THE DIAPASON MAY, 2012
Immaculate Heart of Mary Catholic Church Atlanta, Georgia Cover feature on pages 30–31
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 5, Whole No. 1230 MAY, 2012 2011 OHS convention report OHS Database for those curious about Established in 1909 ISSN 0012-2378 I want to thank Frank Rippl for his this remarkable instrument. An International Monthly Devoted to the Organ, comprehensive review of the 2011 OHS Ronald Stolk’s amazing artistry was the Harpsichord, Carillon, and Church Music national convention in Washington, missed by those whose Saturday bus D.C. (The Diapason, March 2012, pp. transportation did not materialize until a 24–29). He condensed the vast and com- late hour, due to circumstances beyond plex detail from the Atlas as well as my the control of the OHS. Ron is direc- CONTENTS Editor & Publisher JEROME BUTERA [email protected] sometimes too extensive verbal remarks tor of music and organist of St. Patrick’s 847/391-1045 with uncanny accuracy. There are a few R.C. Church and lecturer in organ at the FEATURES details that need clarifi cation for the re- Catholic University of America. A native Conference of Roman Catholic Cathedral Musi- cians: Conference XXIX, Columbus, Ohio Associate Editor JOYCE ROBINSON cord and here they are offered while the of the Netherlands, he studied at the by Donald Fellows 20 [email protected] information is fresh in my memory. Royal Conservatory in The Hague and 847/391-1044 The M. P. Möller organ (Opus 8540, with Jean Langlais and Gaston Litaize in An Update on the Organs of the Keweenaw by Janet Anuta Dalquist 21 Contributing Editors LARRY PALMER 1953) located in the George Washington Paris. He served three terms as dean of Masonic Memorial was entirely designed the District of Columbia AGO chapter, A Conversation with Wilma Jensen Harpsichord by Andrew Peters 22 by Ernest White. The original specifi ca- and was convention coordinator of the JAMES MCCRAY tion is in White’s hand and he approved 2010 AGO national convention. Stolk’s A Kimball Turns 100: Leigh Street Baptist Choral Music all details in the specifi cation and shop program featured an alternatim setting Church, Richmond, Virginia by Donald R. Traser 24 notes, the sources for the documenta- of the Latin hymn Adoro te, supplex, BRIAN SWAGER tion. The Atlas article and my personal sung at a slow tempo typical of the mid- A new four-manual pipe organ in seven weeks: Carillon Möller Opus 6373 at Chicago’s Carl Schurz remarks expressed the opinion that the 19th century, with versets by Lefébure- High School JOHN BISHOP sound resembles certain organs built late Wély. From Louis Vierne’s Pièces de by Dennis Northway 26 In the wind . . . in Richard Whitelegg’s lifetime but that Fantaisie, Stolk gave us graceful perfor- the Choir division clearly refl ects the mances of Andantino, op. 51, no. 2 and NEWS & DEPARTMENTS GAVIN BLACK tastes of Mr. White and stands in stark Impromptu, op. 54, no. 2. He continued Editor’s Notebook 3 On Teaching contrast to that aspect of Whitelegg’s in- with a sturdy and nuanced performance Letters to the Editor 3 Reviewers Jay Zoller struments. Whitelegg died in 1944. of Passacaglia by Hendrik Andriessen Here & There 3, 4, 6, 8, 10, 12 John L. Speller In the matter of Eileen Guenther’s and then concluded with a sprightly im- Nunc Dimittis 10 John Collins performance on the 1969 Rieger organ provisation displaying the many colors David Wagner Harpsichord News by Larry Palmer 12 located in All Souls Church, Unitarian, of the church’s French-style instrument In the wind . . . by John Bishop 13 the reviewer was likely unaware of the by Lively-Fulcher (1994). This organ very challenging mechanical condition contains material surviving from earlier On Teaching by Gavin Black 14 of this instrument. The historic import of organs by Carl Barckhoff (1895), Lewis this large Orgelbewegung design was the & Hitchcock (1932), and M. P. Möller REVIEWS THE DIAPASON (ISSN 0012-2378) is published monthly Music for Voices and Organ 16 by Scranton Gillette Communications, Inc., 3030 W. Salt imperative for including it in the conven- (1943, a revision of the 1932 organ car- Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Book Reviews 17 tion and we must express our thanks to ried out under the direction of Richard Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 Dr. Guenther for her fi ne playing in spite Whitelegg). St. Patrick’s, the oldest Ro- New Recordings 18 MSG RLY. E-mail:
MAY, 2012 3 emn Evensong on Sunday, May 6, at 4 Evensong; 6/24, Langsford Men’s Cho- Siebecker, First Presbyterian Church, on Sunday afternoons at 3 pm: June 3, pm, for the Feast of St. Florian, the pa- rus. For information: Neenah; 6/20, James Hicks, First United Christoph Bull; 6/24, Philip Brisson; July tron saint of fi refi ghters. The service will
Robert Tall, Jon Brannon, Jennifer Shin, Joseph O’Berry, Ina Slater Grapenthin, Dan Miller
Jennifer Shin, a 15-year-old organist with whom she began studying organ from Newport Beach, California, won in 2009. fi rst prize in Level 1 of the Rodgers O’Berry’s organ teachers include the North American Classical Organ late Stella Starn, the late Robert Parris, Competition. Second prize went to Timothy Albrecht, and Cam Bishop. He Joseph O’Berry, 24, of Atlanta, Geor- is currently studying under Dr. Albrecht Luciano Magnanini, Stefan Engels, Paweł Wróbel, Anne Lam, Weicheng Zhao, gia, and third prize was awarded to Jon at Mercer University, Macon, Georgia. Kimberly Marshall Brannon, 23, of Bluefi eld, West Virgin- Brannon attended Concord University ia. The three fi nalists performed twice— from 2007–09, studying organ perfor- The fi nal round of the Sixth Miami of Music, received the $2,500 second once for the judging panel, and again for mance with Evan Mack and theory with International Organ Competition prize. The third prize of $1,500 went to a live audience. All performances were John Hudson. He studies with Albert Za- was held at the Church of the Epiphany, Paweł Wróbel (Poland), who studies at on a Masterpiece Signature 356 organ at bel of Huntington, West Virginia. Miami, Florida, on March 2. Sponsored the Universität für Musik in Graz with Rodgers Organs of St. Louis, which host- The Level 2 competition took place by Fratelli Ruffatti and the Church of Gunther Rost. ed the competition. First prize included April 27 at Kutztown University in Kutz- the Epiphany, the evening featured Fifty-two applications from 17 coun- a $1,000 award, second prize was $500, town, Pennsylvania. There were seven fi - three fi nalists each playing a 25-minute tries were initially received this year; and third was $250. nalists competing for prizes ranging from program on the 61-rank Ruffatti organ. preliminary round judges were Cristina Miss Shin’s program included “Prière $1,000 to $3,000 as well as additional A large audience was in attendance. García Banegas, Robert Bates, and Hans à Notre-Dame” from Suite Gothique, performance opportunities throughout The fi rst prize of $5,000 as well as the Fagius. Judges for the fi nal round were op. 25, by Boëllmann, Fugue in G the United States. Competition judges $500 audience prize was awarded to Kimberly Marshall, Luciano Magnanini, Minor, BWV 578, by Bach, and Petr were Ina Slater Grapenthin, chair, Rob- Weicheng Zhao (China), a master’s and Stefan Engels. Eben’s Homage à Dietrich Buxtehude. ert Tall, and Dan Miller. Rodgers estab- student of Cherry Rhodes at the Uni- The Seventh Miami International Or- Shin started playing piano at the age lished the competition in 2011 to iden- versity of Southern California. Anne gan Competition will take place in early of fi ve. She has studied in South Ko- tify and encourage the next generation of Lam (Hong Kong), a doctoral student 2014; for information, visit the Fratelli rea and the United States, and is cur- emerging organists. For information: of David Higgs at the Eastman School Ruffatti website:
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts
Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea
David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois
Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina
Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation Stephen Steely; September 5, William The Association Jehan Alain In- to New Zealand in 1976. He holds hon- mers of 2005 and 2006, Dr. Blumhofer Tinker. For information: 608/748-4411 terpretation Course takes place July ors degrees in theology from two British studied composition in Europe, fi rst x271;
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
6 THE DIAPASON
Management. He played seven concerts in two weeks, performing varied pro- grams on organs by Brombaugh, Fritts/ Richards, Flentrop, Kimball, and others. His next recital tour to the United States will take place fall 2013 or spring 2014. For more information and dates, contact Penny Lorenz at
David Butterworth
Binns, Marcussen, Gerard Smith, Beck- erath, and Grant, Degens and Bradbeer; Lynne Davis music by Bruhns, Tomkins, Stanley, Ha- kim, Ireland, Parry, Hartman, Madsen, ognizes her various contributions to the Bach, Gibbons, Eriksen, Walther, and world of French organ music throughout Harry Lyn Huff Buxtehude. For information: France and the world.
Marc Aubertin, Stephen Hamilton, and Michael Kleinschmidt
On March 18, Stephen Hamilton in the photograph from left to right are performed Marcel Dupré’s Le Chemin Marc Aubertin, who read the English de la Croix on the Rosales pipe organ at translation of the Paul Claudel poetry Trinity Episcopal Church in Portland, that inspired Dupré; Dr. Hamilton; and Oregon, the cathedral where Catharine Michael Kleinschmidt, Canon for Cathe- Crozier was artist-in-residence. Shown dral Music.
Robert Town with former students
Robert Town was honored by the for KIDs director Irene Shaw gave Wichita AGO chapter on February 10. special thanks for Town’s assistance After a catered meal at the chapter’s with children’s concerts over the years. musician-clergy dinner, Prof. Emeritus The honoree spoke briefl y about his Town (Wichita State University) was experience with the chapter and at the inducted into the chapter as an honor- university, including some of the work ary member. A biography of Town was leading up to the installation of the printed in the program for the dinner, Marcussen organ on campus. As Town and tributes and reminiscences were retired in 2006, an endowed faculty- offered by university vice president of-distinction chair for the University’s James Rhatigan and by Town’s former organ professorship was established in students still in the Wichita area. POPs his honor.
