 16′ Prinzipal (32 pipes) Balanced Crescendo shoe 16′ Subbass (32 pipes) (with green indicator light) www.letourneauorgans.com 16′ Quintaden Full Organ reversible (thumb and (from Great, 16′ Quintaden) toe, with red indicator light) 8′ Oktav (32 pipes) Main Wind Indicator light (white) 8′ Spitzgedackt (32 pipes) Antiphonal Wind Indicator light 4′ Choralbass (32 pipes) (green) ′ F O L L O W U S O N F A C E B O O K 4 Rohrpfeife (32 pipes) V Mixture (2′, 160 pipes)
22 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Contemporary organ repertoire
An introduction to the organ works of Kjell Mørk Karlsen By James D. Hicks
lessed with a natural environment of Bstunning, rugged beauty and a cul- ture rich in poetic expression, Norway is also celebrated for its musical heritage. A country that could produce a composer of the stature of Edvard Grieg can also claim composers who have made a sig- nifi cant contribution to the repertoire for the organ. A vibrant school of new music fl ourishes in Norway, and the Oslo-based composer Kjell Mørk Karlsen has fash- ioned a diverse and notable body of work over the course of a distinguished career. Karlsen is a prolifi c artist whose output includes ten orchestral symphonies and eleven oratorios, along with numerous cantatas, concertos, and chamber music. Creating new music for the organ has been an ongoing feature of his endeav- ors, and I recently had an opportunity to discuss this fascinating topic with Kjell Mørk Karlsen Karlsen, about 12 years old, playing oboe Karlsen at the organ in Asker church the composer while on a concert tour in Scandinavia. All of the information baroque recorder. As a child he studied to 1973. Karlsen pursued independent –play (on average) six to eight wed- in this article stems from an interview I this instrument so seriously that he even- study with the noted Danish organist dings per weekend conducted with the composer in Stock- tually took a diploma in recorder from Finn Viderø and spent the academic –conduct oratorio performances holm, Sweden, on October 10, 2014. the Oslo Conservatory at age twenty-one. year 1980–81 commuting to Copenha- –serve as organ consultant for the Raised in a home “fi lled with music,” At age eleven, Kjell’s brother, an aspiring gen for lessons. The study of Bach and region. the Oslo-bred composer was born into a fl utist, suggested that Kjell take up the Buxtehude was the focus of his work Parallel to his work in what was an family of artists in 1947. Considering the oboe as the two instruments might sound with Viderø, and Karlsen remembers intense and varied career in performance, many creative gifts of his family, it was a well together. Kjell’s education in oboe Viderø’s emphasis on “lively, rhythmic Karlsen’s abilities as a composer became natural choice for Kjell Mørk Karlsen to progressed quickly; he studied with the playing and detached touch.” equally known throughout northern follow the path of a professional musi- principal oboist of the Oslo Philharmonic. Given Karlsen’s long experience with Europe. His training in composition dates cian. Although his mother was a fi ne Karlsen’s affi nity for the oboe made it an the baroque recorder and his father’s to his formative years, complementing his violinist and his brother an enthusiastic important means of expression during his enthusiasm for early music, it seemed accomplishments as a gifted instrumen- fl utist, it was his father, Rolf Karlsen, student years. He earned a diploma in like a natural progression for Kjell to talist and performer. While he was a teen- who provided the impetus for a career oboe from the Oslo Conservatory during organize an ensemble dedicated to ager, Karlsen’s father gave him an ongoing in music. The elder Karlsen (1911–82) the same year as he did with the recorder historically informed performances of assignment. At this time during the 1960s, was an essential fi gure in the musical life and became profi cient enough to be this repertoire. Karlsen formed his own the Norwegian National Church discour- of twentieth-century Norway. A brilliant an oboist with the Norwegian National group, Pro Musica Antiqua, and served aged the singing of repertoire from the pianist, organist, conductor, and com- Opera Orchestra. His experience with as its fi rst director from 1969 to 1974. Reformation and Baroque periods in poser, Rolf Karlsen served as organist and the orchestra gave him insight into the Playing a wide variety of instruments, Latin or German, preferring Norwegian director of music at Oslo Cathedral. Rolf creation and performance of dramatic including krummhorns, shawms, and translations instead of the original texts. also taught at the Oslo Music Conserva- music. Working within an orchestral recorders, Karlsen did much to intro- Kjell’s task, beginning at age fourteen, tory and worked as a keyboard musician milieu was a formative experience in duce the unique sounds of the medieval was to copy by hand full scores by such with the Oslo Philharmonic Orchestra. preparation for the composing of the and Renaissance repertoire to Norwe- composers as Scheidt, Praetorius, and Rolf was recognized as a master sight- large-scale works of his maturity. gian audiences. Schütz, and set Norwegian words in place reader, able to condense and realize the After witnessing his father conduct Karlsen’s diverse musical activities of the languages these composers origi- contents of the most complex orchestral a performance of J. S. Bach’s St. Mat- caught the attention of Norwegian uni- nally used. Kjell continued this laborious scores on a moment’s notice. He was, in thew Passion, the younger Karlsen was versities and the national church. He process of copying music by hand as he addition, a pioneer in introducing music so moved by this presentation to begin began his academic career during the progressed to editing his father’s original from the Middle Ages, Renaissance, and study of keyboard instruments as a logi- 1970s, lecturing at the Oslo Conserva- scores, producing fi nal copies for publica- Baroque periods to the cultural life of cal next step. As with the recorder and tory, the Norwegian Academy of Music, tion. As the composer recollects, “This Norway, having studied medieval music oboe, Kjell’s rapid profi ciency with the and the Rogaland Music Conservatory. As for me was a great school as a composer in Belgium and harpsichord in Basel, piano and organ was astounding. By age his career unfolded, Karlsen also found because I came very close to all sorts of Switzerland. Rolf Karlsen was a leading nineteen he became keyboard musician success as a church musician. He served techniques that were used in this era. For member of Musica Sacra, a movement with the Oslo Philharmonic and gained as organist at Tønsberg Cathedral from a composer, this exercise was a basic way that strove to restore the primacy of additional ensemble performance to 1973 to 1978, Stavanger Cathedral from to become acquainted with polyphony, chant within the liturgy, reintroduce complement his work as an oboist. 1978 to 1981, Sør-Fron, Gudbrandsdalen harmony, how to set texts, and so on.” the chorale heritage from the Reforma- Karlsen points to the crucial experience from 1981 to 1989, Slemmestad Kirke During Karlsen’s time as a cathedral tion, support new works based upon this position afforded him in his later from 1990 to 1995, and Asker Kirke from musician in the 1970s, he created a large these ancient themes, and encourage development as a composer. He particu- 1995 to 2011. During this period, he was body of organ and choral works that the building of organs infl uenced by the larly cites the opportunity of performing active as a concert organist, performing were intended for use within the many Orgelbewegung (Organ Reform Move- works by Stravinsky, Bartók, and other throughout Norway, Sweden, Denmark, events he supervised. The infl uence of ment). Karlsen’s compositions show a twentieth-century masters as a signifi - and the Netherlands. the German neo-classicists from earlier preference for the use of historical forms, cant aspect of his education. These per- Karlsen summarizes his duties in the twentieth century, such compos- and his organ variations on Vår Gud han formances provided an opportunity to as cathedral organist at Stavanger ers as Hans Friedrich Micheelsen, Hugo er så fast en borg (A Mighty Fortress Is learn about American music as well; he Cathedral: Distler, and Helmut Bornfeld, pervades Our God) is a representative example of participated in several concerts devoted –play one hundred services annually the many hymn-based partitas and other his style (found in Tibi Laus, published to the works of Lukas Foss. Karlsen –direct four choirs (adult Oratorio works of this time. The consistent use by Norsk Musikforlag, N.B.O 9599). eventually took a diploma in organ from Choir, Boys Choir, Girls Choir, Chil- of quartal and quintal harmonies and The versatility that informed Rolf’s the Oslo Conservatory in 1968, serving dren’s Choir) preference for the use of traditional career served as a role model to his son as organist for the Sølvguttene (Nor- –play the cathedral carillon daily for forms were recurring features of many Kjell. Kjell’s musical studies began at wegian Broadcasting Boy’s Choir) and twenty minutes of these compositions. A typical example age seven when his father bought him a at the Greverud, Oppegård from 1967 –play weekly Saturday organ concerts of Karlsen’s early period may be found
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 23 Contemporary organ repertoire
Example 1. Toccata, mm. 1–6 (Partita Over Koralen ‘Nu Kjære Menige Kristenhet,’ op. 8)
Example 3. Toccata Over Te Deum, mm. 116–120 (Orgelmesse over gregorianske melodier, op. 51, no. 1)
Example 2. Ostinato, fi rst two lines (Partita: ‘Se solens skjønne lys og prakt,’ op. 20, Example 4. Molto adagio e espressivo, mm. 1–6 (Orgelsymfoni nr. 1, op. 99) no. 2) in a work dating from 1969 (Example musical expression that often existed of the church, the act of composing may be discerned in this composition’s 1), Partita Over Koralen ‘Nu Kjære outside the relatively narrow confi nes took on a different frame of reference second movement (Example 4). The Menige Kristenhet,’ op. 8 (best known of music for the Lutheran Church. It for this musician. As Karlsen explained, composer explains: “If you look at the to English-speaking musicians as “Dear was at this juncture that he began to “Kokkonen taught me to think more fi rst six measures of the second move- Christians, One And All, Rejoice”). study the works of the Finnish composer symphonically. Whereas my earlier ment, you will fi nd all twelve tones in Karlsen’s interpretation of gebrauchs- Joonas Kokkonen. On the encourage- style had been oriented toward Ger- the left hand. I am not, however, so strict musik, or music for practical use, ment of colleagues in the Norwegian man neo-classicism and church music, with this system. It might be more accu- informs much of his output from the State Academy of Music and funded now I learned more about Sibelius and rate to call this a kind of free-tonal style.” 1970s. An excerpt (Example 2) from his by the Norwegian government, Karlsen Russian composers such as Shostakovich As the 1990s progressed, the austerity Partita: ‘Se solens skønne lys og prakt’ uprooted his family and career, moving and others.” The years of the 1980s and found in much of the music of Estonian (“See The Sun’s Beautiful Light And to Helsinki for a year’s sabbatical of study 1990s eventually saw the composer move composer Arvo Pärt provided a balance to Splendor”) demonstrates Karlsen’s wish with Kokkonen. Karlsen spent the bet- away from primarily providing “practical the complexity of Karlsen’s mature works. to provide accessible music, and, as he ter part of 1983–84 studying the Nordic music for immediate use” and, instead, Karlsen points to his St. John Passion has described, “these sort of composi- symphonic tradition with the Finnish creating large-scale works that achieved (1991) as an example of this reconcilia- tions come from my duties as a cathedral master. The result of this experience saw an enhanced formal and thematic unity. tion between contemporary and more organist.” The late 1970s also witnessed the inclusion of serial techniques within The composer thinks this development traditional means of expression. This the composer’s increased preoccupa- his larger-scale compositions. It was dur- brought him back “full circle when feeling of, as he describes it, “going back tion with the possibilities inherent in ing this period that Karlsen wrote his remembering the symphonic perform- and forth, two steps forward and one step Gregorian themes (Example 3) in which fi rst three orchestral symphonies and a ing experiences of my youth.” Following back,” is in an ongoing tension between motives from the chant permeate the host of chamber and symphonic works, Karlsen’s Finnish sojourn, his composi- simplicity and complexity that has char- entire fabric of the work as seen in op. including string quartets, concertos, and tions became more ambitious in length acterized his works to the present. 51’s Toccata Over Te Deum. sonatas for diverse orchestral instru- and scope. “My fi rst great organ work When evaluating the mature style of By the early 1980s and after years of ments. Karlsen regards this period of was the Symphony I, op. 99, commis- Kjell Mørk Karlsen, perhaps the most coping with an increasingly demand- work with Kokonnen and the immediate sioned by Stavanger Cathedral in 1991 salient aspect of his work is the compos- ing schedule, Karlsen yearned for the years following as “the turning point of on the occasion of the installation of er’s increasing identity as a specifi cally opportunity to further explore his inter- my life.” a new organ. I had already composed Nordic composer. Possessing a keen est in then-current styles of contempo- Abandoning the pattern of creating three orchestral symphonies, so why not appreciation for the history and folk rary music. He became fascinated with scores for immediate use in the service one for the organ?” culture of his country and other Nordic After a decade of writing little for the lands, Karlsen has infused many of his organ, Karlsen’s new direction became works with the unique characteristics The right readily apparent in this three-movement, of Scandinavian music. The Sinfonia seventeen-minute work. A new sense Arctandriae-Orgelsymfoni nr. 2 (Icelan- organ at the of harmonic astringency, and a more dic Symphony) begins with the use of right price evolved, virtuosic approach to the instru- Tvisöngur, a type of Icelandic folk music ment distinguishes his op. 99. Karlsen’s sung in parallel fi fths (Example 5). All We’ll help you chRRse from rather personal approach to serialism of the titles of this work are connected the hundreds of vintage organs with the traditions of medieval Iceland. available through our website. The infl uence of Nordic folk tradition is THE WANAMAKER ORGAN apparent in the Suite for orgel og spele- We can deliver it to the mennslag (Suite for organ and folk music organ builder of your choice Listen to it worldwide violins), op. 89 (Example 6); the third or refurbish, revoice, and movement develops motives from Har- install it ourselves. over the Internet! danger fi ddle music. Norwegian medi- eval folk ballads (Draumkvedet or The “In choosing OCH, I know that the work has been done Hourlong streamcasts Dream Song) serve as the inspiration with the utmost knowledge, enthusiasm, care and integrity.” are featured at 5pm ET of Sinfonia Norvegica (Symphony IV). David Enlow, Sub-Dean, NYCAGO Example 7 shows Karlsen’s depiction of the first Sunday of the ballade text (“The moon it shines, Organ Clearing House each month at wrti.org and the roads do stretch so wide”) by the www.organclearinghouse.com or call John Bishop at 617-688-9290 weighting of three upper-range tones to depict the ever-shining moonlight.
24 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Example 5. Tvisöngur, fi rst two lines (Sinfonia Arctandriae, op. 105)
Example 6. Springleik, mm. 25–28 (Suite for orgel og spelemannslag, op. 89)
A crucial aspect of Karlsen’s identity as Compositions of Kjell Mørk Karlsen a Nordic composer is his ongoing devo- All works published by Norsk Musik- tion to the cult of the Norwegian medi- forlag a/s, except as noted eval saint, St. Olav. His newest major work for organ, the epic fi ve-movement Works for organ with instruments Example 7. Capriccio, p. 17, line 1 (Sinfonia Norvegica, op. 157) Sinfonia Grande, op. 170 (2013), derives Opus its themes from the chants associated 7.2 Short Chorale Partita for alto recorder Works for organ (1967–2014) with the St. Olav liturgy. When asked and harpsichord (organ), 1975 Opus about the relationship between his music 7.3 Partita on a folk tune from Lom (Nor- 2 Ten chorale preludes, Book 1, 1967; and the cult of St. Olav, Karlsen relates: way) for fl ute and organ (piano), 1981 Book 2, 1969 (Lyches Musikkforlag) 7.4 Sonatine on a folk tune from Etne 8 Partita Over Koralen ‘Nu kjære menige All Norwegians know about St. Olav. (Norway) for fl ute and piano (organ), kristenhet,’ 1969 When I was young and played the oboe, every summer I traveled to the Nidaros 1991 14 Magnifi cat noni toni (with liturgic Cathedral in Trondheim. Every year I 13.1 Choralsonata no. 1 ‘Jesus Christus, song ad lib.), 1969 played in the performance of an oratorio unser Heiland’ for alto recorder (fl ute) 20.1 Six partitas on Norwegian folk composed and conducted by the cathe- and harpsichord (organ), 1969 tunes, 1968–71 dral organist Ludvig Nielsen that used the melodies of the St. Olav liturgy. These 13.2 Choralsonata no. 2 ‘Aus tiefer Not 20.2 Four organ partitas on Norwegian melodies, therefore, have been with me a schrei ich zu dir’ for cello (bassoon) religious folk tunes, 1974–78 long time. The St. Olav liturgical music is and harpsichord (organ), 1971 26 Variations on an organ tablature from the only medieval Norwegian chant in Gre- 13.3 Choralsonata no. 3 ‘Nun freut euch, 1448, 1973 James D. HIcks in Västerås Cathedral, gorian style that we know today. I tried to Västerås, Sweden infuse the timeless qualities of this music lieben Christen g’mein’ for trumpet 33 Te Deum for organ, 1975 within my new Sinfonia Grande. and organ, 1972 43 Twenty-one easy preludes on Norwe- 28 Concerto for organ, 9 brass instru- gian folk tunes, 1977 134b Organ meditations for Good Fri- Kjell Mørk Karlsen remains prolifi c ments, and percussion, 1973/86 47 Twelve improvisations on Gregorian day, 2013 (Cantando Musikkforlag) in his output. The year 2015 fi nds him 28B Version for organ and symphonic melodies, 1972–80 142.2 In nativitatem Domini,’ 7 Organ working on his next major project, a sym- band, 1973/86 (manuscript only, at the 51.1 Organ Mass on Gregorian melodies, Meditations, 2005 phony for organ, strings, and bells (the National Library of Norway, Oslo) 1977–82 143 Sonata ‘De profundis,’ 2003 latter requiring fi ve players, employing 35.1 4 Norwegian folk tunes arranged for 51.2 Mass on Norwegian folk tunes, 1979 148 ‘Et lite barn så lystelig,’ Christmas handbells, chimes, glockenspiels, and violin, cello, and organ, 1976 (Norske (with brass sextet, ad.lib.) music on Norwegian folk tunes, 2005 related instruments) being composed for Komponisters Forlag) 81 Six pieces for organ, 1973–87 155 Offenbarungs-Meditationen, Åpen- the intended 2017 installation of a new 36.1 3 choral intradas for organ and 99 Organ Symphony No. 1, 1991 baringmeditasjoner für Orgel, 2006 organ at the northern Norwegian cathe- 4 brass instruments (2 trumpets, 2 105 Sinfonia Arctandria (Organ Sym- 157 Sinfonia Norvegica (Organ Sym- dral at Tromsø. He is also working on trombones, or 2 trumpets, horn, and phony No. 2), 1991/93 phony No. 4), 2007 an a cappella setting of the St. Matthew trombone), 1975 116 Sinfonia Antiqua (Organ Symphony 167 Luther Mass for organ, 2011 (with Passion, a project that will complete his 36.2 “Intrata festivo” for organ, 4 trum- No. 3), 1996 liturgic song, ad lib.) setting of the four gospel accounts. pets, and timpani, 2009 (manuscript 121 Christus-Meditationen für Orgel, 1997 171 Sinfonia Grande (Organ Symphony Kjell Mørk Karlsen concludes: only, at the National Library of Nor- 124 ‘Esto mihi’–6 liturgic organ pieces, No. 5), 2014 way, Oslo) 1998 (Cantando Musikkforlag) 171. 2 Toccata grande II, 2014 It is important for me to bring elements 51.2 Mass on Norwegian folktunes for from the entirety of music history into my work. I have such a profound respect for organ and 6 brass instruments, ad. lib., my predecessors, and wish to be remem- 1979 bered as following in their footsteps. For 87 Missa da tromba for trumpet and me contemporary music can be modern or organ, 1988 it can be conservative. What is important is that it be personal and have an individual 89 Suite for organ and folk-music violins, spirit. Without this, it is nothing. Q 1992 94 Sonata da chiesa per tromba et James D. Hicks holds degrees in music organo, 1989 (Noton) from the Peabody Institute of Music, 129 “Triptykon” for organ and 3 percus- Yale University, and the University of sion players (33 percussion instru- Cincinnati, has studied at the Royal ments), 1999 (manuscript only, at the School of Church Music in England, National Library of Norway, Oslo) and is an Associate of the American 161 “Concerto pour Orgue et Cordes,” Guild of Organists. He has held positions 2008 (manuscript only, at the National throughout the eastern United States and Library of Norway, Oslo) in 2011 retired from a 26-year tenure 164 Liturgic suite for organ and ten brass at the Presbyterian Church in Mor- instruments, 2010 We are working in your area, how can we help you? ristown, New Jersey. He has performed 164B Miserere (Sarabande) for trumpet throughout the United States, Australia, and organ (from Liturgic Suite) and Europe. James Hicks has recorded 176 “Hymn for St. Olaf” for violin, oboe, several collections of organ music on the and organ, 2014 (manuscript only, at Pro Organo label. the National Library of Norway, Oslo)
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 25 Cover feature
Austin Organs, my own personal vision for this organ. I Hartford, Connecticut think that this key point in our collabora- Opus 2344 (1961 and 2014) tion helped lead to the successful rebirth St. Mark’s Episcopal Church, of this instrument. Further, I believe New Canaan, Connecticut that the combination of the talents of the In New Canaan, Connecticut, just outstanding Austin craftspeople, some north of a town landmark known as who have been with the company for “God’s Acre,” an imposing edifi ce rises many years, along with the new admin- from the staid landscape. St. Mark’s istration, who respect the past but also Church was erected in 1961. Approach- embrace the future, to be a winning ing from the south, the church beckons combination without equal. Working on your creative spirit as it heralds the this project, I was always confi dent in our artistry that pervades its sacred space. conversations about the direction of the The entrance of the church, facing an instrument, and I was pleased with the elegant, grassy commons to the south, is outcome, because we were consistently easily accessed from the street. Entering in sync. They always listened to my the two large, intricately carved doors vision, and it felt like we were always on one fi nds oneself inside an impressive the same page with the ultimate goal. sanctuary that evokes the feeling of a When I arrived in 1998, it was already Gothic cathedral. Triangular vaults rise an organ to be proud of, and I was very up majestically from towering concrete happy to be playing this Austin, because columns. The altar is clearly the focal it essentially worked well in this space. Looking up at the 32′ Waldhorn point of the room, but behind the altar But today, with the tonal work and stands an equally impressive reredos expansion, it has become much more From the builder apparently based on the 16′ Quintaton. approximately 35 feet wide, stand- versatile. While the organ certainly The organ has excellent tonal projec- Overall, the division exhibited bright ing some 40 feet in the air, displaying could have been defi ned as “American tion from its lofty position on the central ensemble tone and the Positiv was much 184 intricately carved fi gures. It was Classic,” I would now say that, while axis of the church. Its tonal disposition is like it. The Swell was designed with designed by sculptor Clark Fitz-Gerald, that character remains, we now have somewhat reminiscent of the late work somewhat stronger English infl uence. whose works can be found in Columbia the impression of an “English Town of Austin’s most famous tonal designer, It, like the Choir, was voiced on 4′′ of University, Independence Hall in Phila- Hall” instrument. The organ can handle James Blaine Jamison (1882–1957). He wind presure. It was built with colorful delphia, Carnegie Hall, and Coventry a broader spectrum of literature, and I began with the Austin Company in 1933, fl utes, and lush string tone; it also had a Cathedral in England. fi nd that I can accompany the service in and his impact was rather dramatic. Early full reed chorus, yet not a proper Oboe; Behind this acoustically transparent a much more exciting way. When I use in his relationship with the company, he there was a high-pitched Plein Jeu, yet screen stands Austin Organs’ Opus 2344, the term “exciting,” I am not just talk- redefi ned the Austin Diapason scaling the department lacked a full principal dedicated by John Weaver in a concert on ing about louder sounds, I am talking system and introduced his concepts for chorus. The Choir fl ue chorus is made up January 7, 1962. In 2014, Austin installed about the inclusion of some softer voices ensemble structure and voicing, which of fl utes, independent cornet mutations, several new stops and completed an