Robert Bates Craig Cramer Aaron David Miller
425.745.1316 [email protected] www.organists.net
8 THE DIAPASON The Allen Organ Company is pleased to present the following installation:
Matthew McCue Assistant Director of Music at St. Anne Catholic Church
St. Anne Catholic Community Church, Houston, Texas
The Allen Organ Company and Jim Ross, Music Director at St. Anne naturals accented by maple sharps, rosewood drawknobs and overlays Catholic Community Church in Houston, Texas, congratulate Assistant on tab stops, and custom scrollwork on the back panels. The instru- Director of Music, Matthew McCue on the installation of a new ment also features two LCD video screens in the center rail for use custom pipe-digital combination organ. The beautifully handcrafted with the church’s closed circuit TV system. Matthew said, “We now Heritage™ console controls 96 speaking stops including 51 ranks of have a wonderful hybrid organ that can play music of all periods, pipes that were seamlessly integrated into the specification from the styles and lead our congregation in wonderful hymn singing!” original mechanical-action instrument. The stunning woodwork on To see photos and review the stoplist of this instrument, please this one-of-a-kind console includes keyboards with exotic rosewood visit: www.allenorgan.com/saintanne
Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 t (610) 966-2202 t [email protected] t www.allenorgan.com served as staff organist and teacher for whom he was married for 47 years. Until program that would become the Rensse- the Allen Organ Company. her death in May 1996, they presented laer Program of Church Music and Lit- Cherrington relocated to South Caroli- concerts for organ duet in numerous cit- urgy. Father Heiman completed graduate na in 2000 from the Chicago area, where ies across the United States. studies at the Pontifi cal Institute of Sa- she served for ten years as director of “David Craighead’s contribution to the cred Music in Rome, earning his doctor- music at St. Luke’s Lutheran Church in music world is incalculable,” said David ate in 1970, and returned to Rensselaer to Park Ridge, and as college organist and Higgs, Professor and Chair of Organ and establish a similar education program in adjunct faculty at Elmhurst College. She Historical Keyboards. “He was a virtuoso Gregorian chant and polyphony. served as a substitute organist through- performer, able to make the most dif- Father Heiman served the National out the Columbia area, including at fi cult technical passages seem easy; he Association of Pastoral Musicians as a Aveleigh Presbyterian in Newberry and was a tireless champion of new music for frequent contributor to Pastoral Music, St. Francis of Assisi Episcopal Church our instrument, having played the fi rst as a speaker at NPM conventions, and in Chapin, and as a part-time organist at performances of many of the pieces that as the calendar editor for Pastoral Music St. Stephen’s Lutheran Church in Lex- are now in our standard repertoire; and from 1976 until his “retirement.” NPM ington. She had performed recitals and a beloved teacher, mentor, and friend to honored Father Heiman with its Jubilate conducted workshops throughout the the legions of students he taught in his Deo Award in 2002. eastern seaboard and Midwest, includ- 37 years as professor of organ and chair ing at two OHS conventions, as well as of the organ department here.” Joseph Johann Karl Ritter II, or- making several concert tours of Europe Craighead received both teaching and ganbuilder, age 70, died March 19, 2011, as a soloist or accompanist. Dr. Cher- performance honors. In 1974, the East- at Cape May Court House, New Jersey. rington had articles published in The man School of Music awarded him its Born in Clinton, Illinois, he was trained Diapason, Your Church, Grace Notes, fi rst Eisenhart Award for Teaching Ex- in structural engineering and industrial and CrossAccent; her article on “Organ cellence. The New York City AGO chap- mechanics, and his interest in organbuild- Pedagogy” appears in the new Interna- ter named him International Performer ing began as an outgrowth of these disci- tional Organ Encyclopedia published of the Year in 1983. He received honor- plines. In 1973, he took possession of a The Organs of J. S. Bach by Routledge. Sally Cherrington Beggs ary doctorates from Lebanon Valley Col- 1905 II/15 Hinners tracker from a closed is survived by her husband of 19 years, lege and Duquesne University, where he Baptist church in Clinton. He disassem- Detailed information for each organ in- Mike Beggs, sons Zachary and Nathan, also served as adjunct professor of organ. bled and reassembled the instrument cludes photographs, the organ’s history and sisters Linda Svok and Peggy Reese. He also was awarded an honorary Fel- two times in situ, and twice more after and its connection to Bach, its disposi- lowship in the Royal College of Organ- relocating to Ft. Pierce, Florida (where tion as Bach would have known it, the ar- ists, London, England. he worked for a small marine engineer- chitectural history of the church housing In 2008, the new organ in Rochester’s ing company) and Green Creek, New the instrument, and an identifi cation of Christ Church was inaugurated as the Jersey, successively. While maintaining the church’s organists. Craighead-Saunders Organ, named in his full-time career in heavy industry, he The volume incorporates new re- honor of Professor Craighead and Rus- began the study of organbuilding, with a search and many corrections and updates sell Saunders, who was professor of or- focus on case design, structural layout, to the original German edition of 2006. gan at Eastman from 1967 until 1992. and 20th-century electro-pneumatic Bibliographical references have been Born on January 24, 1924, in Stras- windchest design. updated to include English-language burg, Pennsylvania, David Craighead was After settling in Green Creek in the sources, and the translation includes a the son of a Presbyterian minister and early 1980s, Ritter converted a large new essay by Christoph Wolff on Bach received his fi rst music lessons from his portion of his workshop facilities to or- as organist, organ composer, and organ mother, an organist. He was awarded his gan work, including woodworking, pipe expert. The volume also includes maps, Bachelor of Music degree in 1946 from repair, leathering, windchest construc- a timeline of organ-related events, tran- the Curtis Institute of Music in Phila- tion, electrical wiring, and fabrication of scriptions of Bach’s organ reports, a delphia, where he also was the organist structural and winding components. At guide to examining organs attributed to of the Bryn Mawr Presbyterian Church. this time he built a III/12 unit organ in Gottfried Silbermann, and biographical While still at Curtis, he was a touring re- his private studio. This instrument was information on organbuilders. Publica- citalist and taught at Westminster Choir combined with a full 35mm Simplex tion of this volume is supported by the College in Princeton, New Jersey, during movie projector, screen, and seating for American Bach Society; 216 pages, 35 his senior year. eight. In 1997 he began a long associa- color photographs, 28 black & white In 1944 he was accepted as a touring tion with the fi rm of Russell Meyer & photographs; cloth, $80.00, 978-0-252- recitalist by Concert Management Ber- Associates of Bridgeton, New Jersey, be- 03684-2; paper, $30.00, 978-0-252- nard R. LaBerge, which is now Karen coming shop foreman, and was involved 07845-3. For information:
10 THE DIAPASON his second wife, the violinist Nelly Söregi soprano solo, and organ, is based on the with approximately 100 faculty members Wunderlich, in 2004. He is survived by tune Nettleton, with a new text that and 500 students. Its more than 4,000 three daughters and a stepson. celebrates the cycles of life and spirit (15 graduates work in Russia and in many Wunderlich’s early study was with his pp., softbound 8½ x 11). For informa- countries around the world. The Allen father and the local church organist. At tion: 805/682-5727; Fruhauf Music Pub- organ was installed in the newly dedicat- the age of sixteen, he was admitted to the lications, P.O. Box 22043, Santa Barbara, ed Great Hall of the conservatory. The Academy of Music in Leipzig, where he CA 93121-2043;
12 THE DIAPASON considered himself a specialist, relying perhaps a sense of rebellion, I stopped instead on his musical instincts to navi- shaving, and for forty years I was never gate the entire keyboard repertoire. In the wind . . . without a beard. Through an eighteen- Sebestyén’s personal life was as pas- by John Bishop year fi rst marriage, two kids growing up, sionate and varied as his professional and many lifelong friends, it wound up activities. His circle of friends included that the only people in my life who had actors, artists, pilots, doctors, and diplo- seen me without a beard were my par- mats. It is no exaggeration to say that vis- ents and my siblings. itors fl ocked to his home, seeking knowl- In the fi rst week of January this year, edge and advice, or simply to enjoy his Wendy and I attended the wedding of a dark yet playful sense of humor. No one close friend and colleague. It was a lovely in Budapest was as well-connected—he three-day event in a picturesque village knew everyone and had the ability to get in Vermont. There were about a dozen things done. His accomplishments were other guests and together we had a love- many and there is no doubt he secured ly time. It was a dressy affair and there for the harpsichord a permanent place was an excellent photographer present, in Hungarian musical life and achieved and a week or so later we were invited by near-legendary status at the Hungarian e-mail to a website to see (and purchase) Radio. He was loved by his students, photos. They were great photos and ev- friends, and colleagues, and for me, our eryone looked terrifi c in snazzy clothes, friendship was both unexpected and re- but I had to admit that I looked older in warding. János Sebestyén died in Buda- the photos than my internal picture of pest on February 4, 2012. Q myself. That beard was so white. I shared my thoughts with Wendy and János Sebestyén (photo by Zsolt Kováts) Robert Tifft is Evening Circulation Super- we agreed to experiment. Several years visor for the Bridwell Library at Southern ago with the help of a hotel concierge I At the same time he worked at the Methodist University. His 28-year friendship Who do we think we are? found a wonderful place for haircuts in Hungarian Radio. His career there be- with János Sebestyén arose from lifelong pas- I was a few weeks shy of my sixteenth New York. It’s a men’s-only salon that sions for the harpsichord and record collect- gan in 1950 and by 1962 he was writing ing. In 2000 he created the János Sebestyén birthday in February 1972 when my wis- offers drinks and all sorts of nice perks. and hosting his own programs. These webpage at
MAY, 2012 13 some whiskey, and off it came. She fi n- like Gustav Leonhardt, Ton Koopman, deal. And what were we going to call the I think that one of the attractions of ished up with a luxurious old-fashioned or E. Power Biggs. That half-century fi rst ten years of the century? The oh’s, viewing a work of visual art in a museum straight-razor shave, and I went out into was a modern Renaissance in the truest the aughts? Now we’re about to enter is that you are free to interpret it any way the evening. sense of the word. the teens. No big deal. you want. You might be infl uenced by The salon is on 46th Street between Yesterday I heard a story on National In the 1920s, American pipe organ the way it’s hung, the way it’s lit, or the Third and Lexington Avenues and I Public Radio about actors who have re- builders produced more than 2,000 or- architecture of the gallery, but when you walked the crowded sidewalks down searched the accents, pacing, and deliv- gans a year. Companies like Skinner and simply view the painting or statue you’re Lexington to 42nd Street, and into ery of Shakespeare’s plays as they were Austin built a new organ each week— on your own. Grand Central Station to take the “6” produced during his lifetime. A record- M.P. Möller had many years during which Music doesn’t work that way. The only train to our new apartment in Green- ing was played of Sir Lawrence Olivier they shipped a new organ each day! people who can appreciate a piece of mu- wich Village. I continually touched my delivering the famous “to be, or not to I’ll go out on a limb and make an edu- sic at that level are those who can read a cheeks and chin, getting used to new be” soliloquy from Hamlet, followed by cated guess: American organbuilders have score and understand the piece in silence. sensations. The feeling of cool air on my one of the modern actors doing it ac- not produced 2,000 organs in the last thirty That experience is not available to the ca- face was novel and strange. But by far cording to this research. The research or even forty years combined. Since 1960, sual listener. When you listen to a piece of the biggest sensation of change was that seemed to be saying the accent was close companies like Fisk, Noack, Dobson, and music you are infl uenced by the perform- no one around me knew anything was to that of modern Ireland (whatever that Andover have each built between one and er. It’s therefore up to the performer to different. It was rush hour and I must is) and the delivery was very quick. It was two hundred organs. Taylor & Boody has decide what kind of experience to provide have walked past 60,000 people in those interesting enough, but I couldn’t help just signed a contract for Opus 70. Möller for the consumer. It’s up to the performer fi ve minutes, and although I knew some- wondering how in the world they think built fewer and fewer new instruments to give the listener a good experience. thing was radically different, not one they know what a sixteenth-century actor each year until fi nally closing in 1992. § person noticed. sounded like? Aeolian-Skinner closed in 1972. Year for Wendy laughed out loud when I I’ve lived in Boston most of my life, a year, the American market for new pipe You might not think so from reading walked into our apartment. A few days city renowned for its famous accent, but organs is less than fi ve percent of what it this so far, but I’m optimistic. In this later there was a family outing with my as a Bostonian, I know there are least was a hundred years ago. world of instant communication, fl ashy parents and two of my siblings—lots of fi ve distinct “Boston” accents. How do In fairness, these numbers need some digital equipment, and dwindling intel- ribaldry about who in the family I look we decide on an authentic accent for interpreting. Today’s organbuilders have lectual content in much of the public like. And a couple days later I stopped Stratford-on-Avon in 1595? And I’m not a much higher percentage of projects discourse, I think I see a refreshment shaving. I retreated to our place in Maine sure we can claim to know how fast a rebuilding older organs than those of a of public appreciation for things that so, as Wendy teased, I could hide in the sixteenth-century Shakespearean actor century ago. Thousands of nineteenth- are real, that have depth of expression, woods while it grew back. spoke, any more than we can claim to century masterpieces by builders such and that feed people’s cultural hunger. I’m better now that the beard is back. know how fast Bach played the “little” as Hook, Jardine, Hutchings, and Odell I’ve written often of my celebration of Looking back on the experience, it’s Fugue in G Minor. The value of the re- were replaced by the newfangled electro- the ever-increasing numbers of genius funny to think that what I actually look search, both for Shakespearean accents pneumatic jobs built by Skinner, Austin, young organists whose abilities are like doesn’t fi t my image of myself. Since and Bach’s tempos, is whether it adds to Kimball, and their competitors. Today we such that the technical demands of the I was a teenager I’ve known myself as the vitality of the performance. are much more likely to be renovating or- most complex music simply dissolve, a person with a beard, as has everyone Walk into the Metropolitan Museum gans from the nineteenth and twentieth allowing the listener to hear the music around me. Without a beard I am myself, of Art in New York any day of the year, centuries than building new instruments. un-bumped. There are dozens of play- but I don’t look like myself. and you walk into a mob scene. The And some of the markets for new organs ers like that today, performers with old- § soon-to-be-replaced steps at the main a century ago are simply gone, such as the world work ethics who are willing to de- entrance on Fifth Avenue have a carni- municipal organ, the big-money residence vote themselves to routines of practice We are a community of organists and val atmosphere, the big entrance lobby organ, and the cinema organ. Utterly and diligence that we used to be able organbuilders, professionals in a niche is jammed with tourists from dozens of outside the market for church organs, only to read about, shaking our heads. market. It’s as though we’re proprietors different countries, and the galleries are Wurlitzer and Aeolian built thousands of And the best news is that many of them of a unique boutique. What is our im- all a-swirl with people gawking at the art- instruments for movie theaters and pri- are now the teachers of tomorrow’s gen- age of ourselves? When we look into the works. People used to go to organ recit- vate homes. Last year’s Oscar-winning eration of masterful performers. proverbial mirror, whom and what do we als that way. There are plenty of historic movie, The Artist, about the quantum The Organ Historical Society was see? Are we who we think we are? accounts of huge enthusiastic crowds at shift from silent movies to talkies, never founded in 1956. In its nearly sixty-year How many of our customers like us concerts in municipal auditoriums and gave a hint about the collapse of the mar- history, the OHS has had a huge infl u- because they think we’re quaint? I’m churches alike. Just a couple months ago ket for theatre pipe organs! ence on how we view the heritage we’ve reminded of these questions every time in this column I reprinted the account of But however you analyze the num- inherited from our predecessors. Over I’m at a social event and meeting people the dedication of the big Skinner organ bers, you can’t escape the fact that the the same period of time we have studied for the fi rst time. In those situations it’s in the 10,000-seat Municipal Auditorium market is wildly different today. And we and loved the music and instruments of inevitable that someone asks what I do in Cleveland, Ohio in 1922. The place who love the organ are responsible for various epochs of European history. We and their response is swift and predict- was jammed, the aisles were full, thou- its place in our cultural heritage for the are much the richer for all of that. We able: “Pipe organ builder? I didn’t know sands of people were turned away, and coming century. have a strong community of outstanding there were any of you left.” It’s almost the police gave up trying to control the So how do we see ourselves? Who is organ-building fi rms. We have a rich crop comical how often I hear that, exactly crowd. When was the last time you saw our audience? What is the future of the of brilliant musicians who are fi nding new word for word. something like that at an organ recital? pipe organ in America? Are we con- and exciting ways to use the pipe organ. During the second half of the twenti- I don’t have the statistics at hand just demned to cry in our beer as we lament The past has informed us, but the eth century, much of our effort and tal- now, but I remember reading that it was the good old days like the enthusiasts of future is a blank slate. Let’s be sure we ents were focused on the past. We stud- sometime in the 1960s that the cumula- steam railroads? know who we are. Q ied and emulated the instruments that tive attendance at live performances of What is our image of ourselves? were played by the “old masters.” We classical music in the United States was • Are we co-conspirators in a quixotic researched and emulated how the “old surpassed for the fi rst time by attendance adventure? masters” played, and we programmed at professional sporting events. I doubt • Are we hanging onto the glories of thousands of recitals that included noth- that even the recently announced scan- past ages? On Teaching ing written within the last two or three- dal-driven suspensions of coaches and • Is our range of expression limited to by Gavin Black hundred years. players of the National Football League’s that of our predecessors? Make no mistake as you read this. I New Orleans Saints will contribute to a • Are we playing to each other from po- believe strongly that movement was es- reversal of that development. sitions of expertise, assuming that the gen- sential to the future of the pipe organ. § eral audience will be moved vicariously? Without all that creative energy, with- Answer those questions relative to the out all that fresh understanding of the It’s the twenty-fi rst century now. We’ve price of a new organ. We live in the age heritage of our instrument, there would survived the transition from one century of the “million-dollar” organ. That’s what not be the high level of excellence and to another. Remember how uptight ev- it costs to commission a new instrument competency in today’s American organ- eryone was about Y2K? Airplanes would with three manuals and forty or fi fty building. And it’s hard to imagine how crash, ATMs would run dry, clocks would stops, and that’s not a very large organ. we would be experiencing the music of stop, and heaven help anyone depending That’s a mighty large amount of money Bach unfi ltered by the careers of artists on a computer. January 1, 2000? No big for a church to spend on a musical instru- ment in a society rife with poverty and other social needs. Are we presenting ourselves, and our music, to the public and to our congregations in a way that’s worthy of expecting laypeople to justify coming up with that kind of money? § That was a mighty negative list of questions. I offer them as challenges. I challenge you to think about your work, your interests, your plans for future rep- Additional practice techniques ertoire and performances with those This month and next month I will questions in mind. A great performer is a discuss a number of practice techniques great communicator. When you perform, that involve changing something in the you share your convictions about your art music while practicing. This includes with those who come to hear. practicing in rhythms other than the true AHIGHER L EVEL of E XCELLENCE We refer to public performances of or- rhythm of the passage being practiced, gan music as recitals. The dictionary says and practicing passages with some of that a recital is a performance of music the notes actually omitted. (The former by a solo musician or a small musical en- is the subject this month, and the latter Great musicians need extraordinary instruments semble. But if we embody the root of the next month.) Some of the techniques to deliver magnificent performances. word, recite, what are we offering to the are generally quite familiar, although I listener? In that sense of the word, there’s may have my own twist on them. I have no implication of originality, or even pas- at least briefl y alluded to some of them P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com sion. Don’t recite, communicate. elsewhere, but I think that it is useful to
14 THE DIAPASON bring them together here and to zero in plied to the sixteenth-note line, the Example 1 on them in a bit more detail. quarter-note chords will come along Any and all of the techniques that I for the ride, and the practicing of those will describe here are meant only to chords will also be affected. If the on- supplement the basic, solid way of prac- the-beat sixteenth-notes are being held Example 2 ticing that I try never to miss a chance to long, then in spots like those marked describe: slow, careful repetition—with with x’s the student must be fully ready or without separating hands and feet, to play the next chord, as well as the next depending on the exact circumstances— sixteenth-note, before playing the (very with correct notes and correct rhythms, fast) off-the-beat sixteenth-note. The ac- Example 3 speeding up only gradually, in a way that tual gesture of moving from one chord to is determined by the fl ow of the prac- ticing itself, rather than by any prede- Example 4 termined schedule. This discussion of, among other things, practicing “wrong” rhythms comes the month after I talked about various ways of thinking about counting and the art of learning correct rhythms. Therefore it is important to remember that practicing in alternate rhythms is a technique that should have a well-focused purpose and that should be kept conceptually separate from playing the piece or passage as such. I will talk some about how to maintain this separation. Example 5 Alternate rhythms: dotted values For me, the purpose of practicing in alternate rhythms is quite specifi c: it is a halfway point between a slow practice tempo and a faster tempo, which may be the performance tempo or may be even faster than that. When a rhythm is altered, some notes become faster and some slower. The faster notes are being practiced in isolation at a faster tempo than they would have otherwise; the slower notes, because they are slower than they would otherwise be, provide an opportunity to rest and regroup between fast notes. The classic form of this sort of practice is, therefore, to create pairs of practice rhythms, in each of which half the notes are fast and the other half slow, and between which all of the notes get a chance to be the ones that are being Seamless ... played (extra) fast. In turn, the classic form of that tech- nique is to take a passage in which the note values are uniform and to make Expe rience: those note values dotted. So a passage that looks like that in Example 1 will be played fi rst like Example 2, and then like Example 3. From Aeolian-Skinner to Wurlitzer, and The purpose of this, again, is technical. The fi rst rhythm offers a chance to prac- tice half of the movements from one note to the next quickly; the second offers the Everything in chance to practice the other half equally quickly. Because this kind of practice al- lows the player to stop and rest, in effect, after each fast gesture, it is usually pos- Between! sible to include and drill those fast ges- tures sooner in the process of learning the piece than it would be possible to boost the overall tempo to that same speed. A modifi cation of this technique that I think makes it even more useful is to re- place the dotted rhythms (“regular” and “reverse”) with a kind of unmeasured over-dotting. So, in the above rhyth- mic templates, the dotted eighth-notes would all be replaced with fermata-ed notes to be held as long as you want, and the sixteenth-notes would be replaced with notes as short, quick, and light as you can make them. This approach cre- ates an even more intense drilling of the quick gestures and an even more effec- tive rest between those gestures. It also, by virtue of its being farther from any sort of regular pulse, has less ability to affect or possibly undermine the regular steady rhythm of the passage when the player returns to regular rhythm. This sort of practicing can be applied very naturally to a line such as the open- ing of Bach’s Prelude & Fugue in G Ma- jor, BWV 541 (Example 4), which is in Our highly experienced Service Department has successfully completed restorations to electro-pneumatic and mechanical one voice only and in all or almost all action organs of widely differing manufacture, and has successfully rebuilt and revoiced such diverse organs as an one note-value. Practicing a line such as 1897 Kimball to a 1963 Rieger! this in some version of dotted rhythm is most useful if you analyze what it is that you are gaining in each spot in the line. Visit www.buzardorgans.com For example, when it is the on-the-beat sixteenth-notes that are held long, then going from the fi rst beat to the second beat of the second measure (marked x) you will be practicing quickly moving the hand position in such a way as to reach the middle D reliably. John-Paul BUZARD Pipe Organ Builders In a passage such as Example 5—from 112 West Hill Street • Champaign, IL • 61820 • (217) 352-1955 • (800) 397-3103 the Vierne Divertissement (Pièces en Style Libre)—if a dotted rhythm is ap-
MAY, 2012 15 another will then be fast: probably faster Example 6 than it will need to be in the piece. How- ever, the student will have time, wait- ing on the “and of two,” to prepare that very fast gesture. The other half of the exercise—the reverse dotting—applied to this passage probably has less effect on the feel of the playing of the chords. In that case, moments like those marked with y’s will probably constitute the most intense and useful part of the exercise— playing wide intervals very quickly. In writing like Example 6—from the Bach Toccata & Fugue in F Major— these sorts of rhythms can be applied Example 10 Example 7 to one hand at a time and then to both hands together. Again, the student should analyze and pay attention to what exactly is being practiced at each mo- ment in the passage. For example, going Example 8 from the second beat to the third beat of the fi rst measure of this excerpt, the left hand has a “stretch” or shift in hand position while the right hand does not; the opposite is true near the end of the from the La Capricciosa Variations, fourth measure, or heading into the last which I have always found extremely Example 9 measure. The use of the two comple- hard—harder than I had originally ex- mentary dotting patterns will highlight pected [Example 10]. This measure is some of these technical details. full of funny changes of direction and (Would it be a good idea to practice unexpected intervals. I was eventually this passage or one like it using oppo- able to get comfortable with it—and to Example 11 site dotting in the two hands? That is, get it to be reliable—and I believe that fi rst place the lengthened notes on the the fast-cluster practicing was the most beats in the right hand and off the beats important part of the process.) in the left hand, then reverse both of these. I have actually never tried that How to use alternate rhythms and I can’t recall a student’s doing it. Practicing in “off” rhythms is, as I said The purely physical practice would be above, a technical practice. The purpose unchanged from the method described is not to learn something about rhythm above, but the concentration required or any other artistic or interpretive as- would be different—and it would prob- pect of the piece. It is to drill isolated ably be harder.) gestures at a fast tempo in a focused way will not be presenting an effective alter- the ears’ relationship to the music in a that does not demand that the fast tem- nate rhythm. way that enhances understanding of Alternate rhythms: po be kept up for very long. Therefore, It is easiest to apply this kind of prac- structure, rhythm, and pulse. Q Groupings of notes it only makes sense to practice a passage ticing to passages in which rhythm is Another format for altering rhythms to this way (that is, in one of these ways) more or less even, as in all of the ex- Gavin Black is Director of the Prince- create effective targeted practice strate- once the fi ngering and/or pedaling has amples so far. In a passage such as Ex- ton Early Keyboard Center in Princeton, gies involves speeding up not one note at been worked out and is indeed fairly well ample 11, from Buxtehude’s Praeludium New Jersey. He can be reached by e-mail a time (every other note, as above) but learned. If the fi ngering or pedaling is in C Major, BuxWV 136, the rhythm is at
“In choosing OCH, I know that the work has been done with the utmost knowledge, enthusiasm, care and integrity.” David Enlow, Sub-Dean, NYCAGO Organ Clearing House www.organclearinghouse.com or call John Bishop at 617-688-9290