exten- imparting more interesting nuance than were quickly adopted and became com- and a Gemshorn and Celeste. The Choir sive tonal redesign of the instrument. there was previously. Utilizing the new mon practice for a generation. Richard reeds included a rather thin Krummhorn timbres available in the pedal organ, the Piper (tonal director from 1952–1978,) (3/4′′ scale) and an 8′ Trumpet, voiced on From the musician organ has developed a new undergirding continued the same trend, but imparted 6′′ of wind pressure. In the style of many In 2000, we started discussion about that has truly helped its effectiveness his own stamp on the company’s work. fi ne Austin instruments of the period, completing some major work on the in hymn accompaniment, among other Piper had apprenticed for nearly a decade this organ’s Pedal division had nine organ. We thought it important to return things. The inventiveness of the Austin under Henry Willis III, working on many independent ranks of pipes, beginning to the company that gave birth to the company in fi nding a creative way to of England’s monumental instruments, with a generous 16′ Open Wood Contra instrument, so we called Austin Organs add real pipes (installing a full-length his fi nal work being the Dome Organ at Bass, through a Pedal Mixture and reed in Hartford for an evaluation and recom- 16′ reed in the Swell, and a full-length St. Paul’s Cathedral, London. Coming chorus. At some point in history, an elec- mendations. Unfortunately the church 32′ reed in the Pedal, and of course, the to Austin, he was able to impart a bit of tronic 32′ Bourdon extension was added, was not ready to proceed with the proj- 32′/16′ Pedal Bourdon) was amazing! English nuance to the Austin version of but had failed and was disconnected ect at that point, so the plan was placed The 16′ Bourdon is also an excellent the American Classic tonal ensemble, several years ago. on hold. When we revisited the project addition, as it helps support the lower but that nuance did not seem to be pres- Approaching the organ’s tonal rede- in 2008, I was surprised and pleased to voices in the choir and congregation. I ent in this instrument. My predecessor sign, we had some specifi c goals in mind: reconnect with my former schoolmate am so proud to be able to boast that all of at Austin Organs, Bruce Buchanan, improve the Diapason chorus, revoice/ from Westminster Choir College, Mike our additions are real pipes, real chimes, visited the organ in September 2000. replace some existing reeds, and supple- Fazio, who was now president and tonal and a real harp, without having to resort His impression was congruous with my ment the Pedal department. Other director of the Austin company. to the digital versions. I am convinced own, in that he proclaimed, “St. Mark’s enhancements became possible as the As fate would have it, the company, that these real voices do add signifi cant organ is a version of American Classic project developed. For example, while we now reborn under the auspices of the richness and quite amazing harmonic with North-European leanings. This would have liked to build a new, movable, new owners, has revisited some of the underpinning. I am therefore able to means brightness has been preferred to drawknob console for the instrument, a original Austin organbuilding and voic- play the organ in a much fuller way than brilliance, and clarity to body.” It was decision was made for the present time ing practices—their mindset moving I could previously. This has improved interesting to fi nd his notes some months to maintain the existing console. It was beyond the so-common trend of “what’s both my musical creativity and the choir after I had submitted my own assessment certainly showing its age, but we decided happening now” and going back to some and congregation’s singing in response. to the church with similar fi ndings. to add new stopkeys in situ for the new of the venerable earlier ideals. This —Brian-Paul Thomas The St. Mark’s organ had been an voices. This approach would allow us to philosophy is happily right in line with Organist and Choirmaster interesting platform for Richard Piper’s use more available funds for tonal work tonal experimentation. The Great and as a fi rst step. It would seem that God Positiv were voiced on low pressure (2¾′′ had other thoughts. Within a month of wind). It would appear that the Great signing the contract for the tonal work, Organ had the strongest North-German the church was hit by an electrical storm infl uence: light Prinzipal scaling, heavy that disabled the console, along with mixture scaling, and the foundation the church’s sound system. We removed
Austin Organs, Opus 2344
GREAT SWELL (enclosed) 16′ Spitz Viole (ext) 61 pipes 8′ Rohrfl ote 68 pipes 8′ Spitz Viole 61 pipes 8′ Viole de Gambe 68 pipes 8′ Bourdon 61 pipes 8′ Voix Celeste (low G) 61 pipes 4′ Principal 61 pipes 8′ Flauto Dolce 68 pipes 4′ Nachthorn 61 pipes 4′ Principal 68 pipes 2′ Fifteenth 61 pipes 4′ Wald Flute 68 pipes 1 1⁄3′ Fourniture IV 244 pipes 2′ Octavin (from Plein Jeu) 2 8′ English Horn 61 pipes 2⁄3′ Plein Jeu IV–V 268 pipes Chimes (Deagan Class A, 25 tubes) 16′ Waldhorn 85 pipes 8′ Trompette 68 pipes 8′ Horn (ext Waldhorn) 8′ Oboe 68 pipes 8′ Vox Humana 61 pipes 4′ Clarion (ext Waldhorn) Tremulant 8′ Trompette Royale (prepared)
1961 Austin console—IOTI control system
26 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM View of the organ from the choir stalls
Inside the Universal Air Chest. Inset: Doorway to the Universal Air Chest. the console to the factory, and installed an excellent Viole de Gamba. Being a new multiplexed console and organ mildly conical (1/2 taper), we adjusted control system, featuring a fi ber-optic the nomenclature to refl ect that con- connection between the console and the struction, calling it a Spitz Viole. As a organ’s Universal Air Chest. While back manual 16′ and 8′ borrow, it has proven “home” in the factory, the manual and to be extremely successful. While we pedal claviers were refurbished, all new were sweeping through the organ, we wiring and stop controls were installed, chose to “wash” the 1960s voicing out and the elegant black walnut casework of the Great Bourdon, which resulted fi nish was also restored. in a fl ute with more warmth and fun- damental. The Diapason and Principal Tonal matters were rescaled, and the Spitz Fifteenth The fi rst matter to address was the replaced with a new set of Principal pipes wind pressure. To achieve the aural that work well with this new chorus. The presence we collectively desired, we existing Fourniture was also replaced recognized that the pressure needed to with new pipes, scaled and voiced to fi t be increased. To that end, we chose to perfectly with the new scheme. The fi nal increase the wind pressure to 4′′ water element was the inclusion of a new reed Looking down upon the Great and Positiv. 32′ Waldhorn on left and right outboard column for the entire instrument. Next, stop for the Great. After much discus- of Great main chest. we needed to make a decision regard- sion, the choice was made to install an ing the disposition of the Great Organ’s English Horn. Rather than yet another Waldhorn (full-length). The rather pleas- of voices in the distance!” Finally, the 16′ Quintaton, which had been partly Trumpet, or something from the Clari- ant 8′ (French) Trumpet was revoiced to high-pitched mixture was removed and replaced (from 8′ C) several years earlier net family, we concluded that an English blend well in the ensemble, and a new replaced with a new IV–V Plein Jeu, 2 with Bourdon pipes. The breakpoint Horn would serve equally well as either 8′ (English) Oboe was installed. As a starting at 2 ⁄3′ pitch. It provides a mea- from the 8′ to the 16′ octave was abomi- a gentle solo or ensemble voice. compromise to allow the installation of sure of gravitas to the ensemble, whether nable, and the effect of the Quintaton In the Swell, we regret that we were the Oboe, we removed the 4′ Clarion, fl ues or reeds. in general was counterproductive to our unable to add a new Diapason, as space (which was rather thin) and extended In the Choir, we removed the thin, desired ensemble. The Great Mixture would not allow it. However, the large the Waldhorn to 4′ pitch to complete baroque Krummhorn, and replaced it was overwhelming and the rest of the scale Viola and Flute are rather success- the chorus. Also added to the organ with an 8′ Cremona, which is a hybrid chorus was anemic. Our sweeping deci- ful, evoking “synthetic Diapason” tone, was a vintage Austin Vox Humana. This stop that is constructed as a Clarinet sion was to remove the entire Quintaton to quote the late G. Donald Harrison. particular type is affectionately known in the lower registers, then it morphs from the specifi cation, and to achieve a A vintage 4′ Wald Flute was installed to as a “Vox-in-a-Box,” as the pipes are into our Cromorne scale in the treble. manual 16′ voice, install a new Austin replace the original, which was removed entirely placed within an encased chest This treatment delivers the color of a Internal Borrow action in the chest that several years ago, having been replaced that hangs directly in front of the Swell rich Clarinet in the tenor range and the would play the Pedal 16′ Spitz Flute as with the Koppelfl ute from the Positiv, expression shades and can be adjusted brightness of a French Cromorne in a Great stop. Previously, this stop was where it was subsequently returned. The for dynamic by opening or closing the the right hand. As a matter of course, only available in the manual at 8′ pitch, 8′ octave of the Rohrfl ute was moved top cover of said box. The effect of the the existing high-pressure Trumpet was and 16′ in the Pedal. Austin’s voicer Dan off the main chest, and in its place we Vox Humana in this church is extremely reconstructed (new tuning inserts, etc.) Kingman revoiced these pipes to create located the 12 lowest pipes of the 16′ successful—it shimmers like a “chorus and revoiced.
St. Mark’s Episcopal Church, New Canaan, Connecticut
CHOIR (enclosed) POSITIV (exposed, fl oating) PEDAL 8′ Gedeckt 68 pipes 8′ Nason Flute 61 pipes 32′ Sub Bass 32 pipes 8′ Gemshorn 68 pipes 4′ Koppel Flute 61 pipes 16′ Contra Bass 32 pipes 8′ Gemshorn Celeste (TC) 56 pipes 2′ Principal 61 pipes 16′ Spitz Viole (Great) 1 4′ Spitz Flute 68 pipes 1⁄3′ Larigot 61 pipes 16′ Bourdon (extension 32′) 12 pipes 2 2⁄3′ Nasard 61 pipes 1′ Siffl ote 61 pipes 16′ Gedeckt (Choir ext) 12 pipes 2 2′ Block Flute 61 pipes ⁄3′ Cymbal III 183 pipes 8′ Principal 32 pipes 3 1⁄5′ Tierce 61 pipes Harp (Austin, 61 bars) 8′ Bourdon 32 pipes 8′ Cremona 68 pipes 16′ Trompette Royale (prepared) 8′ Gedeckt (Choir) 8′ Trumpet 68 pipes 8′ Trompette Royale (prepared) 4′ Choral Bass 32 pipes Tremulant 4′ Nachthorn 32 pipes 2′ Flote (ext Nachthorn) 12 pipes 2′ Mixture III 96 pipes 32′ Contra Waldhorn (Sw ext) 12 pipes 16′ Bombarde 32 pipes 16′ Waldhorn (Swell) 8′ Trumpet (ext 16′ Bombarde)12 pipes 4′ Cremona (Choir) Chimes Exterior view of St. Mark’s New Canaan
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 27 Cover feature New Organs
View of some of the reredos fi gures Abraham and Isaac
Dyer organ at Trinity Evangelical Lutheran Church, Sanford, North Carolina
Randall Dyer & Associates, New pipes were provided by Stinkens, Jefferson City, Tennessee Matters, Oyster, and Mcusick, and the Trinity Evangelical Lutheran electro-mechanical switchgear of the Church, Sanford, North Carolina console was gutted and replaced with a “Multum in parvo” seems, once again, modern solid-state system. to be the catchphrase in design of small Though actually on “unit” chests, the organs. The instrument at Trinity Evan- stoplist is conceived as that of a straight gelical Lutheran Church in Sanford, organ and is provided with regular North Carolina, probably fi ts the cate- couplers. With only minor alteration, it gory, since it has only eight carefully cho- could have been built as a new slider- sen ranks of pipes, half of which are at 8′ chest organ. The fact that no rank plays pitch. While we have always considered at multiple pitches on the manuals a solid ensemble the most important allows the organ to develop a clean, full part of any organ, this instrument does ensemble sound, providing excellent not weave fl utes, gemshorns, and muta- registrations for congregational and cho- tions in and out at different pitches on ral accompaniment, and for playing the different manuals for “added fl exibility” literature, the latter amply demonstrated as we might have done in unit organs of during the inaugural concert by Dr. Flor- the past; it simply does not need it. ence Jowers of Lenoir-Rhyne University. After seeing an instrument we had built The congregation was open to our for a sister congregation, John Southern, idea of moving the altar and communion chairman of the organ committee at rail forward to place the organ front and Trinity, approached us for ideas about center, where it looks good and projects replacing their small one-manual tracker well into the room. More fi gures—animals from the ark! organ, which, though it had served well We regard this as a new organ, because for many years, was extremely limited. the resulting instrument plays and sounds The changes to the Pedal division were organs. These instruments were built in As we contemplated their situation like one of our organs. The concept, rather dramatic. We were able to redesign the same time period (the mid-1960s). and budget over a period of months, whether using existing or all-new equip- the offset chests at the sides of the main The tonal disposition of each organ was we were made aware of a mechanically ment, is viable for many small churches organ to allow the installation of a 32′ very similar, and they were stereotypical of complete, but “pipeless” 1986 Schlicker desiring a good service-playing instru- and 16′ Bourdon. More dramatic yet, we the period, and desperate for change! The organ in Pittsburgh. It was in excellent ment, capable of years of reliable service chose to extend the Swell 16′ Waldhorn study of the resulting specifi cations will condition, and was attractive to us as far exceeding that of non-pipe substitutes. (a time-honored tradition) to become serve as empirical evidence for any church organbuilders, because we could select, We cannot say enough about the the 32′ Pedal reed. Organist Brian-Paul with an organ, especially an Austin, think- scale, and voice the pipes we wanted, to pleasant dealings we had with this con- Thomas was very clear in his vision for ing that there is no hope for a rather bland create the sound we wanted in the room. gregation, who allowed us the freedom to this voice: he did not want a jackhammer tonal ensemble. The transformation of We used all the available notes on the practice our craft. The result is an organ or clatter, but smooth dark tone. Using each organ was completed with remark- existing chest and added more chest space. of which we are extremely proud, and this thought as a guideline, we scaled this able success—each one unique. We are Case skirting, which already matched the we think it is important for churches and stop moderately, and consequently, the also embarking on a plan to make a collec- woodwork in the church, was extended musicians everywhere to know that small, 12 full-length resonators fi t nicely in the tive recording of these instruments. to enclose the additions, and a swell box affordable organs are still being built. space occupied by the former Quintaton, While history furnishes a wealth of was constructed. The wood pipes of the Tamara Lewis is organist and director located in a split arrangement on either motivation, we are confi dent that new new 16′ Bourdon were stained to match. of music. side of the Great chest. avenues and designs are only just around The other two voices added to the the corner that may enhance earlier organ were a set of Deagan Class A efforts. As surely as we are inspired by chimes, and a vintage Austin Harp. the triumphs of the past, we face the Randall Dyer & Associates These two percussions also work very challenges of today by building organs Trinity Evangelical Lutheran Church, Sanford, North Carolina nicely in this space. that will continue to inspire interest beyond today, beyond tomorrow, and GREAT 4′ Gemshorn (1–7 Viola) 54 pipes Conclusion into the next generation. Art is only art 8′ Principal (en façade) 61 pipes 8′ Trumpet 61 pipes 8′ Bourdon (Sw) Tremulant We fi nd the new instrument is excit- when it represents the best efforts of 4′ Octave 61 pipes MIDI ing, rich, and versatile. It has a delicious, the Creator, with both eyes open to even 2′ Octave (ext) 12 pipes Swell 4 smooth crescendo from pianissimo to greater possibilities. We aim to create III Mixture (includes 2′) 96 pipes fortissimo, never missing a step! These something signifi cant for worship and 8′ Trumpet (Sw) PEDAL Southern Star (cymbelstern) 16′ Bourdon (Sw) 12 pipes changes were made possible because the performance of great music, and in MIDI 8′ Principal (Gt) of the amazing fl exibility of the Austin the greater sphere, to offer our own illu- Swell to Great 16 8′ Bourdon (Sw) Universal Airchest design. Having been mination of how music might be made. Swell to Great 8 4′ Principal (Gt) at the helm of Austin since 2005, I am —Michael B. Fazio Swell to Great 4 16′ Trumpet (Sw) 12 pipes MIDI still constantly in awe of the versatility of Austin Organs, Inc. SWELL Great to Pedal 8 the Austin system. President and Tonal Director 8′ Bourdon 61 pipes Swell to Pedal 8 In a future article, we would like to 8′ Viola (1–7 Bourdon) 54 pipes Swell to Pedal 4 discuss the transformation of a few Austin All photos by Michael B. Fazio
28 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM 2015 Summer Carillon Concert Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN By Brian Swager Park Ridge, IL GRACE CHURCH Allendale, Michigan August 23, Richard D. Gegner & Richard Pickle Piano / Johannus Midwest NEW YORK Grand Valley State University, Cook Caril- M. Watson Bloomingdale, IL lon, Sundays at 8 pm August 30, Richard M. Watson August 2, Olesya Rostovskaya September 6, Richard D. Gegner August 9, Francis Crepin September 7, Richard M. Watson (2 pm) Christopher Babcock August 16, Jonathan Hebert Middlebury, Vermont August 23, Julianne Vanden Wyngaard Middlebury College, Fridays at 5 pm St. Andrew’s by the Sea, August 7, Tatiana Lukyanova Hyannis Port Bloomfi eld Hills, Michigan August 14, George Matthew Jr. (4 pm) Christ Church Cranbrook, Sundays at 4 pm August 9, John Gouwens Minneapolis, Minnesota Central Lutheran Church Centralia, Illinois Sundays at 11:15 am Dean W. Billmeyer GAVIN BLACK Centralia Carillon, Fridays at 6:30 pm August 2, Julianne Vanden Wyngaard Princeton Early Keyboard Center University of Minnesota September 4, Wylie Crawford 732/599-0392 September 5, Jim Fackenthal & Tim Sleep Montréal, Québec Oratoire Saint-Joseph, Sundays at 2:30 pm Minneapolis 55455 • [email protected] www.pekc.org September 6, Sue Bergren & Carlo van Ulft August 9, Andrée-Anne Doane, David Doane, & Gabriel Doane-Picard Chicago, Illinois University of Chicago, Rockefeller Chapel Naperville, Illinois Byron L. Blackmore THOMAS BROWN Sundays at 5 pm Naperville Millennium Carillon UNIVERSITY August 2, Francis Crépin Tuesdays at 7 pm Crown of Life Lutheran Church PRESBYTERIAN CHURCH August 9, Jonathan Hebert August 4, Francis Crépin Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA August 16, Tim Sleep August 11, Jonathan Hebert 623/214-4903 ThomasBrownMusic.com August 23, Wylie Crawford August 18, Tim Sleep
Cohasset, Massachusetts Northfi eld, Vermont Norwich University, Saturdays at 1 pm St. Stephen’s Episcopal Church ROBERT CLARK August 1, Elena Sadina DELBERT DISSELHORST Sundays at 6 pm Houston Texas August 2, Margaret Angelini Master Classes, Consultation Professor Emeritus Norwood, Massachusetts [email protected] August 16, Tatiana Lukyanova Norwood Memorial Municipal Building 513/478-0079 University of Iowa–Iowa City Mondays at 7 pm Denver, Colorado August 3, Margaret Angelini University of Denver, Williams Carillon August 10, Lee B. Leach Sundays at 7 pm August 17, Tatiana Lukyanova JAMES DORROH, AAGO, PhD STEVEN EGLER August 2, John Gouwens Saint Luke’s Episcopal Church Central Michigan University August 16, David Hunsberger Ottawa, Ontario Samford University School of Music Peace Tower Carillon Birmingham, Alabama Mt. Pleasant, MI 48859 Weekdays in August at 11 am East Lansing, Michigan [email protected] Andrea McCrady, Carillonneur Organ Consultant Organ Recitals Michigan State University, Beaumont Tow- er Carillon, Wednesdays at 6 pm Princeton, New Jersey August 5, Sally Harwood Norberto Princeton University, Grover Cleveland JOHN FENSTERMAKER Tower, Sundays at 1 pm Guinaldo Fort Washington, Pennsylvania August 2, Margaret Pan TRINITY-BY-THE-COVE St. Thomas Church, Whitemarsh August 9, Lisa Lonie His Music Tuesdays at 7 pm August 16, Buck Lyon-Vaiden NAPLES, FLORIDA See—Listen—Buy August 4, Lisa Lonie August 23, Ellen Dickinson www.GuinaldoPublications.com August 30, Tebbel/Lonie Duo Frederick, Maryland St. Paul, Minnesota Baker Park House of Hope Presbyterian Church TEPHEN AMILTON WILL HEADLEE First & Third Sundays at 12:30 pm S H Sundays at 4 pm 1650 James Street John Widmann, City Carillonneur recitalist–clinician–educator August 2, Julianne Vanden Wyngaard Syracuse, NY 13203-2816 August 9, Dave Johnson www.stephenjonhamilton.com Glencoe, Illinois (315) 471-8451 Chicago Botanic Garden, Mondays at 7 pm Storrs, Connecticut August 3, Francis Crépin Storrs Congregational Church August 10, Jonathan Hebert Thursdays at 6 pm August 17, Tim Sleep August 6, Gerald Martindale August 24, Wylie Crawford August 13, Andrée-Anne Doane David Herman August 31, Jim Fackenthal August 20, David Maker Trustees Distinguished Professor Emeritus of Music and University Organist
September 7, Mark Lee The University of Delaware Q [email protected] Valley Forge, Pennsylvania Washington Memorial Chapel Mariemont, Ohio Wednesdays at 7:30 pm Mary M. Emery Memorial Carillon August 5, Margaret Pan A Professional Card in Sundays at 7 pm August 12, Doug Gefvert & Irish Thunder August 2, Richard D. Gegner Pipes & Drums The Diapason August 9, Richard M. Watson August 19, Jesse Ratcliffe August 16, Richard D. Gegner August 26, Ellen Dickinson For rates and digital specifi cations, contact Jerome Butera 847/391-1045; [email protected]
LORRAINE BRUGH, Ph.D.