16 THE DIAPASON Itzhak Perlman, and other leading Jew- is subtitled “Warsaw Ghetto Melody,” senior cantor of the cathedral, is not only musicians began. A London-born organist ish musicians. and in the current best-selling book by in a perfect position to record the musi- by the name of John White fi lled in for a Today, Jewish music is made easily Nathan Englander, What We Talk About cal history of the cathedral, but also to time, but his interest was as a recitalist, not available through the largest publisher When We Talk About Anne Frank, this interweave it with the musical life and as a conductor. of Jewish choral music, Transcontinental melody is mentioned. It is imagined as personalities of New York City. This he Then a European-trained musician Music Publications (633 Third Ave., New being sung by the Jews who are in lines has done, with a fl air for the humorous who was playing at St. Peter’s on Barclay York), and distributed by Hal Leonard, moving toward the gas chambers. This and the entertaining. Street, William F. Pecher, accepted the one of America’s most popular outlets for arrangement will be a sad but effective Most of us, as church musicians, work invitation to fi ll in for the dedication of choral music. In the reviews below, both addition to most choral concerts. in positions that cannot be considered to the new cathedral, and as a result, was catalogue numbers are provided, to as- be high profi le. While we perform many asked to stay at St. Patrick’s. The new sist with easy access to the scores. Most Machzor Chayim, Itai Daniel. SATB, tasks, those tasks, when performed at position must have been terrifying. In- of the Transcontinental publications are soli and optional keyboard, Trans- one of the largest Roman Catholic ca- stead of seating 950 people as the old in Hebrew, with many having helpful continental Music Publications thedrals in the world, and in a city such cathedral did, the new structure would pronunciation guides. English texts are 993439 (Hal Leonard 00191687), as New York, are magnifi ed far beyond seat 2,600, with a theoretical capacity of not printed for performance but are in- $4.50 (M+). what we can imagine. As one of the 18,000. Choir members and instrumen- cluded in the program notes. There are seven movements in this chapter headings puts it, “the higher the talists alike had to climb up and down Much of the music reviewed below 103-page cantata. Intended for an un- spire, the stranger the birds that crash four stories to the new gallery and walk is based on Old Testament texts such as accompanied performance, an optional into it.” This then is the incredible story 150 feet, or a New York block and a half, the Psalms, and some comes from poetic keyboard part is included. The com- of a remarkable church written in an eas- to take communion. texts by rabbis or Jewish musicians. The poser’s intent was to write a piece that ily read narrative. Salvatore Basile has All the problems and challenges that music usually is not diffi cult and always describes the life of a religious Jew. The introduced fascinatingly signifi cant mu- Pecher and succeeding music directors has a keyboard accompaniment. For cantata opens with two prayers that are sicians, intriguing facts, humorous anec- faced are too numerous to list here. Suf- most church musicians, this music may recited upon entering a synagogue; other dotes and legends into a history of the fi ce it to say, Pecher paired down the not be directly useful, but it is hoped prayers set to music are works for a Jew- period, 1879 to 2010, which holds one’s choir applicants to 100 gallery singers, that readers of this monthly column will ish funeral. There are solos throughout interest through to the last page. two quartets, an orchestra, and a chan- expand their knowledge by reading re- the entire work. Beginning with the Sunday-to-Sunday cel choir of roughly another 100 voices. views about music less familiar to their tedium of most mid-19th-century choir- Last, but not least, there was an organ personal background. And to those who Hazermos Una Merenda, arr. Elliot masters, Basile quickly accounts for a re- purported by its builder, Jardine, to be are choral directors of Jewish services Z. Levine. SA unaccompanied with volving door shuffl e of choirmasters who the most powerful organ in the world. I wish you M’nucha, K’dusha, V’oneg drum, Transcontinental Music Pub- served St. Patrick’s without distinction. At that time, competition for musi- (Rest, Holiness, and Joy). lications 993452, distributed by Hal Repertoire was slow in coming across the cians was fi erce. Singers and instrumen- Leonard, $2.25 (E). Atlantic, so city choirs leaned heavily on talists were borrowed from the fl edgling Or Zarua, Psalm 97:11 (Light is The drum plays throughout this Mozart, Haydn, and Handel, often in wa- Metropolitan Opera or other secular sown for the righteous), Robert Ap- Sephardic song, and its music is on the tered-down arrangements. In 1858 Arch- organizations, and newspaper critiques plebaum. SATB, keyboard with op- back cover. A reduction of the vocal lines bishop John Hughes laid the cornerstone were common and often harsh. tional fl ute and percussion, Trans- is included in the score. There are four for a new St. Patrick’s in the northern sub- In 1903 the Catholic musical world was continental Music Publications verses; the text is an anonymous poem urbs. However, construction was halted shaken when newly elected Pope Pius X 993436 (Hal Leonard 00191684), entitled “Let’s Make a Meal!” almost immediately by lack of funds and issued instructions that in effect banned $2.50 (M). the wartime shortages caused by the Civil women from singing in the church, in- The fl ute and percussion parts are Music for Chanukah War. Almost no one believed that the new structing that those parts should be included in the score and separately at church would ever be completed. taken by boys according to the ancient the end for the performers. For those A Prayer for Chanukah, Stanley In 1866 a fi re destroyed the old cathe- usage of the church. One can imagine wanting to venture into a Hebrew text, Hoffman. SATB, baritone solo, and dral, which lay between Mulberry and Mott how this was viewed in American Catho- this would be a good work, since there chamber orchestra or piano, ECS Streets, and so by the 1870s the new ca- lic churches, and Basile’s accounts make are only two brief lines of text. The per- Publishing Co., 5884, $1.95 (M+). thedral on Fifth Avenue was taking shape. for exciting reading. cussion could be played by Tof, bongos, Using an English text adapted from As the largest house of worship in Amer- During this period of transition, Pecher or body percussion. The fi rst verse is for the Jewish service for Chanukah, this ica, and a Catholic one at that, it caused suffered two strokes and died a short time unison women, then that melody contin- setting is a slow emotional work that signifi cant Protestant anger, and within a later, leaving his close friend, assistant mu- ues in the tenor while the soprano and places equal emphasis on the vocal and short time St. Nicholas, St. Thomas, and sic director Jacques C. Ungerer, in charge bass have counterlines. Later, the fi nal instrumental parts. There is a long in- Fifth Avenue Presbyterian Churches were during a diffi cult time of change. It was verse has the full choir in unison on that strumental introduction (full score No. being erected. The Church of the Heav- during Ungerer’s tenure that the name of melody. This is a delightful setting that 5906) that leads to the syllabic chordal enly Rest was soon to follow. With this Pietro Alessandro Yon began to be associ- will be learned quickly. choir phrases. A middle section begins fl urry of building, the demand for trained ated with St. Patrick’s. Changes followed with the soloist, and then develops with Rom’mu, Psalm 99:9 (Exalt Adonai, the addition of the choir. The keyboard Our God), Jeremiah Klarman. SATB part is often quite busy and adds signifi - and keyboard, Transcontinental Mu- cantly to the music. Very dramatic. sic Publications 993444 (Hal Leon- ard 00191692), $1.95 (M-). Eight Days of Chanukah, Abraham The 7/8 meter is used throughout, giv- Kaplan. SATB, solos, and keyboard, ing a gentle dance spirit to the music. Transcontinental Music Publications There is no counterpoint in the choral 993443 (Hal Leonard 00191691), music, which remains the same in all $4.50 (M). congratulates the winners of the voices as both syllabic and rhythmic There are eight movements, all in phrases. This is a very attractive work Hebrew. Most of the music has similar that the choir will enjoy. The simple key- rhythms in the choir; some movements board accompaniment is always support- have repeated passages. The keyboard ive and not intrusive. part is not diffi cult and has almost no passages with the choir; it is intended Miami International Eitz Chayim Hi (It Is a Tree of Life), strictly as accompaniment background Michael Isaacson. SATB, solo, and for the choir. The composer, Abraham keyboard, Transcontinental Music Kaplan, is considered to be one of the Publications (Hal Leonard 00191690), leading Jewish conductors and compos- Organ Competition $1.95 (M+). ers and has a distinguished background. The soloist (rabbi) has a speaking part (in English) that is heard below the key- Festival of Light, Elaine Broad- board introduction; the soloist sings in Ginsberg. SATB, solo, violin, and Hebrew. The text comes from the liturgy. keyboard, Transcontinental Music 2012 Composer Michael Isaacson has a Ph.D. Publications 993438 (Hal Leonard from Eastman and his choral work Light 00191686), $2.95 (M-). the Legend, which is available in SATB, In English, this work would be par- For more information, visit SSA, or TTBB versions, is one of the ticularly useful for school choirs want- most popular Jewish settings. It has been ing to expose singers to Jewish musical www.ruffatti.com performed by numerous high school styles and traditions. It is a happy rhyth- and college choirs, and also is available mic work fi lled with changing meters, through Hal Leonard. exuberance, and a delightful violin part. The keyboard part is very soloistic, Highly recommended. busy in the introduction, and while the character changes when the choir enters, it still is soloistic in style. The fi rst section is repeated, with the soloist joining on the Book Reviews repeat, and he continues to sing above the choir for the remainder of the setting. Fifth Avenue Famous, by Salva- Ani Ma’amin (I Believe), arr. Erwin tore Basile. Fordham University Jospe. SATB, soprano solo, and key- Press, New York, 2010; 288 pag- board, Transcontinental Music Publi- es, 36 b/w illus., 6″ x 9″, $29.95, Pawel Anne Weicheng cations 990248, Hal Leonard Distri- ISBN 978-0-8232-33187-4;
MAY, 2012 17 changes; new organs were planned to re- such as this might be dull and boring. the D-minor concerto of Vivaldi as tion was very popular among organists in place the outdated Jardine and Odell, so- However, Salvatore Basile has written an J. S. Bach arranged it for organ, which the fi rst half of the twentieth century, but loists and cantors were leaving and being extremely engaging account of a very busy gives us an opportunity to hear both has unfortunately been less popular since replaced. Sadly, Mr. Ungerer was slowly church through times thick and thin. He the beauty of the softer registers and transcriptions fell into disrepute after overshadowed by Yon and in a fi nal insult has written with humor and wit and much the silvery choruses of the Amorbach World War II. In common with many of while he was vacationing in France, was of it will leave you, as it did me, chuckling organ. Nicholas Kynaston approaches Reger’s own compositions, the contrasts replaced by Yon. Ungerer dropped slowly to yourself as you recognize typical situa- the piece with a consistent forward between loud and soft are perhaps a little out of sight and lived on until 1957. His tions often magnifi ed out of proportion. I thrust that maintains the vitality of Viv- more dramatic than would be normal in obituary didn’t even make it into The recommend this book highly. aldi’s music throughout. In the chorale Bach’s time, but the transcription is no American Organist. —Jay Zoller prelude that follows, he exploits the less enjoyable for this. Nicholas Kynaston Yon was given a lavish budget and the Newcastle, Maine fl utes and Vox Humana with tremolo to is therefore to be congratulated for res- direction to create the kind of music produce a particularly beautiful effect. cuing it from half a century of obscurity. program that a church of its size should Next comes the Bach Passacaglia and As in the case of the C-minor Fantasy and have. More growth and changes fol- Fugue, particularly well suited to the Fugue, he begins with restraint and fol- lowed, including radio coverage for the New Recordings Amorbach organ, whose bass registers lows up with the fi reworks. fi rst time. Yon kept up a hectic schedule are clean, solid but far from ponderous. Nicholas Kynaston’s playing on this through most of World War II and fi nally Again, Nicholas Kynaston manages to compact disc is impeccable, his phras- succumbed on November 22, 1943 to Bach at Amorbach. Nicholas Kynas- produce a performance that is both ac- ing is elegant, and his registration is the after-effects of a stroke. ton, organ. LCS Hi-Res (L. Carrick- curate and exhilarating. resourceful and creative throughout. Charles Courboin assumed the mu- Smith & Associates) compact disc, The chorale prelude “Nun freut euch, He seems to know the organ through sical leadership after Yon’s death. His LCSCD006,
18 THE DIAPASON well, and the fi nal work is the shorter of we hear the Pajaritos. Three very short fellow French composer and student the two Tientos del quinto tono, the fl ue arias follow, the second being a dotted- Charles Koechlin to orchestrate the work chorus allowing the counterpoint and rhythm gigue, and the Pajaritos are used of 17 individual movements of various the fl uent passagework to be heard with throughout the fi nal one. The variations lengths, and it was from this orchestra- great clarity. This piece is listed on the on the well-known Folia de España tion that a suite was later extracted. This CD cover and in the booklet as being by build in intensity, the fi nal variations be- further reworking of the score has been Correa, an error that really ought to have ing taken from a different setting of the made by Thomas Baugh, director of mu- been corrected! piece by Pasquini. The last piece by the sic at Christ Episcopal Church, home of Of the two pieces taken from the Fac- Roman is a short sonata published origi- the Opus 124 of C. B. Fisk, which was in- ultad Orgánica published in 1626 by the nally circa 1697 in an anthology by Giulio stalled in the church in 2004. mercurial Correa de Arauxo, we hear the Arresti; the short opening of right-hand Baugh writes that the new Fisk in- Trompeta to great effect in the Tiento de fi guration over a long-held pedalpoint is strument was the inspiration for his dos tiples del segundo tono, which was playable by both hands without using the transcription. As the voicers were pro- written for fi ve voices (three in the bass pedals. The following loosely fugal sec- ducing the fi nal sound of the founda- and two in the treble). The wonderfully tion is full of Corellian writing. tion stops, strings, and reeds of their interweaving treble voices carry over the Two sonatas by Scarlatti follow. The new opus, the transcriber was reminded supporting bass chorus, and the restless quirky K77 in D minor is in two move- of his previous experiences studying in rhythmic changes offer a glimpse of this ments, each of which consists of only France. This published 2010 transcrip- Sevillian’s skills, although Correa’s own treble and bass, and may have been writ- tion of Fauré’s work has been recorded notes on how to play triplet groups are ten originally for a violin and accompani- and released on a Raven CD (OAR-850) ignored. The second piece is a Tiento del ment; the repeats in the fi rst movement entitled French Éclat in the Roanoke quarto tono for the full compass, played are not observed here and the left-hand Valley, featuring Fisk Opus 124 played quietly, with the dissonant harmonies and quarter notes do sound louder than the by Thomas Baugh. suspensions not coming through quite treble in this recording in places, but The press release from Raven records as clearly at this lower volume. The two the second movement, a minuet in 3/8, states: “Baugh became Director of Mu- pieces by Cabanilles include the Tocata is better balanced. K328, an andante in sic of Christ Episcopal Church in 1986. de má esquerra, in which we can hear 6/8 in G, has original indications for stop He received the Master of Music de- Incorporates new research, the 4′ reed in the left hand rasping out changes, which are well effected here; gree with distinction from Westminster the solo beneath a high-pitched right- again the repeats are not observed. The Choir College and studied organ in the corrections, and updates to the hand accompaniment, after which the concert concludes with three one-move- United States with John Mueller, Bruce original German edition. Th e fi ve-voice Passacalles on the 1st tone is ment sonatas by the much-traveled Do- Stevens, and Eugene Roan, and in Lyon, translation includes an expanded played with changing fl ue registrations as menico Cimarosa, better known today France with Louis Robilliard. He also the variations develop. The fi nal piece by for his operas, but who did leave some studied at the Royal School of Church essay by Christoph Wolff . a Spanish composer is the Fandango de 90 keyboard pieces in manuscripts. They Music in London.” With his time study- Illus. Unjacketed Hardcover .; España attributed to José Blasco de Ne- are played on various fl ue combinations, ing in France, Baugh developed a deep Paperback . bra. Played here on the highest pitches the G-minor and C-minor being more respect and admiration for the French Publication of this volume is supported by available, which do take some straining refl ective, the sonata in G making a fi t- symphonic-style organ, especially the the American Bach Society to hear well, this piece is little more than tingly joyful end to this selection of Ital- 1880 Cavaillé-Coll organ at the Church a short improvisation on two chords of ian music, which shows that much of the of St. Francois de Sales in Lyon. the popular dance, complete with rhyth- Italian repertoire sounds well on even Gabriel Fauré lived between 1845 and mic sound effects some way through! the smaller Iberian-style organs. 1924—at his birth Chopin was still com- Bovet’s recital concludes with an al- The booklet (which is basically iden- posing, and by his death the Second Vi- most 10-minute improvisation on Oaxa- tical in both discs) contains an account ennese School was sending shockwaves can melodies, taking up 20% of the CD; of the organ culture in the province of through the musical world. At fi rst held this shows just why he is regarded as such Oaxaca, a detailed account of this instru- in the musical sway of Wagner, Fauré a fi ne improviser, the charming folk mel- ment and its registers, some splendid settled on his own style that was har- odies being treated to a complete range color photos of the church’s paintings monically advanced yet not as dissonant of variety in tempo and registration; par- and decorations and of the organ, and a as Wagner. Many feel it is a shame that ticularly effective are the triplet and up- biography of the performers. However, even though Fauré played the organ pro- beat chordal passages on the reeds. The there is no commentary at all on the mu- fessionally for over four decades he left CD is certainly on the short side, and it sic played, which, given the errors on the no solo compositions for the organ. would be good to have heard pieces by cover and booklet listing, is a most disap- This transcription is published by some other Spanish composers, perhaps pointing omission—very few players have Ravenbrook, a new publisher estab- from the 18th century, to show the de- a working knowledge of the Spanish rep- lished by Raven, the recording fi rm. velopment and changes in styles over the ertoire, and some of the Italian compos- There can be a bit of confusion if you centuries. The added ornamentation is ers whose pieces are played on Vol. IV simply “google” Ravenbrook Publishing, most tastefully played in good style. will certainly not be household names. however, since it will bring up a differ- The pieces played on Vol. IV by the That notwithstanding, the CDs are well ent company altogether. Therefore, one renowned Italian performer Luigi Fer- produced, and even though they are must visit the Raven CD site listed above dinando Tagliavini are mostly by Italian both on the short side they are most defi - to fi nd this 19-page score. composers, with two pieces by Pablo nitely worth buying at the bargain prices. The Pelléas et Mélisande Suite is in Bruna, the blind composer from Da- They enable us to hear an example of four movements: I. Prélude, II. Fileuse, roca, in northeast Spain. The CD opens one of the large number of organs from III. Sicilienne, and IV. La mort de Mé- with three pieces from the Selva di va- Mexico that have survived the ravages of lisande. The musical theme of Mélisande rie compositioni of 1664 by Bernardo time and been lovingly restored to their is a rising minor third; this leitmotiv ap- Storace. The clarity of the fl ue chorus former glory. It is especially instructive pears fi rst in Fileuse, the second move- illuminates the improvisatory nature of to hear this music in a meantone tuning, ment “spinning song,” and again in the “[An] excellent collection the fi rst part of the Toccata e Canzona which would have been used at the time fourth movement, where it becomes a of essays. . . . Th e Wesley family en sol. A quiet opening, gradual build- of its composition. These CDs show that funeral march. was a remarkable dynasty and ing, and then returning to the quieter in the hands of such skilled performers, The work can be performed on a fl ues are used in the Partite sopra la the small number of registers and tone two-manual instrument, although nota- Music and the Wesleys is a Spagnoletta, after which the reeds are colors need in no way be considered a tion is provided that indicates where a signifi cant contribution to the used to great effect in the incisive and disadvantage, but can be utilized in a third manual might be used to provide lively Ballo della battaglia. The fl ue cho- positive way (although in most cases as- more orchestral color. Baugh also sug- examination of their legacy.” rus is again used to show off the rhap- sistants would have been necessary to gests that on some instruments the right —Th e Journal of the Association sodic nature of the short Toccata avanti add or subtract the stops). hand might need to be reinforced with a of Anglican Musicians la Messa della Madonna from Frescobal- —John Collins third manual. Illus. Unjacketed Hardcover .; di’s Fiori Musicali of 1635, from which Sussex, England Dynamic markings are indicated in the the Capriccio sopra la Girolmeta is also French manner; the indications of p, mf, Paperback . taken. Here the upperwork shimmers in etc. refer not to the addition or subtraction the triple-time section. of stops but rather to how far the Swell box The two pieces by Pablo Bruna in- New Organ Music is opened or closed. Registration changes clude the Tiento sobre la Letanía de la are indicated by the stops to be added or Bach Perspectives, Virgen, a set of variations for two treble removed with plus or minus signs, clearly stops, played with a changing variety of Pelléas et Mélisande Suite, op. 80, by marked in the score. Furthermore, the Volume 8 fl ues throughout, and the Tiento de me- Gabriel Fauré, transcribed for or- straightforward registration instructions dio registro de quinto Tono (not sexto gan by Thomas Baugh. Ravenbrook are in English, and it seems logical that if J. S. Bach and the Oratorio tono as on the CD cover) in which the RVB-101, $15.00; available from the reader knows the sound of the French Tradition bass solo is also given to the fl ue chorus Raven Recordings, 804/355-6386, symphonic organ, either from fi rst-hand Edited by DANIEL R. MELAMED throughout the rhythmically changing
MAY, 2012 19 Conference of Roman Catholic Cathedral Musicians Conference XXIX, Columbus, Ohio, January 9–12 Donald Fellows
Monday, January 9 Lunch in the cathedral undercroft fol- The 29th Conference of Roman Cath- lowed, sponsored by Peter’s Way Tours. olic Cathedral Musicians took place Peter Bahou presented a sneak-preview January 9–12 at St. Joseph Cathedral of the possibilities for CRCCM XXX, in Columbus, Ohio. The conference which will take place in Rome, Italy. began with the traditional greeting and Organbuilder Paul Fritts presented introduction of members, which took “Building a Cathedral Organ,” in which place in the undercroft of the cathedral. he detailed the history of his own organ- A warm and gracious welcome was ex- building principles and experience, and tended by host Paul Thornock, Bishop how they contributed to the design and Frederick Campbell, and the Very Rev- development of the St. Joseph Cathe- erend G. Michael Gribble, rector of the dral organ. cathedral. CRCCM Chair Peter Latona Kevin Vogt presented “Striking the introduced the week’s agenda. The re- Tonic Chord: Mission, Vision and Prac- ception included the usual convivial- tice in Church Music Ministry.” His in- ity in addition to champagne and hors teractive session detailed a model and d’oeuvres. The evening concluded with structure for long-term prioritization Solemn Compline sung by the Men of for music ministers, as well as suggested the Cathedral Choir. steps for achieving those goals. The week’s fi rst business meeting was Tuesday, January 10 then held. Business agenda items in- CRCCM participants gathered in the gallery of St. Joseph Cathedral. Paul Thornock The fi rst full day began with Morning cluded the nomination/election of steer- introduces David Briggs for the improvisation session. Prayer in the cathedral apse, which was ing committee members, a description preceded by an elegant prelude of music of the newly restored CRCCM website, senting “Erik Ericson and the Swedish ily by Fr. Moore. A musician himself, he of Frescobaldi, Couperin, and Bach per- and discussion on the 30th anniversary Choral Sound: What Can a North Amer- expertly offered timely refl ections for formed on the cathedral’s harpsichord conference to be held in Rome in 2013. ican Choir Learn from That Tradition?” the unique assembly. (on loan from Columbus’s First Congre- Participants found dinner on their Sparks provided examples of how to ad- The annual CRCCM Composers gational Church) by Marie Rubis Bauer own, which preceded the day’s conclud- just choral tone and vowel placement. Reading Session was held in the cathe- of St. Cecilia Cathedral, Omaha. Morn- ing event, a stunning concert sung by the Consideration of this technique offered dral choir room. Facilitated by Brian ing Prayer for Tuesday of the fi rst week St. Joseph Cathedral Choir. The exciting a greater variety of vocal tone for the Luckner of St. Joseph Cathedral, La in Ordinary Time followed. and demanding performance included participants. The second half of Sparks’s Crosse, Wisconsin, the session included Matthew Peattie of the University of music of Wood, Tallis, Guerrero, Cor- presentation included a rehearsal with new compositions of Ordinary texts of Cincinnati College-Conservatory of Mu- nysh, Pärt, Mendelssohn, Briggs, Wis- members of the St. Joseph Cathedral the Revised Roman Missal, in addition sic presented “The Sight and Sound of niewski, Howells, and Frank Martin’s Choir, by which his technique of vowel to several Christmas carol arrangements. the Gregorian Propers: Medieval Chant Mass for Double Choir. modifi cation was demonstrated within The reading session provided many high- in Nuance-Rich Manuscripts.” This fas- their performance of choral literature. caliber compositions that will undoubt- cinating presentation traced the origins Wednesday, January 11 The excellent singers worked hard to ad- edly make their way to the repertoire and development of historical notation- Morning Prayer was preceded by the just their technique in order to show the lists of many member cathedrals. al methods, which helped propel that prelude, performed by member Ricardo possibility of tonal variety. Repertoire in- The afternoon was devoted to a tour of which began as oral transmission. The Ramirez of Chicago’s Holy Name Cathe- cluded O Thou, the Central Orb and the several important institutions and their Catholic Foundation served as the loca- dral. Movements I and II of Suite for Or- Frank Martin Mass for Double Choir. facilities. Visits were made to the beauti- tion for Peattie’s presentation (and oth- gan, op. 5 by Maurice Durufl é were fol- The concluding event of the day was fully preserved Church of St. Mary, Ger- ers throughout the week). lowed by Morning Prayer for Wednesday a solo organ recital by David Briggs. man Village, and its historic 1902 Wm. of the fi rst week in Ordinary Time. Briggs was a featured performer in the Schuelke/J. W. Muller (2001) organ. The The Most Reverend Frederick F. dedication of the Fritts organ and was instrument was demonstrated by Scott Campbell, Bishop of Columbus, ad- back by popular demand. His program Gregory Hayes. Columbus’s First Con- dressed the conference at the Catholic included works by Bach, Haydn, Franck, gregational Church is the home of two Foundation. His insightful presentation Elgar, Tchaikovsky, Durufl é, and a multi- historic instruments: the 1972 Beckerath gave members a glimpse of worship movement improvisation on submitted and the 1931 Kimball. Resident organ- through the eyes of a bishop. He spoke themes. Briggs demonstrated the versa- ist James Bobb performed the demon- of the challenges of managing the liturgi- tility and the tonal variety of the cathe- strations on these two unique and vastly cal life of an entire diocese, while detail- dral organ, and was very well received by different examples of organbuilding. St. ing the essential role of the cathedral and the appreciative audience. Agatha Church houses the Opus 75 Be- its impact on the community. dient organ, 2006, built in Cavaillé-Coll The afternoon session began with a Thursday, January 12 style. Cathedral organist Robert Wis- 2012 Annual Convention “Liturgical Improvisation Workshop” led The day began with the Morning niewski performed works by Messiaen, by David Briggs. Briggs related many sto- Prayer prelude, performed by Phillip Guilain, and Saint-Saëns. The fi nal stop Renew the Face of the Earth ries of his own study of the art of impro- Brisson of the Cathedral of the Assump- of the tour was at the Pontifi cal College visation, particularly those surrounding tion, Louisville, Kentucky. Bach’s Sonata Josephinum. Resident organist Jason National Association of his time with Jean Langlais and Pierre in C Minor, BWV 526, was right at home Keefer performed music of Reger to Cochereau. Many agreed that the art can in the hands (and feet) of Brisson and on demonstrate the recently relocated 2003 Pastoral Musicians take as long as fi fteen years of study be- the cathedral’s organ. Morning Prayer Beckerath organ in the seminary’s St. fore one can consider oneself a master of for Thursday of the fi rst week in Ordi- Turibius Chapel. Ȋȱ Ȃȱȱ improvisation. Briggs concluded with an nary Time followed. In addition to the Solemn Eucharist was celebrated in the Ȋȱ ȱ ȱśŖȱ¢ elaborate and dazzling improvisation on elegant nature of the manner of prayer cathedral with Bishop Frederick Camp- Pange Lingua Gloriosi. was the presence of Fr. James Moore, bell presiding, the cathedral choir under Ȋȱ ŗŘŖȱ Following a break sponsored by Pee- O.P. of the Western Province of the Do- the direction of Paul Thornock, organist Ȋȱ ȱȱ bles-Herzog Organ Builders, the confer- minican Order. Each Morning Prayer Robert Wisniewski at the Gober organ, Ȋȱ ¢ȱȱ¢ ence continued with Richard Sparks pre- celebration of the week included a hom- and improvisations by David Briggs at the Fritts organ. Music included Propers Ȋȱ ȱDZȱ from the Roman Missal, Kyrie & Agnus ȱ ȱ from Mass for Five Voices by William ȱ ȱ Byrd, Psalm 44 by Robert Wisniewski, MANDER ORGANS Gospel Acclamation by Kevin Vogt, Eu- ȱ ȱ charistic Acclamations from the Mass in Ȋȱ Ȭȱȱ Honor of St. Cecilia (commissioned by Ȋȱ ¢ȱ¢ New Mechanical St. Cecilia Cathedral, Omaha) by Da- vid Hurd, A Fair and Delectable Place Ȋȱ ¢ȱ Action Organs by Richard Webster, and Let All Mortal Ȋȱ ȱȱǭȱ Flesh Keep Silence by Edward Bairstow. ǯȱǯȱǯȱȱǷ Following Eucharist, the conference concluded with the closing banquet at the Sheraton. Fitting gratitude was ex- ȊĴȱȩȱ ¢ȱŘřȮŘŝȊ Exquisite pressed to CRCCM Chair Peter Latona; Continuo Organs conference host Paul Thornock; the Very DZȱ ǯǯ St. Peter’s Square Rev. Frederick Campbell, Bishop of Co- lumbus; and the Very Reverend G. Mi- ȬDZȱŗȱǻŞśśǼȱŘŖŝȬŖŘşř London E 2 7AF • England chael Gribble, rector of the cathedral. Q [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 Donald Fellows is Director of Music/Or- [email protected] ganist of St. Paul Cathedral, Pittsburgh. He has been a member of CRCCM since 1984, www.mander-organs.com and has served Roman Catholic cathedral churches in Buffalo, Chicago, Ogdensburg, Imaginative Reconstructions and now Pittsburgh since 1999.