Associate Professor ATOS University Organist ExperienceAmerican Theatre Organ Society Valparaiso University Preserving a unique art form. Valparaiso, IN www.valpo.edu Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] 219-464-5084 P.O. Box 5327, Fullerton, CA 92838 [email protected]
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 29 ANDREW HENDERSON, DMA Gary L. Jenkins Calendar Director, Schmidt Concert Series Madison Avenue Presbyterian Church Director of Music, Carmelite Monastery Evensong, Choir of Trinity College, Cam- New York, NY This calendar runs from the 15th of the month bridge, UK; St. Andrew Episcopal, Pitts- Curator of Organs of issue through the following month. The deadline burgh, PA 4:30 pm Rose-Hulman Institute of Technology is the fi rst of the preceding month (Jan. 1 for www.andrewhenderson.net Brenda Portman; Hyde Park Commu- Terre Haute, Indiana Feb. issue). All events are assumed to be organ nity UMC, Cincinnati, OH 4 pm recitals unless otherwise indicated and are grouped Stephen Schnurr; Chapel of the Resur- within each date north-south and east-west. •=AGO CALIFORNIA LUTHERAN UNIVERSITY rection, Valparaiso University, Valparaiso, chapter event, • •=RCCO centre event, +=new organ IN 3 pm Brian Jones dedication, ++= OHS event. Kyle Johnson, DMA Information cannot be accepted unless it 14 SEPTEMBER Director of Music Emeritus specifi es artist name, date, location, and hour in University Organist Choir of Trinity College, Cambridge, UK; TRINITY CHURCH writing. Multiple listings should be in chronological Calvary Episcopal, Pittsburgh, PA 7:30 pm rLFKPIOT!DBMMVUIFSBOFEV order; please do not send duplicate listings. www.callutheran.edu BOSTON THE DIAPASON regrets that it cannot assume 15 SEPTEMBER responsibility for the accuracy of calendar entries. Kent Tritle; Stetson University, Deland, FL 7:30 pm 16 AUGUST Ken Cowan; Peachtree Road United KIM R. KASLING JAMES KIBBIE Josh Boyd; Basilica of the National Methodist, Atlanta, GA 7:30 pm D.M.A. The University of Michigan Shrine of the Immaculate Conception, Yun Kyong Kim; Alumni Hall, Indiana Ann Arbor, MI 48109-2085 Washington, DC 6 pm University, Bloomington, IN 8 pm St. John’s University Zach Klobnak; Ransdell Chapel, Camp- 734-764-1591 FAX: 734-763-5097 Don Fellows; St. Paul Cathedral, Pitts- Collegeville, MN 56321 burgh, PA 4 pm bellsville University, Campbellsville, KY email: [email protected] Colin Lynch; Madonna della Strada Cha- 12:20 pm pel, Loyola University, Chicago, IL 3 pm 16 SEPTEMBER Karen Beaumont; St. Hedwig Catholic Choir of Trinity College, Cambridge, UK; Church, Milwaukee, WI 2 pm David K. Lamb, D.Mus. St. George Episcopal, Nashville, TN 7 pm Donald VerKuilen; Shrine of Our Lady Director of Music of Guadalupe, La Crosse, WI 3 pm 17 SEPTEMBER Trinity United Methodist Church Chelsea Chen; Rollins College, Winter RGAN ONSULTANT 18 AUGUST O C New Albany, Indiana Park, FL composition class 12:30 pm, re- Walter Strony; Merrill Auditorium, Port- www.gabrielkney.com 812/944-2229 cital 7:30 pm land, ME 7:30 pm Robert Barney; Old West Church, Bos- 18 SEPTEMBER ton, MA 8 pm David Carrier; Methuen Memorial Music Hall, Methuen, MA 8 pm 19 AUGUST Jeannine Jordan, with media artist; First Anne Laver; Methuen Memorial Music Baptist Church of America, Providence, RI Hall, Methuen, MA 8 pm 7:30 pm Ann Dobie; Christ Church, Michigan Randall Sheets; National City Christian City, IN 12:10 pm Church, Washington, DC 12:15 pm Mario Buchanan; First English Luther- Choir of Trinity College, Cambridge, UK; St. an, Appleton, WI 12:15 pm Philip Episcopal Cathedral, Atlanta, GA 8 pm Ahreum Han; Queen of the Rosary Cha- Todd Wilson; St. Paul Episcopal, India- pel, Sinsinawa Mound, Sinsinawa, WI 7 pm napolis, IN 7:30 pm NDREW AUL OORE A P M 20 AUGUST 19 SEPTEMBER A.S.C.A.P. Donald VerKuilen; Cathedral of St. Paul, FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Andrew Scanlon; St. Paul’s Episcopal, St. Paul, MN 7:30 pm Greenville, NC 7:30 pm 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 23 AUGUST 20 SEPTEMBER John Paul Farahat; Basilica of the Na- +Christopher Houlihan; Co-Cathedral tional Shrine of the Immaculate Concep- of St. Joseph, Brooklyn, NY 3 pm tion, Washington, DC 6 pm Annie Laver; St. Paul Cathedral, Pitts- Anthony Williams; St. Paul Cathedral, burgh, PA 4 pm Pittsburgh, PA 4 pm Alan Morrison; Camp Hill Presbyterian, Camp Hill, PA 4 pm 25 AUGUST Jonathan Rudy; Forrest Burdette Memo- Professor Emeritus – University of Michigan – Ann Arbor Ray Cornils, with Kotzschmar Festival Professor of Organ for 67 years rial United Methodist, Hurricane, WV 3 pm Brass; Merrill Auditorium, Portland, ME MarilynThe University’s longest-serving faculty memberMason Todd Wilson; St. John United Methodist, 7:30 pm Augusta, GA 3 pm Khristian Erich Bauer-Rowe & Jerome Nathan Laube; Vineville United Method- Fung; Old West Church, Boston, MA 8 pm ist, Macon, GA 4 pm Isabelle Demers; Stambaugh Audito- LARRY PALMER 26 AUGUST rium, Youngstown, OH 4 pm PHILIP CROZIER Carl Klein; Methuen Memorial Music Ken Cowan; Christ Lutheran, Athens, CONCERT ORGANIST Harpsichord – Organ Hall, Methuen, MA 8 pm OH 4 pm Marillyn & Ralph Freeman; St. Paul Lu- Choral Evensong; Cathedral Church of ACCOMPANIST theran, Neenah, WI 12:15 pm Professor of Music, Emeritus the Advent, Birmingham, AL 3 pm 3355 Queen Mary Road, Apt 424 Matt Haider; Queen of the Rosary Cha- Stan Jones; Madonna della Strada Cha- pel, Sinsinawa Mound, Sinsinawa, WI 7 pm pel, Loyola University, Chicago, IL 3 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Canada 30 AUGUST 21 SEPTEMBER Charles Hicks; Basilica of the National Marilyn Keiser; Church Street United Recitals — Lectures — Consultancies (514) 739-8696 Shrine of the Immaculate Conception, Methodist, Knoxville, TN 7:30 pm [email protected] Washington, DC 6 pm [email protected] + 214.350-3628 Alistair Stout; St. Paul Cathedral, Pitts- 22 SEPTEMBER burgh, PA 4 pm Karen Beaumont; King’s Chapel, Bos- ton, MA 12:15 pm 4 SEPTEMBER Gail Archer; St. Paul Chapel, Columbia Andrew Peters; Christ Lutheran, Ko- University, New York, NY 6 pm komo, IN 7 pm www.pekc.org Karen Beaumont; Grace Lutheran, Mil- 25 SEPTEMBER waukee, WI 5 pm Joanne Peterson; National City Chris- Princeton Early Keyboard Center tian Church, Washington, DC 12:15 pm 8 SEPTEMBER Bradley Hunter Welch; U.S. Naval Director Jeff VerKuilen; Church of the Gesu, Mil- Academy, Annapolis, MD 7:30 pm Gavin Black, waukee, WI 7:30 pm Nathan Laube; Auer Hall, Indiana Uni- versity, Bloomington, IN 8 pm The Princeton Early Keyboard Center, with its principal 11 SEPTEMBER Diane Meredith Belcher, Peter Conte 26 SEPTEMBER studios on Witherspoon Street in Princeton, NJ, is a small, & John Walker; Center Church, Hartford, Ken Cowan; Merrill Auditorium, Port- independent school offering lessons and workshops in CT 7:30 pm land, ME 7:30 pm harpsichord, clavichord, continuo playing, and all aspects Choir of Trinity College, Cambridge, UK; Craig Cramer; First Congregational, St. Ignatius Loyola, New York, NY 7 pm Hudson, OH 8 pm of Baroque keyboard studies. Facilities include two John Cannon; National City Christian Nathan Laube, masterclass; Auer Hall, antique harpsichords, several other fi ne harpsichords, Church, Washington, DC 12:15 pm Indiana University, Bloomington, IN 11 am Nicholas Schmelter; First Presbyterian, and clavichords, both antique and modern. Lessons at the Caro, MI 7 pm 27 SEPTEMBER Center are available in a wide variety of formats, tailored to Robert Bates; Vassar College Chapel, the needs of each student. All enquiries are very welcome at 13 SEPTEMBER Poughkeepsie, NY 3 pm Christopher Houlihan; Church of Christ Katherine Meloan, with trumpet; Ford- 732/599-0392 or [email protected]. at Dartmouth, Hanover, NH 4 pm ham United Methodist, New York, NY 4 pm Nathan Laube; First Presbyterian, Lan- Jonathan Ryan; Austin Auditorium, caster, PA 4 pm Wingate University, Wingate, NC 4 pm
30 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery Stefan Engels; Spring Valley Presbyte- 31 AUGUST Concert Organist rian, Columbia, SC 3 pm James Hammann & Amy Christensen; Bruce Neswick; Wesley Memorial Unit- St. Matthew’s by-the-Bridge Episcopal, www.ScoMo.org ed Methodist, Savannah, GA 5 pm Iowa Falls, IA 4 pm [email protected] Jeremy Filsell; Emory University, Atlan- Clark Sterling & Carol Williams; ta, GA 4 pm Spreckels Organ Pavilion, Balboa Park, San Diego, CA 7:30 pm 28 SEPTEMBER Stephen G. Schaeffer David Fienen; Elliott Chapel, Presbyte- 6 SEPTEMBER LEON NELSON rian Homes, Evanston, IL 1:30 pm Recitals – Consultations Christoph Tietze; Cathedral of St. Mary Director of Traditional Music of the Assumption, San Francisco, CA 4 pm Director of Music Emeritus 29 SEPTEMBER Southminster Presbyterian Church Cathedral Church of the Advent Christopher Houlihan; Mount St. Mary’s 11 SEPTEMBER Arlington Heights, IL 60005 Seminary, Emmitsburg, MD 7 pm Birmingham, Alabama Jung-A Lee; St. Andrew’s Presbyterian, Kent Tritle; First United Methodist, Newport Beach, CA 12 noon Newnan, GA 7 pm 13 SEPTEMBER Nicholas E. Schmelter ROBERT L. UNITED STATES Kola Owolabi; Lagerquist Hall, Pacifi c West of the Mississippi Lutheran University, Tacoma, WA 3 pm Director of Music Zoltan Varga; Cathedral of St. Mary of Immaculate Conception SIMPSON the Assumption, San Francisco, CA 4 pm Catholic Church Christ Church Cathedral 15 AUGUST 1117 Texas Avenue Gail Archer; Legion of Honor, San Fran- Lapeer, Michigan Houston, Texas 77002 cisco, CA 4 pm 18 SEPTEMBER Susanna Valleau; Christ Episcopal, Ta- 16 AUGUST coma, WA 12:10 pm Gail Archer; Legion of Honor, San Fran- Stephen Tappe cisco, CA 4 pm 19 SEPTEMBER Organist and Director of Music James Welch; Bethania Lutheran, Katya Gotsdiner; Cathedral of St. Mary Mark Steinbach Saint John's Cathedral of the Assumption, San Francisco, CA 4 pm Solvang, CA 1 pm Brown University Choral festival; Segerstrom Concert Hall, Denver, Colorado Costa Mesa, CA 5 pm 20 SEPTEMBER www.sjcathedral.org Tom Mueller; Westwood United Method- Choir of Trinity College, Cambridge, UK; ist, Los Angeles, CA 3 pm Incarnation Episcopal, Dallas, TX, 11 am Choral Eucharist, 4 pm concert 17 AUGUST Paul Jacobs; Broadway Baptist, Fort ORGAN MUSIC OF THE SPANISH BAROQUE Tim Frank; Trinity Lutheran, Rochester, Worth, TX 7 pm MN 12:15 pm Andrzej Szadejko; Cathedral of St. Mary David Troiano Joe Utterback Paul Jacobs; Spreckels Organ Pavilion, of the Assumption, San Francisco, CA 4 pm DMA MAPM COMMISSIONS & CONCERTS Balboa Park, San Diego, CA 7:30 pm 586.778.8035 732 . 747 . 5227 22 SEPTEMBER [email protected] 21 AUGUST Choir of Trinity College, Cambridge, UK; Isaac Drewes; Christ Episcopal, Taco- First-Plymouth Congregational, Lincoln, ma, WA 12:10 pm NE 7: 30 pm