20 THE DIAPASON An Update on the Organs of the Keweenaw Janet Anuta Dalquist
Felgemaker keydesk, St. Albert the Great Roman Catholic Church
he Keweenaw (the Copper Coun- stored the winding system to the original Ttry) of Michigan’s Upper Peninsula form. . . . The keyboards were rebuilt, has seen a change in their functioning and a new knee panel directly above the pipe organs. Since the catalog of the pedalboard was new, made to exactly Keweenaw organs was published (The match the other woodwork of the case, Diapason, February 20071), two of [and] a new blower was installed.” the organs have been dismantled and According to Lauck, the Felgemaker removed from the area. However, the had probably been electrifi ed when it Barckhoff organ (The Diapason, Oc- was moved from the Wisconsin church tober 20092) added to the count, and to St. Cecilia’s. The casework did not one instrument, the ca. 1900 Felgemak- fi t right, according to Lauck, because it er organ, has been moved. had not been made for that church. Fur- The A. B. Felgemaker had been built ther, it had been varnished a dark brown in 1882 for a Lutheran church in Mani- color, which was not the original fi nish. towoc, Wisconsin. The organ was moved At St. Albert’s, Father Mott’s mother, to St. Cecilia’s Catholic Church in Hub- Jan, stripped the wood down to its origi- A. B. Felgemaker, St. Albert the Great Roman Catholic Church, Houghton, Michigan bell, Michigan sometime after 1905. Af- nal white oak and refi nished the entire ter they learned that St. Cecilia’s was to casework. In keeping with the Copper close in October 2007, the Organists of Country history, the façade pipes are Keweenaw played a recital in the church painted copper. in August 2007. There was an ongoing The Keweenaw has fi fteen work- discussion among the Upper Peninsula’s ing pipe organs, most dating from the Catholic clergy and organists that the in- late 19th and early 20th centuries. Five strument should remain within the Mar- are trackers, four of which retain hand quette Diocese. The organ lay dormant pumps. Having played the last recital until 2011. on the Felgemaker in August 2007, In Houghton, a student Catholic members of the Organists of Keweenaw church grew out of a very active New- played a recital again on the newly placed man Club, which had fi rst organized in instrument on April 22. 1946. St. Albert the Great Parish was es- The stoplist: tablished in 1963 and, with the exception of the priest, is maintained and “run” by St. Albert the Great Roman Catholic student residents. The parish boasts al- Church, Houghton, Michigan most 1,000 members. A. B. Felgemaker, Erie, Pennsylvania, ca. 1882, 2011 In 2011, with approval of Bishop Alex Placement: loft, rear of sanctuary Sample, St. Albert’s priest, Father Al Mott, and organist John Ignatowski of GREAT St. Joseph and St. Patrick Parish of Es- 16′ Bourdon canaba, dismantled the St. Cecilia Fel- 8′ Open Diapason Bellows gemaker and moved it to St. Albert’s. 8′ Flute 8′ Dulciana Notes Assistance was sought from organbuilder ′ James Lauck of Otsego, Michigan. It 4 Octave 1. Janet Anuta Dalquist, “Pipe Organs of 2′ Super Octave the Keweenaw: Houghton County, Michigan,” should be mentioned that Ignatowski Bellows Signal The Diapason, February 2007, pp. 20–26. had experience in moving and building 2. Anita Campbell, “A Pipe Dream Comes an organ of his own. SWELL True: The Keweenaw Heritage Center’s Stop knobs The organ reservoir, keyboards, ped- 8′ Diapason Barckhoff Organ,” The Diapason, October alboard and all the wooden pipes were 8′ Viola 2009, pp. 24–25. as collection manager of the J. Robert Van Pelt 8′ Aolina Library at Michigan Technological University sent to the Lauck shop. There, according in Houghton from 1984 to 1994. to Lauck, “We rebuilt all of that equip- 4′ Flute Harmonique Janet Anuta Dalquist holds degrees from 8′ Oboe Macalester College, McCormick Theological The author thanks James Lauck for provid- ment and repacked the stoppers on all Seminary, and the University of Michigan. She ing information about his work and her son of the wooden pipes. [On the very badly PEDAL began playing for church services at the age of David Dalquist for “tweaking” the photos up worn pedalboard] new walnut caps were 16′ Bourdon 12, served as a substitute organist in various to an acceptable publishing standard. made for the sharps and new maple key churches from 1956–1988, and in 1989 was tops were made for the natural keys, all Couplers appointed organist at Portage Lake United according to the original specifi cations. Swell to Great Church (UPUSA/UCC), Houghton, Michigan. The reservoir was rebuilt and releath- Swell to Pedal She retired from Portage Lake Church in May Visit ered. At some point, probably when the Great to Pedal 2011, and continues as a substitute organist. THE She is a co-founder of the Organists of the Ke- organ had an electric blower installed Swell pedal weenaw and holds memberships in the AGO, DIAPASON 90 or 100 years ago, the hand-pumped Piano combination pedal PAM, ALCM, OHS, and the Hymn Society. As website: feeder bellows were removed from the Forte combination pedal a professional academic librarian, she served reservoir and discarded. We built a new Tremolo as director of the Suomi College (now Finlan- feeder bellows and pump handle and re- 780 pipes dia University) library from 1968 to 1984 and
MAY, 2012 21 A Conversation with Wilma Jensen Andrew Peters
ilma Jensen is heralded as an out- Wstanding recitalist, church musi- cian, and teacher. Her extensive concert career has taken her throughout the United States. She has played on count- less well-known instruments, including those at First Congregational Church in Los Angeles, the Mormon Tabernacle in Salt Lake City, the National Shrine of the Immaculate Conception in Washington, D.C., Riverside Church in New York City, St. Paul’s Cathedral in St. Paul, St. Philip’s Cathedral in Atlanta, and the West Point United States Military Acad- emy. Having played for several regional conventions and three national conven- tions of the American Guild of Organ- ists, she is in demand as a recitalist, lecturer, and clinician for choral work- shops, church music workshops, and or- gan masterclasses. Numerous European tours have taken her to Norway, Sweden, Denmark, Germany, France, Poland, the Netherlands, and England. In addition, Wilma Hoyle, age 12, performing at Mac- she has made a recording for West Ger- Murray College in Jacksonville, Illinois man Broadcasting, Sender Freis Berlin. in a masterclass for Joseph Bonnet Dr. Jensen earned her Bachelor and Master of Music degrees from the East- music, teaching, and performance. With Dr. Howard Hanson and the Eastman-Rochester Orchestra, performing his man School of Music in Rochester, New Can you talk a bit about your ex- Concerto for Organ, Strings and Harp at the Eastman School of Music, Rochester, York, where she was a student of Catha- perience with service music and New York, February 1952 rine Crozier and Harold Gleason. Dur- hymn playing? ing that time she received the Perform- WJ: When I was twelve, I had a regu- er’s Certifi cate in organ. She received lar job on a two-manual pipe organ in my an honorary doctorate from Piedmont father’s church, since there seemed to be College in May 2004. Recognized as a no one else to play. I have no memory successful teacher, Wilma Jensen has of what I might have used for voluntar- served on the faculties of Oklahoma City ies. They were probably poor, but I did University, the Blair School of Music of enjoy working out the hymns with pedal, Vanderbilt University, Scarritt Graduate although at this point I was self-taught. I School, and Indiana University, where was extremely proud of my salary of $1 she was a tenured professor. per week! A well-known organist, Dr. In addition to two professional solo Frank Collins, gave a recital in my home- recordings—Mors et Resurrectio (Arkay town, and my parents asked him to hear label) and Sketches and Improvisations me play. He suggested I should study (Pro Organo label)—Wilma Jensen also with a good teacher and recommended made two recordings conducting the St. Ruth Melville Bellatti at MacMurray George’s Choir on the Pro Organo label. College in Jacksonville, Illinois. She was She has given numerous masterclasses a graduate of the Eastman School of Mu- around the country at sites including the sic, having studied with Harold Gleason, Juilliard School, Curtis Institute of Mu- and was a classmate of Catharine Cro- sic, Westminster Choir College, Eastman zier. She insisted I play every note of the Kirk-in-the-Hills Presbyterian Church School of Music, and many others. She fi rst edition of the Gleason Method. Also, in Bloomfi eld Hills, Michigan. Wilma has a full upcoming schedule of recit- she was instrumental in my attending Publicity photo Jensen was an artist at the 1960 Detroit als and masterclasses and will present a Eastman for undergraduate and gradu- AGO national convention. (photo credit: pre-convention recital for the 2012 AGO ate study. cifi c Sunday lessons from the Lectionary. THE DIAPASON, August 1960) National Convention in Nashville. Ad- Also, I listened to and studied numerous ditionally, she will teach two workshop AP: You had a long tenure at St. recordings of choirs from all over Eu- instruments, both electro-pneumatic masterclasses. For more information, go George’s Episcopal Church in Nash- rope and the U.S. and tracker. Some have been in large to
22 THE DIAPASON ing conferences last year. My son lives in Orlando. His three girls and one boy are rather scattered geographically, but we all manage to meet in Orlando. My daughter played the piano well and was fortunate to study with my teacher, Ernestine Scott. When she was in junior high, she was the registrant for my fi rst European tour in Holland. She thought it was not as glamorous as she had expected! All seven grandchildren stomped their feet and said, “We are not taking any more piano lessons!” AP: What changes in organ design have you seen during your career? WJ: I recall experiencing the Orgel- bewegung; then later Romantic organs including trackers, which became larger and larger; again more small historic trackers into the mix; and back and forth we go. I love it all! AP: What do you perceive are the challenges of music in the contem- porary church? WJ: Just as we cannot seem to make At the console of the organ at West Point Cadet Chapel Publicity photo up our minds about what kind of organ is best for each church, we seem to be served on many program, executive and having issues in choosing a traditional education committees through the years. service with classical music or a con- Also, I have judged competitions, taught temporary service thought to be more at Pipe Organ Encounters—both begin- appealing to young people. This issue ner and advanced—and taught master- has just come to the forefront at St. classes throughout the U.S. I am on the George’s in Nashville. The fi rst mod- workshop committee for the Nashville ern liturgical service was just held a few 2012 AGO national convention. weeks ago in a secondary worship space, which has been created with an altar, AP: What are your thoughts on the screens, microphones, etc. I attended need for piano study before study- the fi rst service, and it was very suc- ing organ? cessful and well done. I am pleased it WJ: I think piano study is essential at a was held in a place other than the main young age for developing a natural, fl ex- worship space. I believe it is essential to ible, facile technique. In mid-life, I had make the traditional service as beauti- developed some wrist tension, too heavy ful, moving, and exciting as possible. thumbs, and resulting weak fourth and The music of this new service was sensi- fi fth fi ngers. I sought the coaching of Er- tive, set in a liturgical context, and still nestine Scott, an incredible piano teach- within the form of this modern style of er in Oklahoma City. This study and ex- worship. If that happens, there will be Before recital at Cathedral of Notre Recital at Cathedral of Notre Dame, Par- tensive readings she recommended have a place for both services to exist peace- Dame, Paris, France, 1989 is, France, 2005 changed my approach to technique and fully “in harmony.” resulting musicianship. My new teach- As for positions for church musicians, some out-of-print repertoire, which AP: Is it true that you once played in ing video is dedicated to her. Sometimes I believe if you can develop a really fi ne I later performed and recorded. As a a masterclass for Bonnet? when we are young we have a natural, program that has meaning musically and result, several of these compositions WJ: Yes, I played in a masterclass facile technique that may change with spiritually, as well as make yourself in- now appear as archival editions. I am for Joseph Bonnet when I was twelve. I lack of continued piano practice. Find- valuable to the program, there will be a so looking forward to playing soon the thought it was a recital, not a class. Since ing those skills again is a truly valuable good job for you. newly renovated 1932 Aeolian organ I was the fi rst to play, I was humiliated gift at any age. at Duke Chapel. I have just learned all that he stopped me for his suggestions. AP: Thank you so much, Wilma! three of Eric Delamarter’s Nocturnes At the conclusion of my playing, I went AP: Would you like to tell us a bit and will use the Chimes, Harp, Ce- to a corner in the back of the room and about your family? Andrew Peters studied with Wilma Jensen lesta and many solo stops as indicated shed many tears. WJ: I have two children, seven grand- while serving a church outside of Nashville, in the score. children, and fi ve great-grandchildren. Tennessee. He holds degrees from St. Olaf Col- lege and the Cleveland Institute of Music and AP: Besides being a past dean of the I frequently visit my daughter and her is Pastoral Musician at Second Presbyterian AP: You have current and former Nashville AGO chapter, have you family near Chicago. The oldest two of Church in St. Louis. He plays recitals and re- students across the country. Are served in other AGO positions? three girls attend Indiana University leased a recording in 2008 on the Schoenstein there students with whom you are WJ: In addition to being Dean-elect School of Business, and I was able to organ in Franklin, Tennessee. For more infor- still in touch? and Dean for the two-year period, I have visit them in Bloomington while attend- mation, go to
AP: Do you still teach a monthly &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK masterclass in Nashville? WJ: Yes, I did teach a monthly mas- 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ terclass for many years for anyone who WKHLQVWDOODWLRQ wanted to attend. This season, however, I am so busy with recitals, classes, and other commitments that, at least for the 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX moment, I am taking a break. PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW AP: You recently released an exten- 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations sive teaching video and booklet, “Organizing Notes in Space.” Why FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions did you start this project? WJ: This project was important to Solutions for Old Pipe Organs me to help communicate some of my teaching concepts as part of my legacy. After considerable study of the physical aspects of keyboard technique, I have developed an approach to help stu- dents overcome problems and develop a facile technique. And, of course, one arrives at a satisfactory musical result only through a controlled technique. As a result, I wanted to demonstrate www.rodgersinstruments.com these ideas by teaching former stu- dents in a video.