24 AUGUST 25 SEPTEMBER Marcia Van Oyen Alcée Chriss; St. Paul Lutheran, Albu- David Wagner Andrew Peters; Third Baptist, St. Louis, First United Methodist Church querque, NM 7 pm MO 12:30 pm DMA Donald MacKenzie, silent fi lm accom- Plymouth, Michigan Scott Dettra; University Park Methodist, paniment; Spreckels Organ Pavilion, Bal- www.davidwagnerorganist.com Dallas, TX 7:30 pm boa Park, San Diego, CA 7:30 pm mvanoyen.com
25 AUGUST 26 SEPTEMBER Christopher Ganza; Trinity Lutheran, George Baker; Kerr Gothic Hall, Univer- sity of Oklahoma, Norman, OK 8 pm Rochester, MN 12:15 pm Kevin Walters KARL WATSON 28 AUGUST 27 SEPTEMBER David Pickering; Kansas State Univer- Stephen Hamilton; Christ United Meth- M.A., F.A.G.O. SAINT LUKE’S sity, Manhattan, KS 7:30 pm odist, Rochester, MN 4 pm Isabelle Demers; Christ United Method- Rye, New York METUCHEN 30 AUGUST ist, Plano, TX 7 pm Ken Cowan; Our Lady of Fatima Catho- Elna Johnson; Cathedral of St. Mary of lic Church, Lafayette, LA 2 pm the Assumption, San Francisco, CA 4 pm Bradley Hunter Welch; Canyon Creek 28 SEPTEMBER Alan G Woolley PhD Presbyterian, Richardson, TX 5 pm RONALD WYATT Christoph Tietze; Cathedral of St. Mary James Welch; Christ Episcopal, Eureka, Musical Instrument Research of the Assumption, San Francisco, CA 4 pm CA 7:30 pm Edinburgh Trinity Church
[email protected] Galveston
RUDOLF ZUIDERVELD DIAPASON Student Rate $20 one year Illinois College, Jacksonville First Presbyterian Church, NEW! 847/391-1044 6RPH0DLQH/LQHVKDUPRQLRXVFRXQWHUSRLQWSOD\HG Springfi eld [email protected] ( RQKLVWRULFLQVWUXPHQWVLQFOXGLQJWKHUHFHQWO\UHVWRUHG < .RW]VFKPDU2UJDQLQ3RUWODQG 6DOW/DNH&HOHEUDWLRQH[FHUSWVIURPLQDXJXUDO A two-inch Professional Card . FRQFHUWVRQQHZ0LFKDHO%LJHORZSLSHRUJDQVDW6W0DUN¶V < (SLVFRSDO&DWKHGUDODQG6W$PEURVH&DWKROLF&KXUFK in The Diapason For information on rates and specifi cations, contact Jerome Butera: : 7RZQ+DOO7UHDVXUHVWKHWUDGLWLRQRIJUDQGSLSH [email protected] 608/634-6253 RUJDQVLQFLYLFKDOOVVHHPVWRKDYHEHHQDQ(QJOLVK ; LQYHQWLRQRQHFDUULHGRQVXFFHVVIXOO\WKURXJKRXWWKH(PSLUH DQGVWLOOPDLQWDLQHGDQGHPXODWHGWRGD\ ArtistArtist Spotlights Spotlightspotlight s DAVID SPICER 2UJDQDQG2UFKHVWUDDW'LVQH\+DOODQLFRQLF LQVWUXPHQW¿HU\FRQGXFWRULFRQRFODVWLFVRORLVWDQGSURELQJ Artist Spotlights First Church of Christ QHZVFRUHPDNHIRUPHPRUDEOHOLVWHQLQJ are available on Wethersfi eld, Connecticut 1RUZHJLDQV:RXOG ,, DQRWKHUH[SORUDWLRQRIWKH The Diapason RUJDQDUWDVSUDFWLFHGLQGLVWLQFWLYHIDVKLRQE\VRORLVWVDQG website and FRPSRVHUVIURP1RUZD\ e-mail newsletter. Contact Jerome
7PWLKYLHTZ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZ HWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 31 Calendar
INTERNATIONAL Philip Crozier; Dom, Essen, Germany Jan Katschke; St. Jakobikirche, Frei- F. ALLEN ARTZ, Grace Lutheran 7:30 pm berg, Germany 12 noon Church, Lancaster, PA, April 26: Praeludium Frédéric Champion; St. Nikolaikirche, in E, Lübeck; Allein Gott in der Höh sei Ehr, 15 AUGUST 28 AUGUST Freiburg, Germany 7:30 pm BWV 662, Bach; Wer nur den lieben Gott James Hicks; Cathedral, Oslo, Norway John Scott; Hauptkirche St. Petri, Ham- Hans-Ola Ericsson; Kirche Ss. Peter & 12 pm burg, Germany 6:30 pm Paul, Cappel, Germany 7 pm läßt walten, Böhm; Prière (Quatre Pièces), Philip Crozier; Münster, Konstanz, Ger- Jongen; Prelude and Fugue in d, op. 37, no. 16 AUGUST many 8 pm 5 SEPTEMBER 3, Mendelssohn; Fugue in E-fl at, BWV 552, James Hicks; Cathedral, Bergen, Nor- Christophe Mantoux; Jacobikirche, Lü- Carsten Hohl; Dom, Limburg, Germany Bach; Fugue No. 1 in B-fl at (Six Fugues on way 7:30 pm beck, Germany 7 pm 4 pm the Name BACH for Organ or Pianoforte, op. David Enlow; Église St-Michel, Chamo- David Jonies; Notre Dame Cathedral, 60), Schumann; Suite on the Second Tone, nix-Mont-Blanc, France 5 pm 29 AUGUST Paris, France 8 pm Clérambault; Paraphrase on Judas Macca- Philip Crozier; Domkyrka, Växjö, Swe- Bernhard Haas & Pierre Pincemaille; baeus, Guilmant; Partita on O Morning Star, den 6 pm Église St. Martin, Dudelange, Luxembourg 6 SEPTEMBER How Fair and Bright, Burkhardt. 8 pm Luca Guglielmi; with La Compagnia 18 AUGUST del Madrigale, St. Cyprian- und Corne- STEPHANIE BURGOYNE, St. Jude’s An- David Enlow; Cathedral, Salzburg, Aus- 30 AUGUST liuskirche, Ganderkesee, Germany 5 pm glican Church, Brantford, ON, Canada, May tria 12 noon Harald Vogel; St. Laurentiuskirche, Bach, Magnifi cat, cantatas 10, 182; 16: Prélude en forme de Marche, Bédard; Alle- Jonathan Vromet ; St. James United Langwarden, Germany 5 pm Stadtkirche, Thun, Switzerland 5 pm gro (Concerto in g), Graun; Pasticcio, Langlais; Church, Montreal, QC, Canada 12:30 pm Richard Moore; St. Paul’s Cathedral, Concerto Grosso, Corelli; Dialogue (Sonata 1 SEPTEMBER London, UK 4:45 pm No. 1), Becker; Bugler’s Holiday, Anderson. 19 AUGUST Heejin Kim; Zionskirche, Worpswede, Stefan Kagl; Hauptkirche St. Michaelis, Germany 8 pm 7 SEPTEMBER CHELSEA CHEN, St. Raphael Catholic Hamburg, Germany 7 pm Frédéric Deschamps; St. James United, David Higgs; Hofkirche, Dresden, Ger- Michael Diercks Church, Naperville, IL, May 8: Sinfonietta, ; Kreuzkirche, Dresden, Montreal, Quebec, Canada 12:30 pm many 8 pm Germany 8 pm Gjeilo; Toccata, Adagio, and Fugue in C, Solistes de la Maîtrise Notre-Dame de BWV 564, Bach; Dolly Suite, Fauré, tran- 2 SEPTEMBER Paris; Notre-Dame, Paris, France 8:30 pm 21 AUGUST scr. Clerc; Taiwanese Suite, Chen; Miroir, Wolfgang Zerer; St. Johanniskirche, Jürgen Geiger; Hauptkirche St. Petri, Wammes; Prelude and Fugue in B, Dupré. Wiefelstede, Germany 8 pm 9 SEPTEMBER Hamburg, Germany 6:30 pm Daniel Chappuis; Hofkirche, Dresden, Andres Uibo; Kreuzkirche, Dresden, Philip Crozier; Pfarrkirche St. Gudula, JOHN COLLINS, St. Nicholas Church, Germany 8 pm Germany 8 pm Rheda, Germany 7 pm Brighton, UK, April 8: Toccata Quarta, Christian Wilson; Westminster Cathe- Stefano Pellini; Chiesa di S. Antonio, Frescobaldi; Ricercar in c, Pachelbel; Meio dral, London, UK 7:30 pm Borgosesia, Italy 9 pm 23 AUGUST Registo 2 Tom, de Conceição; Sonatas 24 in Philip Crozier; Stadtkirche, St. Diony- 10 SEPTEMBER F and 16 in G, anon. 18th cen. Croatia; Vol- sius zu Krefeld, Germany 4:30 pm 3 SEPTEMBER Bine Katrine Bryndorf; Dom St. Marien, untary no. 7, S. Goodwin; Voluntary 5 in F, Robert Bates; Cathedrale, Sarlat, Christoph Schoener; Hauptkirche St. Freiberg, Germany 8 pm W. Goodwin; Voluntary 6 in D, J. Alcock, Sr.; France 4 pm Michaelis, Hamburg, Germany 7 pm Bernhard Haas; Dom St. Marien, Frei- Fantaisie in C, Handel. 11 SEPTEMBER 25 AUGUST berg, Germany 8 pm James Johnstone; St. Jakobikirche, Vincent Boucher; St. James United Christian Smitt; Der Aa-Kerk, Gronin- PAUL DERRETT, Holy Trinity & St. Sav- Church, Montreal, QC, Canada 12:30 pm gen, Netherlands 8 pm Freiberg, Germany 12 noon iour Church, Sloane Square, London, UK, Pieter van Dijk; St. Paul’s Cathedral, Przemyslaw Kapitula; Chiesa di S. Ma- March 28: Prelude and Fugue in C, BWV 545, 26 AUGUST London, UK 6:30 pm ria, Valduggia, Italy 9 pm Bach; Voluntary in e, op. 7, no. 7, Stanley; An Kristian Krogsøe; Hauptkirche St. Mi- Old German Tune, Skidmore; On Hearing the chaelis, Hamburg, Germany 7 pm 4 SEPTEMBER 16 SEPTEMBER First Cuckoo in Spring, Delius; Symphony Richard Elliott; Frauenkirche, Dresden, Thomas Dahl; Hauptkirche St. Petri, Thiemo Janssen; Frauenkirche, Dres- No. 2, Weitz. Germany 8 pm Hamburg, Germany 6:30 pm den, Germany 8 pm JONATHAN DIMMOCK, Mosteiro de 19 SEPTEMBER São Bento de São Paolo, Brazil, April 7: Sara- Christophe Mantoux; St. Albans Cathe- dral, St. Albans, UK 5:30 pm bande for the morning of Easter, Howells; Prelude and Fugue in C, BWV 547, Bach; 23 SEPTEMBER Miriam’s Dance, Martinson; Resurrection Hartmut Siebmanns; Hofkirche, Dres- Suite, King; Choral-Improvisation on ‘Victi- den, Germany 8 pm mae paschali,’ Tournemire. Simon Johnson; Westminster Cathe- dral, London, UK 7:30 pm MATTHEW DIRST, St. Mark’s Episcopal Cathedral, Seattle, WA, May 1: The Art of 24 SEPTEMBER Fugue (complete), BWV 1080, Bach. Margaret Phillips, complete Bach organ works series; St. George’s Church, Ha- DELBERT DISSELHORST, St. Mark’s nover Square, London, UK 6 pm Lutheran Church, Marion, IA, March 22: King David’s Dance, Paulus; Ah, Holy Jesus, 25 SEPTEMBER Brahms; Ah, Holy Jesus, Walcha; Fugue in Christophe Mantoux; North Cathedral E-fl at, BWV 542, Bach; Walther’s Preislied of Beijing, Beijing, China 7:30 pm (Meistersinger), Wagner; Elfes, op. 7, Bonnet; Margaret Phillips, complete Bach organ Lotus Blossom, Strayhorn, arr. Wyton; Prelude works series; St. George’s Church, Ha- å 5 (Grave) in E-fl at major, Lemmens; Tu es A. David Moore, Inc. nover Square, London, UK 6 pm petra (Byzantine Sketches), Mulet. 26 SEPTEMBER JOHN FENSTERMAKER, Bethesda-by- TRACKER ORGAN DESIGNERS & BUILDERS Margaret Phillips, complete Bach organ the-Sea Episcopal Church, Palm Beach, FL, works series; St. George’s Church, Ha- HC 69 Box 6, North Pomfret, Vermont 05053 May 3: Fantasia on Ein Feste Burg ist unser 801-756-5777 nover Square, London, UK 6 pm www.bigeloworgans.com 802/457-3914 Gott, Praetorius; Offertory for Easter Day (O 27 SEPTEMBER Filii et Filiae), Dandrieu; Variations on Kum Andreas Rothkopf; Saint-Sulpice, Par- Ba Yah, Behnke; All Through the Night, arr. Member Firm: The Associated Pipe Organ Builders of America GAN BUILDERS - EST E OR . 187 is, France 4 pm Lemare; Finale (Symphonie I), Vierne. PIP 7 RANDALL DYER 30 SEPTEMBER STEPHEN HAMILTON, Grace Cathe- & ASSOCIATES, INC. Schoenstein Holger Gehring; Kreuzkirche, Dresden, dral, San Francisco, CA, March 1: Le Chemin PIPE ORGANS OF QUALITY AND DISTINCTION SAN FRANCISCO Germany 8 pm de la Croix, op. 29, Dupré. BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 w ww 58 ◆ .sch 47-58 [email protected] www.rdyerorgans.com oenstein.com - (707) 7
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32 Q THE DIAPASON Q AUGUST 2015 WWW.THEDIAPASON.COM Organ Recitals
SIMON THOMAS JACOBS, St. Albans Pachelbel; Elevazione, Postcommunio and MARTIN NEARY, with Alice Neary, cello, Choeur Dialogué, Gigout; Toccata and Fugue Cathedral, St. Albans, UK, May 16: Grand Ite missa est, Anonymous; Voluntary in A, St. Peter’s Church, St. Albans, UK, April 18: in d, BWV 565, Jesu, Joy of Man’s Desiring, Dialogue du 5e Ton, Marchand; Allein Gott Selby; Variations on the Sicilian Hymn, Carr; Sonata in D for cello and organ, Toccata and Bach; Maundy Thursday (Holy Week), Han- in der Höh sei Ehr, BWV 663, Bach; Toccata Pastorale on Italian Hymn, Proulx; Pastorel- Fugue in d, BWV 538, Bach; Prière, Saint- cock; Rigaudon, Campra; Adagio (Symphonie and Fugue in E, Krebs; Cathédrales, op. 55, la, Fauxbourdon, Musette, Caccia (Varia- Saëns; Kol Nidrei, Bruch. III), Vierne; Cantabile, Pièce héroïque, Vierne; Prélude sur l’introit de l’Epiphanie, tions on I Come with Joy), Dahl; Toccata on Franck; Paraphrase sur Salve Regina, Lan- Fugue sur le thème du Carillon des Heures Nettleton, Biery. WILLIAM NESS, First Baptist Church, glais; Choral Varié sur Veni, creator, Durufl é. de la Cathédrale de Soissons, op. 12, Durufl é; Worcester, MA, May 15: Pageant, Sowerby; Nocturne, Sanger; Sinfonietta, Moore. OLIVIER LATRY, Walt Disney Concert Von Gott will ich nicht lassen, BWV 658, TIMOTHY TIKKER, St. Augustine Ca- Hall, Los Angeles, CA, April 19: Cortège et Herr Jesu Christ, dich zu uns wend, BWV thedral, Kalamazoo, MI, March 29: Seven KYLE JOHNSON, Bethany College, Litanie, op. 19, no. 2, Dupré; Prière, op. 655, Prelude and Fugue in c, BWV 546, Bach; Chorale-Poems for Organ on the Last Seven Lindsborg, KS, April 24: Comes Autumn Scherzo, op. 2, Durufl é; Deuxième Fan- 20, Franck; Final (Sonata No. 1, op. 42), Words of Christ, Tournemire. Time, Sowerby; Lyric Rhapsody, Wright; Guilmant; Berceuse à la mémoire de Louis taisie, JA 117, Alain; Hymne aux Mémoires Dearest Jesus, at Your Word, If God Himself Héroïques, Grunenwald; Tableaux d’une Ex- Vierne, Boléro, Cochereau; Symphony No. DAVID TROIANO, National Shrine of Be for Me, Soul, Adorn Yourself with Glad- position/Pictures at an Exhibition, Mussorg- 2, Vierne. St. Francis Xavier Cabrini, Chicago, IL, April ness, Frahm; Prelude and Fugue in d, BWV sky, transcr. Guillou. 19: Toccata Secunda, Merula; Recercar Terzo, 539, Bach; Sonata in f, op. 65, no. 1, Mendels- GABRIELLA MAKUC and SAMUEL sohn; St. Louis Blues, Handy. DAVID RHODES, Chapel of the Holy Cavazzoni; Tocata per l’Elevatione, Fresco- BUSE, Memorial Chapel, Lawrence Univer- baldi; Sonata Fuga Vivace, Pasquini; Suonata sity, Appleton, WI, May 27: Pasticcio (Organ Spirit, Techny Towers, Techny, IL, May 3: DAVID C. JONIES, Presbyterian Homes, Fanfare, Lemmens; Largo in G, Handel; The del Pergolesi, Pergolesi; Suonate di stile Fu- Book), Langlais; Arabesque (24 Pièces en style gato, Santucci; Scherzo, Bossi; Adagio in Sol Elliott Chapel, Evanston, IL, April 27: So- libre, op. 31), Vierne; Herzlich tut mich ver- Cuckoo, d’Aquin; Prelude on ‘Rhosymedre,’ nata No. 4 in a, op. 98, Rheinberger; Organ Vaughan Williams; Come, Sweet Death, BWV minore (Tomaso Albinoni), Giazotto; Toccata, langen (op. 122, no. 10), Brahms; Wo soll ich Ginastera; Tiento de Falso, Bruna; Fugue in b, Concerto in B-fl at, op. 4, no. 2, Handel, arr. fl iehen hin, BWV 646, Wachet auf, ruft uns 478, Wer nur den lieben Gott lässt walten, Dupré; Sonata No. 2, Hindemith; Prelude and BWV 642, Ich ruf’ zu dir, Herr Jesu Christ, BWV 579, Allegro (Concerto in a, BWV 593i), die stimme, BWV 645, Prelude and Fugue in Fugue in E-fl at, op. 99, no. 3, Saint-Saëns. BWV 639, In dir ist Freude, BWV 615, Bach; Bach; Cantilena, Foote; Toccata on Hyfrydol, G, BWV 541, Bach. Grand Choeur, Dubois; Berceuse, Carillon, Pardini. ANTHONY JURICH, Loyola University, Meditation (24 Pièces en style libre), Vierne; WILLIAM MCVICKER, Town Hall, Madonna della Strada Chapel, Chicago, IL, Final (Sonata I), Guilmant. CHRISTOPHER URBAN, First Presby- Reading, UK, May 9: Choral-Improvisation, April 19: Prelude and Fugue in E, BWV 566, terian Church, Arlington Heights, IL, April Nun danket alle Gott, Karg-Elert; Overture to Bach; Middlebury, Distress, Happy Land (Sa- DOROTHY YOUNG RIESS, Resur- 1: March, based on a theme by Handel, Guil- ‘The Pirates of Penzance,’ Sullivan; In Spring- cred Sounds), Shearing; Prelude and Fugue in rection Catholic Church, Santa Rosa, CA, mant; Schmücke dich, o liebe Seele, BWV 654, d, op. 37, no. 3, Mendelssohn; Contemplation time, Hollins; Fantasia on Old Welsh Airs, March 22: Prelude, Fugue, and Chaconne in Faulkes; March: Halley’s Comet, Moore; Ju- Bach; Variations on ‘Wondrous Love,’ Lau; de la Vièrge Marie, Corbett; Adagio (Organ C, Buxtehude; Prelude and Fugue in b, BWV Sarabande, Tartini; Choral, Jongen; Land of Symphony No. 3 in f-sharp, op. 28), Vierne; bilant March, Dawre; Overture to ‘Zampa,’ 544, Bach; Adagio Cantabile (Piano Sonata Hérold; Five Portraits, Webber; Sortie in E- Rest, arr. Hamlin; Adagio for Strings, Barber; Choral in a, Franck. No. 8), Beethoven, arr. Riess; Poco Adagio Toccata (Symphony No. 5), Widor. fl at, Lefébure-Wely. (Seven Improvisations, op. 150), Saint-Saëns; YUN KYONG KIM, St. Ita Catholic Pilgrim’s Chorus (Tannhauser), Wagner, arr. AARON DAVID MILLER, St. Mark Epis- JONATHAN WESSLER, First Unitarian Church, Chicago, IL, April 26: Les Cloches Liszt; Acclamations (Suite Médiévale), Lan- Church, Worcester, MA, April 24: Overture de Hinckley (Pièces de Fantaisie, Suite IV, copal Cathedral, Minneapolis, MN, April 26: glais; Le Jardin Suspendu, Alain; Valse Mi- ‘Leonore’ No. 3, op. 72b, Beethoven, transcr. op. 55), Vierne; Elfes, Bonnet; Fantasma- Jump, Rain Descends, Chorale Fantasy on gnonne (Three Pieces for Organ, op. 142, no. Wessler; Choral (Symphonie Romane, op. gorie, JA 63, Alain; Evocation à la Chapelle LOBE DEN HERREN, Miller; Liberatango, Pi- 2), Karg-Elert; Chorale Preludes on Familiar 73), Widor; Fantaisie et Fugue, op. 18, no. Sixtine, Liszt; Toccata in d, op. 11, Prokofi ev, azzolla, arr. Miller; Par Una Cabeza, Gardel, Hymn Tunes, Fantasy and Passacaglia on Ein 6, Boëly; Innig—Etwas bewegter, Nicht zu transcr. Guillou; Freu dich sehr, o meine arr. Miller; Habanera, To the Walker, Miller; feste Burg, Riess. Seele, Macht hoch die Tür (Chorale Impro- improvised sonatina. schnell (Sechs Studien in kanonischer Form, visations, op. 65), Karg-Elert; Mad Rush, HAROLD STOVER, Cathedral of St. op. 56), Schumann; Alla sarabanda (Phan- Glass; Variations on a Theme by Handel, ROSALIND MOHNSEN, Adolphus John the Divine, New York, NY, April 19: tasy Quintet), Vaughan Williams, transcr. op. 29, Landmann. Busch Hall, Harvard University, Cambridge, Fanfare, Very Slowly (Sonatina), Sowerby; Ley; Rhosymedre (Three Preludes for Organ MA, March 12: Maestoso (Sonata III, op. Five Preludes on American Folk Hymns, Founded on Welsh Hymn Tunes), Vaughan SARAH KRAAZ, Parish Church of St. 4), Thayer; Herzlich thut mich verlangen, Stover; Manhattan Serenade, Alter, arr. Rio; Williams; Sonata no. 1 in d, op. 42, Guilmant. Helena, Beaufort, SC, March 20: Toccata Kirnberger; Herzlich tut mich verlangen, Tambourine, Stover. avanti la messa, Canzon dopo la pistola (Mes- Brahms; Fugue in g, BWV 542, Bach; Fugue JAY ZOLLER, First Baptist Church, Wa- sa della domenica), Frescobaldi; Fantasia in on BACH, op. 60, no. 5, Schumann; Tokkata JEREMY DAVID TARRANT and JOE terville, ME, March 29: Sei gegrüsset, Jesu b, BWV 563, Prelude and Fugue in C, BWV (Orgelkonzerte on Es sungen Drei Engel, op. BALISTRERI, Cathedral of the Most Blessed gütig, Bach; Three Short Pieces, Cooman; 545, Bach; Was Gott tut, das ist wohlgetan, 34), Micheelsen. Sacrament, Detroit, MI, April 18: Grand Toccata (Second Suite), Vierne.