MAY, 2012 23 A Kimball Turns 100: Leigh Street Baptist Church, Richmond, Virginia Donald R. Traser
he Richmond Chapter of the AGO Tgathered on the morning of Novem- ber 19, 2011 to observe the centennial of a Kimball organ of three manuals and 29 ranks. The chapter was joined by church members who heard a talk by this writer, as well as musical selections by a past or- ganist, the current organist, and a chap- ter scholarship student. Leigh Street Baptist Church is one of only a handful of Richmond’s legion of 19th-century churches to be both in its original location and original building. This landmark Greek Revival temple was designed by Philadelphia architect Samuel Sloan. The ground-fl oor base- ment was opened in 1853, though the church was not formally organized until 1854, and the upstairs main auditorium in 1857. In an era when many of us lament the seemingly increasing number of church- es that are abandoning their organs for other instruments, it may be interesting to note that this church stood for 25 years before it ever had an organ. Only a me- lodeon was in use when the church was completed, and what was considered ap- The Leigh Street Kimball organ with its original console when new (photo by Leslie F. Leslie F. Watson at the console of the propriate in the way of music may seem Watson; Donald R. Traser collection) 1867 Simmons organ at Richmond’s very different to us. First Baptist Church where he was later After moving up from the basement the organist (photo by Leslie Watson from the when the main auditorium was complet- Watson family collection) ed, there was a group that insisted on forming itself into a choir and occupying seats in the gallery and from that eleva- tion, leading the singing. After much dis- cussion a vote was taken, resulting in the church asking those leading the singing to move to the main fl oor and occupy seats directly in front of the minister. The gallery element, however, kept up its agitation and when later after consid- erable discussion a vote was taken, the result was in its favor; accordingly, they moved back to the gallery, taking the me- lodeon with them. In 1860 the minister brought to the church the following points for decision: 1. Does the church desire that the me- lodeon be used in the church music? 2. Does the church desire those who lead the singing to sit near the instrument? 3. Where does the church desire the Leigh Street Kimball 100th anniversary leaders of the singing to sit? 4. Will the members of the church use I, the undersigned, solemnly protest of the church, despite his opposition to their infl uence and do what they can to against the action of the church at the choirs and singing. promote singing among the congregation? last meeting in appropriating funds to There is no reference of anyone to 5. Is the church in favor of having the buy books for the choir, thus forcing play an organ until 1871, at which time members of this church who conscien- congregation rise while singing the second tiously believe a gallery choir to be an Mrs. Bettie MacKay was employed at a hymn, which is given out from the pulpit? incubus on any church, to contribute to salary of $100 per year. Laura W. Watson at the console of the The gallery element continued to the support of a thing which they con- It was the ladies of the church who 1882 Harrison organ at Leigh Street lead the singing from on high, but in sider an evil, nothing but an evil, and procured the fi rst pipe organ from New Church. She and Leslie both played this 1868 when it was proposed that $20 be that continually.1 York in 1882. Realizing the necessity of instrument. (photo by Leslie Watson from the appropriated to purchase books for the having a competent person to play it, Watson family collection) choir, at least one opponent expressed The good brother was voted down, yet the church was authorized to spend up his opposition: he continued to be a faithful supporter to $250 per year, if necessary, to secure she was a member, receive the sacra- such a person. ment, and return to the organ, all during The organ was built by the fi rm of the sermon. The Leigh Street preacher, A gift subscription to L. C. Harrison (who had worked in the however, had to keep his eye on the back shop of Henry Erben and appears to door and make sure his sermon lasted have been his corporate successor) as until her return. THE DIAPASON their Opus 50 and cost $1,500. It was It was in 1911 that Mr. W. J. Parrish shipped to Richmond free of charge by (1965–1938) gave the gift of the cur- The perfect gift for organist colleagues, students, teachers, choir directors, the Old Dominion Steamship Company, rent Kimball organ to the church in and clergy. Send in the form below with your check and know that your gift and was dedicated on April 14, 1882 by memory of his wife, Jennie Martin Par- will be just right. For information, contact editor Jerome Butera, 847/391- Mr. T. Bennett Dashiell, described in the rish (1865–1909). The old organ was 1045;
24 THE DIAPASON 8′ Stopped Flute (wood) 61 pipes 4′ Flute Traverso (wood) 61 pipes 8′ Cornopean (metal) 61 pipes 8′ Orchestral Oboe (metal) 61 pipes 8′ Vox Humana (metal) 61 pipes Vox Humana Tremulant Swell Tremulant CHOIR 16 ′ Contra Salicional (metal) 61 pipes 8′ French Diapason (metal) 61 pipes 8′ Viola d’Amour (metal) 61 pipes 8′ Dolce (metal) 61 pipes 8′ Melodia (wood) 61 pipes 4′ Flute Octaviente (metal) 61 pipes 2′ Piccolo Harmonique (metal) 61 pipes 8′ Clarinet (metal) 61 pipes Tremulant PEDAL 16′ Open Diapason (wood) 32 pipes 16′ Violone (metal) 32 pipes 16′ Lieblich Gedact (wood) 32 pipes 16′ Bourdon (wood) 32 pipes 1911 dedication program by Leslie F. Watson Elegy Alfred Hollins First Sonata, Introduction and Allegro Alexandre Guilmant Violin solo, Andante from Concerto, Op. 64 Felix Mendelssohn Mrs. Hequembourg Romance and Barcarolle W. Wolstenholme Flute Concerto Rinck Song, The Message Blumenthal Mrs. Brown Cantilena Clifford Demarest Organ chamber over alley Fughetta Theodore Dubois Sunset Melody Charles John Vincent seems to have had little change, if any. Funeral March of a Marionette Suzanne Bunting (b. 1936), long-time or- Charles Gounod gan instructor at the University of Rich- Violin solo, Lullay Rudolf Friml mond, who grew up in the church and Overture to William Tell Gioachino Rossini whose mother had previously been the Transcription by Dudley Buck organist, played the rededication recital. 100th anniversary program When the Parrish Memorial Organ Suite Gothique, Op. 25 Leon Boëllmann reached its 70th year, I was the parish Connor Wood, Richmond Chapter musician and arranged for a commemo- scholarship recipient The Penitent’s Prayer, by Leslie F. Watson rative recital by Earl L. Miller. The plan Benedictus Alec Rowley was for him to play as many of the 1911 The Penitent’s Prayer Leslie F. Watson recital pieces as possible, most of which Donald R. Traser, former church organist Pavane pour une infant defunte had long passed from popularity. In the Maurice Ravel planning process, Earl wrote to me that Robert Ford, organ; several of the original compositions had Lawrence Robinson, current organist, surfaced but he had re-submerged them. piano Instead, he substituted other numbers Le Jardin suspendu Jehan Alain by the same composers. A large crowd Litanies Jehan Alain turned out, including descendents of Lawrence Robinson both the Parrish and Watson families. Notes Another 30 years have now passed, 1. Dr. W. C. James, Leigh Street Baptist and the Kimball organ continues its Church, 1854–1954 (Richmond: Leigh Street faithful service as it has for a century. It Church, 1954), p. 82. is a unique survivor, and while different 2. Richmond Dispatch, April 9, 1882. from today’s instruments, is worthy of 3. Orpha Ochse, The History of the Organ our interest and commemoration. in the United States (Bloomington & London: Indiana University Press, 1975), pp. 302–04. Leigh Street Baptist Church, Richmond, Virginia Donald R. Traser is the author of The Or- W. W. Kimball gan in Richmond (reviewed in THE DIAPASON, December 2002). Organist and/or choirmas- GREAT ter of several Richmond-area churches since 8′ Open Diapason (metal) 61 pipes 1970, he has served as organist/choirmaster 8′ Gamba (metal) 61 pipes at Second Presbyterian Church, Petersburg, 8′ Dulciana (metal) 61 pipes Virginia, since 2009, and is a past dean of 8′ Doppel Flute (wood) 61 pipes the Richmond, Virginia AGO chapter. He is 4′ Octave (metal) 61 pipes the author of the article, “Austin Lovelace, 4′ Forest Flute (wood) 61 pipes March 19, 1919–April 25, 2010: A Remem- 8′ Trumpet (metal) 61 pipes brance,” published in the October 2010 issue of THE DIAPASON. 100th anniversary gathering: (l to r) Donald R. Traser, Robert Ford, Charlie Laughlin SWELL Traser played the carillon for 27 years. He (great-grandson of Jennie Martin Parrish), Leezie Parrish Laughlin (granddaugh- ′ has written four books and numerous articles ter), Betsy Stringfellow Ward (great-granddaughter), Connor Wood, and Larry Rob- 16 Bourdon (wood) 61 pipes 8′ Horn Diapason (metal) 61 pipes on such topics as hymnology (life member of inson (photo credit: John DeMajo) 8′ Salicional (metal) 61 pipes The Hymn Society), trains, travel, organs, 8′ Aeoline (metal) 61 pipes and stained glass. He is currently working on Following the fashion of the time, the there were several features, described in 8′ Vox Celeste (metal) 61 pipes a book about stained glass in Richmond. decision was made to place the new or- the dedication program, that were con- gan and the choir behind the pulpit. But sidered to be unusual: there was a problem—the back wall was directly behind the pulpit, and behind In the Choir Organ there is a 16-foot that a public alley. The solution? Build Contra Salicional. This stop has only two duplicates in this country, having been re- a 14-foot deep addition to house the or- cently introduced by Mr. Burke. gan, supported on stilts over the alley! The Viola d’Amour (also in the Choir The organ was dedicated on Sunday, No- Organ) is a very rare stop. vember 26, in conjunction with a large Another new idea is that of the Pedal Sunday School addition to the building Treble Separation, which allows the per- and general redecorating. former to separate the Pedal keyboard in Leslie Watson gave the opening re- itself so that the upper twenty notes can be cital on the Kimball organ the following coupled to the manuals at super octaves, and leave the twelve lower notes to be used Tuesday evening, assisted by Mrs. F. D. for a bass, thus permitting the organist to Hequembourg, violin, and Mrs. Sallie use both hands and both feet at the same Montgomery Brown, soprano. A capaci- time, in such a way as to produce many ty audience fi lled the church. One would unique effects. have thought that Watson would have been the designer of the instrument, and Chimes were donated by the Parrish probably was involved, but the dedication children and dedicated at the church’s program states that Mr. Parrish selected centennial in October 1954. A decade Mr. H. A. Burke, “who is considered the later Lawrence Walker, a local organ foremost organ voicer and tone expert in technician who represented Casavant the country,” for that task. Frères, converted the action from tubu- While the organ’s tonal scheme is re- lar-pneumatic to electro-pneumatic and fl ective of many instruments of its time, replaced the console, but the voicing
MAY, 2012 25 A new four-manual pipe organ in seven weeks: Möller Opus 6373 at Chicago’s Carl Schurz High School Dennis E. Northway
1935 nameplate and drawknobs. Note the Mixture, Cornet, and Harmonics on the Great
s part of the Organ Historical erstown, Maryland. The Swell and Great A Society’s 57th national convention divisions, played from the four-manual in metropolitan Chicago (to take place console, were heard in public recital July 8–13, 2012), we will visit the corner on December 19, 1935—six weeks and of Milwaukee and Addison streets in three days later! Chicago. Located there is Carl Schurz The remarkable specifi cation below High School, a Prairie-style building includes an identical version of the three from 1909 given Chicago Landmark Great mixtures: the III Mixture, the III–V status. It boasts a 1,800-seat auditorium Cornet, and the amazing IV Harmonics, with a three-second reverberation time detailed by John Gladden Barr (b. 1938) Console (photo credit: Stephen J. Schnurr, Jr.) and a spectacular four-manual pipe or- in his 1977 dissertation, “A Tonal History gan. We hope you will join us in Chi- of Pipe Organs Built by M. P. Möller, In- III Mixture (metal, 183) PEDAL IV Harmonics (metal, 244) 32′ Resultant (from Diap and Spitz Fl) cago to hear this instrument! This is the corporated.” This “experimental” chorus Chimes (from Choir) 16′ Diapason (5″ w.p., wood, 44 pipes) story of that remarkable pipe organ as had been built by Whitelegg and placed Great 16′ 16′ Second Diapason (Gt 16′ Dble Diap) told in correspondence. in the west wall of the Möller erecting Great Unison Off 16′ Contra Bass (5″ w.p., stopped wood, 44) The story of Carl Schurz High School, room in 1934.3 Great 4′ 16′ Spitz Floete (from Choir) and its four-manual 1935 Whitelegg- The compositions, listed in the disser- 16′ Salicional (from Swell) designed M. P. Möller pipe organ, Opus tation, are given below: SWELL (Manual III, enclosed, 8′ Octave (ext, 16′ Diapason) 7″ wind pressure) 8′ Flute (ext, 16′ Contra Bass) 6373, is well documented in the more ′ ′ than 250-page factory fi le now housed in Mixture III 16 Salicional (metal, sc 46, 97 pipes) 8 Spitz Floete (from Choir) 8′ Geigen Principal (metal, sc 46, 73) 16′ Trombone (8″ w.p., in Solo enclo- the American Organ Archives of the Or- 15th 15th 15th 8′ Rohr Floete (wood and metal, 73) sure, metal, 56 pipes) gan Historical Society. This is a landmark 19th 12th 12th 8′ Salicional (ext, 16′ Salicional) 16′ Fagotto (from Swell) instrument—it is intact, and in need of 22nd 19th 8th 8′ Voix Celeste (TC, metal, sc 59, 61) 8′ Trombone (ext, 16′ Trombone) restoration. The saga of the instrument, #1–23 24–40 41–61 4′ Geigen (ext, 8′ Geigen Principal) 4′ Trombone (ext, 16′ Trombone) and the fi nal negotiations and installa- C–A# B–D# E–C 4′ Chimney Flute (ext, 8′ Rohr Floete) Chimes (from Choir) tion presented in correspondence, is an Unison: 44 scale at 8′ CC, 1/4 mouth 4′ Salicet (ext, 16′ Salicional) important and interesting case study of Quint: 2 notes smaller, 1/5 mouth 2′ Flautino (metal, sc 73, 61) INTER-DIVISIONAL COUPLERS a ground-breaking pipe organ. The in- V Plein Jeu (metal, 305 pipes) Great to Pedal 8, 4 16′ Contra Fagotto (metal, 97) Swell to Pedal 8, 4 strument was once appreciated and has Cornet III–V 8′ Trumpet (metal, 73 pipes) Choir to Pedal 8 recently been largely neglected. It has 1st 8′ Fagotto (ext, 16′ Contra Fagotto) Solo to Pedal 8, 4 not been heard in concert in nearly 30 8th 8th 8′ Vox Humana (in second