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Advertise in Don’t just tell people what you _ The Diapason have for sale. Show them! Own a piece of history! For rates and digital specifi cations contact Jerome Butera The cover of the 100th Anniversary 608/634-6253 • [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]
WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 33 Classifi ed Advertising
POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE
West Side United Methodist Church of Ann Ed Nowak, Chicago-area composer, arranger, Kimball Pipe Organ, Opus 7133, c. 1933: Arbor, Michigan seeks part-time salaried organ- Harpsichord Technique: A Guide to Expres- and church musician, announces his new web- 3 manuals, 52 ranks, 41 stops, 3,556 pipes; ist. Two appearances/week. Salary to $12,000, sivity, 2nd Edition, with recordings by site, featuring Nowak’s original choral works, three divisions, plus Echo. This historic and commensurate with qualifi cations. Historic Möller Nancy Metzger, is the practical, hands on hymn concertatos, chamber and orchestral monumental Kimball organ is in excellent pipe organ. Traditional program, 30-voice choir. guide to historical keyboard performance. works, organ hymn accompaniments, organ condition with restoration in 1967 and 1985. Email [email protected] by 8/15/15. $35 at www.rcip.com/musicadulce. and piano pieces, electronic music, and psalm Photographs, documents, original Kimball settings. The website offers scores and recorded correspondence, blueprints, and performance examples that are easy to sample and can be recordings available. Contact Mr. Crockett, Wanted: Organists visiting Maui. Lahaina’s Watch the rising interest in the music of René purchased in downloaded (PDF and MP3) or 214/991-1009, [email protected]. See Holy Innocents Episcopal Church invites visit- Becker. We offer all three Sonatas, Communion, printed form. Visit ednowakmusic.com. photo and stoplist at http://www.thediapason. ing organists to play its Beckerath Positiv organ Toccatas, and more. michaelsmusicservice.com com/classifi ed/kimball-opus-7133. at Sunday services. Built in 1972 by Rudolf von 704/567-1066. Beckerath and then-apprentice Hans-Ulrich Christmas is just around the corner! Spiff Erbslöh for Honolulu’s Lutheran Church, the 408- up your services and concerts with fresh 1957 M.P. Möller—13 ranks, all straight. Great: pipe Shrankpositiv has a 54-note “split” manual, The new Nordic Journey series of CD record- music. Sixteen Christmas titles to choose from. Open Diapason 8′, Bourdon 8′, Gemshorn 4′, 30-note pedal, 11 stops, 8 ranks, and 6 registers. ings reveals premiere recordings of symphonic www.guinaldopublications.com. Fifteenth 2′, Mixture III. Swell: Spitzfl ute 8′, Viola Holy Innocents acquired the instrument in 1977 organ music—much of it still unpublished—from 8′, Voix Celeste 8′, Harmonic Flute 4′, Trumpet 8′. ′ ′ and moved it to Maui where it has been played Nordic composers, played by American organist Pedal: Open Diapason 16 & 8 from the Great, by parish musicians such as Carol Monaghan Certifi ed appraisals—Collections of organ Bourdon 16′, 8′, 4′. Buyer to remove. Contact K. James Hicks on a variety of recently restored books, recordings, and music, for divorce, and visiting artists including Angus Sinclair of Swedish organs. It’s a little bit like Widor, Reger W. Hyre at St. Johns’ Olympia, WA: 360/352-8527 Canada and Dalibor Miklavcic of Slovenia. The estate, gift, and tax purposes. Stephen L. Pinel, and Karg-Elert, but with a Nordic twist. Check it or [email protected]. instrument is extremely responsive and fi lls the Appraiser. 629 Edison Drive, East Windsor, NJ out at www.proorgano.com and search for the worship space beautifully. The parish community 08520-5205; 609/448-8427. term “Nordic Journey.” is “exemplary in its hospitality to all visitors,” and Lauck Opus 51 (2000) pipe organ, $48,900. that especially includes visiting organists. For Electric action, 2-manual/pedal, 5 ranks, pris- ChicAGO Centenary Anthology, by Alan J. tine, self contained in oak case. Dimensions: information: 808/661-4202; holyimaui.org Settings of Hymn Tunes from the British Isles, Hommerding, Paul M. French, Richard Proulx, et 7′6′′ wide, 7′11′′ high, 30′′ deep. Versatile Volume 1 for Organ from Fruhauf Music Pub- al. This joint effort of the Chicago Chapter of the instrument suited for small worship space, lications (35 pages), including: Prelude on First Presbyterian Church, Hilton Head Island, American Guild of Organists and World Library college studio or private residence. Organ in Brother James Air; Trio on Bryn Calfaria; Rondo South Carolina, is seeking a church organist for Publications presents specially commissioned Otsego, Michigan, one hour from Grand Rapids. immediate employment. First Presbyterian has a on Cwm Rhondda and Ton-y-Botel; Postlude on organ works by Chicago composers, as well For information contact Jim Mendralla 847/772- rich and distinguished tradition of excellence in Duke Street; Prelude on Greensleeves; Prelude as rare or unpublished pieces by earlier organ- 5253. E-mail: [email protected]. View music ministry. One of the largest churches in the on Nicaea; Carillon-Toccata on St. Anne (also ists from the city including Leo Sowerby. Also YouTube video of instrument at this link: https:// includes a jubilant Bailado Brasileiro by Richard Charleston Atlantic Presbytery, First Presbyterian available as a single issue); Four Verses on St. www.youtube.com/watch?v=Tm_O5TmfXA0 Proulx, the AGO’s 2006 Composer of the Year! has a membership of over 1500 and is located Columba; and Rondo on St. Patrick and Deirdre. &list=UUSB5YYAuU2fTRnreNEzPMyw. For 003074, $25.00, 800/566-6150, Wlpmusic.com. on beautiful Hilton Head Island, SC. The instru- Visit www.frumuspub.net, phone 805/898-7976 photo and stoplist go to www.thediapason.com/ ment is a three-manual pipe organ built in 1988 M–F AMs Pacifi c time. classifi ed/lauck-5-rank-pipe-organ. by the Austin Organ, Inc. and contains 48 ranks with remote Trompette à Chamade. To ascertain PIPE ORGANS FOR SALE interest and qualifi cations, those seeking to apply The OHS Catalog is online with more than Dobson tracker organ: two-manuals and pedal, should request a copy of the job description from: 5,000 classical and theater organ CDs, books, Werner Bosch tracker organ, 1969. Two manu- 8 stops, 7 ranks. Opus 39 from 1988, in Long Tom Heberling, Chairman of Organist Search sheet music, and DVD/VHS videos. Visit www. als and pedal, 9 stops. Case of African mahogany, Island, NY. Height 13′1′′; width 6′. Free-standing Committee, First Presbyterian Church, 540 Wil- ohscatalog.org. To add your name to the OHS 12′ wide, 8′ high, 4′ deep. Self-contained 110-volt case of fumed white oak with self-contained 110- liam Hilton Parkway, Hilton Head Island, South Catalog mailing list, send an e-mail to catalog@ blower. $30,000. The Organ Clearing House, volt blower. $65,000. The Organ Clearing House, Carolina, 29928; e-mail: [email protected]. organsociety.org. 617/688-9290, [email protected]. 617/688-9290, [email protected].
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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]
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Randall Dyer organ, 4 ranks, all-electric action 1986 Rudolf von Beckerath, 2/15 (20 ranks) Schantz 16′ Bourdon, 32 stopped wood pipes, Complete Pipe Organ Services from the Organ with expansion channel, solid-state relay; 9′ tall 162″ H, 146″ W, 114″ D. $150,000, Organ Clear- scale 1, with chest, rack, and stand, $8,000. Clearing House: 450 vintage pipe organs avail- x 7′ wide, 4′6′′ deep with bench. randalldyer@ ing House, 617/688-9290, john@organclearing- Schantz 16’ Gedeckt, 18 capped metal pipes, able, renovation, tuning, consultation. Other bellsouth.net, 865/475-9539. See photo and house.com. CC–F, with chest, rack, and stand, as is, $2,000. services include transportation, cleaning and stoplist at www.TheDiapason.com/classifi ed/ Chimes and harp. Miami, Florida, 305/649-2194. renovation of carvings, reredos, liturgical furnish- dyer-4-rank-organ. ings. Call John Bishop at 617/688-9290. john@ 1938 Kimball studio/practice organ, 4 ranks, organclearinghouse.com. 21 stops, excellent condition, 91″ H, 85″ W, Möller 16′ Principal (32 pipes) in zinc. Suit- 1981 Casavant tracker—3 manuals, 23 56″ D (+pedalboard). Organ Clearing House, able for a façade with over-length bodies. Asking stops, 30 ranks. Footprint 10′ x 14′; height 18′. 617/688-9290, [email protected]. $5,000. For information: mail@letourneauor- Do you have a pipe organ that you would Good working order. Available now. Seller will gans.com or 450/774-2698. like to interface with an electronic or digital consider offers on a competitive basis. For organ? We can interface any digital organ or details, contact consultant Dr. David Lowry at HYBRID ORGANS FOR SALE any organ console with any pipe organ. For more Consoles, pipes and numerous miscellaneous [email protected]. information e-mail [email protected] (not parts. Let us know what you are looking for. Three-manual Rodgers Hybrid with seven Comcast) or call 215/353-0286. E-mail [email protected] (not comcast), sets of pipes; all working and in excellent phone 215/353-0286 or 215/788-3423. 1981/2015 BIGELOW tracker, II+Ped, six stops: condition. For more information please go to ′ ′ ′ ′ ′ ′ 8 , 4 ; 8 , 4 ; 16 , 8 . Excellent for a small chapel, www.milnarorgan.com. Aeolian/Robert Morton-style maroon residence, or practice room. www.bigeloworgans. leather is now available from Columbia Organ com. Click on News. SERVICES / SUPPLIES Leathers! Highest quality. 800/423-7003, ELECTRONIC ORGANS FOR SALE www.columbiaorgan.com. Professional organ consultants assist Historic 1859 ROBJOHN, II+Ped, 11 ranks. with your church’s pipe organ project. New Allen MDS 8: 2 manuals, Midi, transposer, 2 Drop dead gorgeous rosewood case, 14′-2″ tall. organs, rebuilding, renovations, repairs, tonal ANNOUNCEMENTS HC-15 speakers, internal speakers, AGO specs, in Lovely for chapel, large residence, or museum. designs. Contact: Audio Forum, 254/230-8476, very good condition. Ideal for small church, chapel www.bigeloworgans.com. Click on News. [email protected]. or home. [email protected] 609/641-9422. View new videos on TheDiapason.com. Kim- berly Marshall demonstrates an organist’s warmup, 1960 two-manual Reuter/Milnar organ 24 New Klann Swell Shoes, now available in black and Paul Cienniwa plays Couperin on harpsichord. Allen MDS 38: 3 manual drawknob, 43 stops, ranks. For more information please go to www. powder coat, brass and bright nickel fi nishes. 4 speaker cabinets and internal speakers in milnarorgan.com. Expression or crescendo with potentiometers very good condition. [email protected] Visit THE DIAPASON on Facebook. or linear transducers. 877/457-5804 or sales@ 609/432-7876. www.facebook.com/TheDiapason klannorgan.com. Expressive and compact—3/27 Kilgen (1940). Two expressive divisions. 17 manual 8-foot fl ues. MISCELLANEOUS FOR SALE Postal regulations require that mail to THE Reeds include Tuba, Cornopean, Oboe, Clarinet, Releathering all types of pipe organ actions DIAPASON include a suite number to assure ′ ″, Vox Humana. Harp. 16 Open Wood. H: 237 W: and mechanisms. Highest quality materi- delivery. Please send all correspondence to: ″, ″. 170 D: 189 Stopkey console. Original restor- Wood pipes. Missing pipes made to match. als and workmanship. Reasonable rates. THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. $30,000. Organ Clearing House, Damaged pipes in any condition repaired. Over Columbia Organ Leathers 800/423-7003. 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. 25 years experience. Filip Cerny, 814/342-0975. www.columbiaorgan.com/col.
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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2015 Q 35 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* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016
Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*
David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017
Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser
Choirs
The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015
Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016
James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 94th Season!
*=Artists based outside the U.S.A.
Ann Elise Smoot Tom Trenney Thomas Trotter* Todd Wilson Christopher Young