enclosure, Swell to Great 16, 8, 4 years. Fortunately, neglect and disuse 12th 12th 12th metal, 61) Choir to Great 16, 8, 4 have preserved a large instrument that 15th 15th 15th 4′ Clarion (ext, 16′ Contra Fagotto) Solo to Great 8, 4 represents a revolution in pipe-organ 17th 17th 17th Tremolo Swell to Choir 16, 8, 4 building in America. #1–12 13–24 25–61 Swell 16′ Solo to Choir 8, 4 We begin with a Western Union tele- C–B C–B C–C Swell Unison Off Choir to Swell 16, 8, 4 ′ Swell 4′ Solo to Swell 8, 4 gram dated September 1, 1935 from or- Unison: 42 scale at 8 CC, 2/7 mouth Great to Solo 16, 8, 4 gan consultant Calvin Brown to Richard Quint: 2 notes smaller, 1/4 mouth CHOIR (Manual I, enclosed, Choir to Solo O. Whitelegg (1871–1944), Tonal Direc- Tierce: 4 notes smaller, 1/4 mouth 5″ wind pressure) Swell to Solo tor of Möller, which states: 16′ Spitz Floete (metal, sc 40, 85 pipes) Harmonics IV 8′ Diapason (metal, sc 47, 73) ACCESSORIES SUGGEST YOU COME HERE EARLY 17th 17th 10th 8′ Spitz Floete (ext, 16′ Spitz Floete) 12 General pistons (1–12 thumb, 1–6 toe) NEXT WEEK STOP FOUR MANUAL fl at 21st fl at 14th 8th 8′ Spitz Floete Celeste (TC, sc 52, 61) 8 Great and Pedal pistons and Cancel (thumb) DEAL WHICH BELIEVE CAN TURN 4′ Principal (metal, sc 62, 73) 8 Swell and Pedal pistons and Cancel (thumb) 19th 19th 12th 2 YOUR WAY ANSWER BY WESTERN 2⁄3′ Twelfth (capped metal, sc 72, 61) 6 Choir and Pedal pistons and Cancel (thumb) UNION1 22nd 15th 15th 2′ Fifteenth (metal, sc 76, 61) 6 Solo and Pedal pistons and Cancel (thumb) 1–39 40–51 52–61 8′ Clarinet (metal, 73 pipes) 6 Pedal pistons and Cancel (affecting cou- Whitelegg came to America and worked C–D D#–D D#–C 8′ Vox Humana (from Swell) plers, thumb and toe) with the Welte fi rm that later became Unison: 48 scale at 8′ CC, 2/9 mouth Tremolo General Cancel (thumb) the Welte-Tripp organ company. Calvin Quint: 2 notes smaller, 1/5 mouth Chimes (25 tubes) Combination setter (thumb, with indicator Brown’s interest in Whitelegg’s work may Tierce: 4 notes smaller, 1/5 mouth Choir 16′ light) stem from the latter’s work as the tonal 21st fl atted [Septième]: 8 notes smaller, Choir Unison Off Pedal to Great pistons on/off (thumb) Choir 4′ Pedal to Swell pistons on/off (thumb) supervisor for a four-manual instrument 1/5 mouth Pedal to Choir pistons on/off (thumb) on the near South Side of the city in St. 2 SOLO (Manual IV, enclosed, Pedal to Solo pistons on/off (thumb) Augustine Roman Catholic Church. Carl Schurz High School, Chicago, Illi- 8″ wind pressure) Great to Pedal reversible (toe) nois; 1935 M. P. Möller, Opus 6373 This large instrument in a generous 8′ Stentor Diapason (metal, 73 pipes) Test button and light (for current) acoustic would have made a profound ′ Chimes damper (toe reversible) GREAT (Manual II, 5″ wind) 8 Major Flute (wood and metal, 73) 8′ Gross Gamba (metal, sc 56, 73) Harp damper [sic] (toe reversible) impression on the listener. 16′ Double Diapason (metal, sc 35, 73) The Schurz instrument, with its van- 8′ Gross Gamba Celeste (metal, sc 56, 73) All Swells to Swell reversible (toe, with indica- 8′ First Diapason (metal, sc 43, 61) ′ guard specifi cation for the time, is also ′ ′ 8 Tuba Mirabilis (metal, 73) tor light) 8 Second Diapason (ext 16 Dble Diap) Tremolo Swell expression shoe (with indicator dial) highly noteworthy with regard to the 8′ Harmonic Flute (metal, sc 50, 61) ′ ′ Solo 16 Choir expression shoe (with indicator dial) speed of its implementation and comple- 4 Octave (metal, sc 56, 61) Solo expression shoe (with indicator dial) 2 ′ Solo Unison Off tion. The specifi cation is dated October 2⁄3 Twelfth (metal, sc 65, 61) ′ ′ Solo 4 Crescendo shoe (with indicator dial) 29, 1935 and was accepted in contract 2 Fifteenth (metal, sc 70, 61) Sforzando reversible (thumb and toe, with in- form dated November 4, 1935 in Hag- III–V Cornet (metal, 269 pipes) dicator light)
26 THE DIAPASON Virgil Fox, M. P. Möller, and Richard O. Whitelegg tional occasions, the temperature will chestra pit as fi rst requested, it would be normally delivered from the blower be better to decide on which side the console around about 70 degrees. On the other would be permanently located and then hand, if the blower is located immediately have cables long enough to extend to the under the stage, the temperature there is center of the stage. any where from 70 to 80, and fi guring the I expect to be in Chicago again within rise of temperature as it passes through the next ten days or so, no doubt will be the blower, will be considerably warmer seeing something of you then. or a higher degree of temperature than would be good for the woodwork. How- Calvin Brown was the recipient of a ever, you can settle this matter when the installation commences, but my prefer- letter from Whitelegg dated December ence would be where I suggested. 3 discussing the console, blower place- Regarding the location of console, we ment, belted generators, commission, have heard from Mr. Wetzel and they and concludes: are thinking of having the console on the stage with three union boards for attach- We are making every effort to have this ing console, either on each side or the cen- organ playing for the 19th, that would be Carl Schurz High School Victory March (Listen to Dennis Northway play the Schurz ter. This, while it can be done, is right out the Swell and Great divisions, hence the Victory March at
MAY, 2012 27 tice: however, nothing has been spared to make it one of the fi nest organs that ever left the factory. On the tonal side of the instrument, you are going to fi nd a very much more ag- gressive organ tonally than the one in your church: we have all the Great work unen- closed and the Mixtures—fl u [sic] work a very sweet agressive6 tone, likewise with the reeds. However, I am sure after you have used the instrument a little while it will appeal to you much better than the late, Heavy Phonon Diapason type of organ. Mr. John Buterbaugh will, I expect, have arrived in Chicago by this time. He has installed many of the larger Möller organs and in my opinion is one of the most capable organ builders we have at the present time. Mr. Buterbaugh will be in complete charge of the installation, and you will fi nd him very tactful, diplomatic, and ready to co-operate in every way. In any case, I expect to be around myself for two or three days prior to the 19th, so will be seeing you.
M. P. Möller, Jr. writes December 14, 1935 to R. O. Whitelegg, in care of the Chicago offi ce7: In reference to your telephone call from New York this morning, I was very surprised that you were still in New York as I thought the New York work was to simply be the conference with DeTar on Wednesday and that you would be in Chicago on Thursday. I haven’t had a report as to what progress they are making, but as the organ must be playing by the 19th, or just what the sched- ule is. I really had not been worrying about it, as I presumed you were there and were taking care of all details. The third load is going today, containing the Choir and Solo organs and I presume practically everything except some parts of the case. Messiah performance, Carl Schurz High School, 1930s Whitelegg responds, in a report to M. P. Möller dated December 16, 1935: The same day, from Möller sales man- of the School, Mr. Wetzel, and some oth- fi rst thing in the morning. I understood, ager E. O. Shulenberger4 (who was “on ers, and they said they will do what they however, that the sawed out grille as ap- The plans there are to have the Great the road” in Chicago) to M. P. “Ted” can, and I told Buterbaugh and Kenneth to proved by the architect was what was want- and Swell divisions playing on the 19th, work and not talk. ed, and the architect, Iam [sic] informed, is which is all I promised at the time of sign- Möller, Jr., we read: ing the contract. In a letter written while he was in fi nal regarding all of those matters. I spent all forenoon with Mr. Brown and I wrote you about the junction yesterday, I plan to give three or four days to the the Möller Chicago offi ce in the Mc- and have suggested that the wiring be done St. John of God organ, and also set up the the Schurz High School. First, because Cormick Building, 332 South Michigan, Brown asked me to go out, and secondly, to a junction board, placed on an apron of tonal values of whatever is playing at the 5 E. O. Shulenberger writes to M. P. (Ted) the stage, and the wiring from there per- High School, and then return to the fac- because Buterbaugh who arrived here Möller, Jr., on December 4, 1935: manent, since there will be no air. I think tory, possibly the end of this week. yesterday with Kenneth ’phoned and said Mr. Brown will work that out, and he has Yours truly, he thought they would have Union trouble. Dear Ted: the confi dence of Mr. Wetzel, and would R. O. Whitelegg I am quite sure that we will have some trou- be the best medium to take it up. ble before we are through. Every employee I have your letter of December 2d. The boys worked last night until ten o’clock, and I advise strongly against Kenneth at- P.S. Since the above was dictated, I’ve around the School, including half dozen or tempting the motor wiring, and have told been over to Carl Schurz School. The work more engineers, electricians, janitors, and got part of the steel-work of the platform up, and so far without any interference. I Buterbaugh toget [sic] an estimate from is progressing satisfactorily, Mr. Wetzel some others, amounting to about a total an electrical contractor out there, and stated that he is ordering the balance of of fi fty-fi ve in all, are Union men, and the understood that Brown’s commission was to be fi gured on the basis of contract price, send the estimate to Hagerstown. All the the contract tomorrow, and he is also ask- Chief Engineer, while courteous regarding employees there are union men, and are ing for the list of suggestions on the other certain things, says that the electrical union less motor wiring, starter and platform, which as I remember was $13,650.00, or watching what is going on. So far they have prepared for pipes, which I am sending to even interfered when he fi xed one of the not interfered with the steel-work, but the him from this offi ce.8 electric clocks. It was a sad mistake, I think, whichever was my original estimate, plus a Clarinet. That is what Mr. Whitelegg told Chief Engineer, who is in charge of the that we built the platform there. Maybe the entire building and equipment, is a union steel workers won’t fi nd it out, but there is me at the time. I will try to fi nd out, if pos- Whitelegg writes then to M. P. Möller sible, about the grille, but I am not sure man, and told me if the Delegate came in every reason to believe they will. That and and found our men doing electrical wir- on December 20, 1935: the electrical work is the most serious. I that I can make the contact today, and if I don’t leave the city later today, I will the ing, he would start real trouble. The Chief talked to the Chief Engineer, the Principal Engineer said he don’t care, but that they Dear Sir: Regarding Carl Schurz High are checked up very frequently, and what School, the organ was available for use last we might save by Kenneth doing it, might night as planned, and is truly remarkable. be more than lost by trouble that would be In Mr. Wetzel’s own words, he expected caused, and furthermore, diffi culty with a fi ne organ, but it has exceeded anything the inspectors could be expected. that he hoped to have. Whether the generator is direct-con- nected or belt-driven probably won’t be an E. O. Shulenberger writes to Calvin issue, but as we have all decided that the Brown, 4539 North Richmond Street on place for that blower is in the engine-room, December 23, 1935: there is plenty of room for a direct-con- nected generator. It would be impossible I understand that the boys got the organ to put the blower and air duct where Mr. playing at the time wanted and can not do Whitelegg suggested and keep the organ in any more now until after the Holiday Sea- tune, as the temperature in there yesterday son. I hope everything has come through was below thirty, with a terrifi c draft, and satisfactory [sic] to every one. no-one here wants to put it there. The en- gine-room is not hot, never above seventy, We fi nd a memo from the Hagerstown generally considerably below, and has all Möller factory to the offi ces in Chicago kinds of space. dated December 31, 1935: On December 10, 1935 Richard The last load of the Carl Schurz High Whitelegg writes to LeRoy Wetzel: School organ will arrive at the High School on Monday morning, January 6. The last of the Carl Schurz High School Richard O. Whitelegg writes to J. B. organ will be leaving the factory next Sat- Buterbaugh on January 17, 1936: urday, and this is almost certain unless some unforeseen diffi culty arises, that the Please let me have a report as to the organ—at least the Swell and Great divi- progress of the Carl Schurz High School, sions—will be available for the 19th. I had in order that I can plan my future move- expected to be in Chicago by this time, but ments. I will be busy in the factory until the there have been several matters which have 25th, and plan to spend a few days at the detained me and again I must go up to New completion of the organ you are installing. York, but I am still hoping to be in Chicago within the next three or four days. Because it was a strict union house, It is indeed a considerable effort to get that organ completed in the short time: I and because of the heavy use of the au- gave it preference and hence the reason ditorium during the day, we fi nd sent why the organ will be available as prom- to the attention of Mr. Whitelegg from ised. I do not think that there is any other Buterbaugh the following: “I am starting part of the world that an organ of that to do regulation this evening as we must size could be handled on such short no- work nights from now on.”
28 THE DIAPASON on the organ at the Church of the Holy Name Report on All Electric Consoles in New York City, where he was practically unhampered in carrying out his tonal ideas. No. Coupler magnets Comb. magnets Current drain Volts See John Gladden Barr, “A Tonal History of Pipe Organs Built by M. P. Möller, Incorpo- 1 6343 Los Angeles, Calif. 21 None 4 ⁄5 Amps. 10 rated,” S.M.D. dissertation, Union Theologi- 1 6352 Lewiston, Mont. 21 1 8 ⁄5 10 cal Seminary in the City of New York, 1976, 6353 Lewiston, Mont. 25 1 9 10 pp. 218–219. (Shades of G. Donald Harrison’s 3 6354 South Amboy, N.J. 13 2 10 ⁄5 10 1 experimental organ “temporarily” installed 6356 Fairfi eld, Wash. 26 1 9 ⁄5 10 4 in Harvard’s Busch-Reisinger Museum and 6355 Wayne, Pa. 29 5 25 ⁄5 10 2 made famous by the series of radio broad- 6362 Auburn, Wash. 27 1 9 ⁄5 10 2 casts by E. Power Biggs.) 6363 Coral Gables, Fla. 12 1 8 ⁄5 10 4. E. O. Shulenberger (that is the way he 6365 Perryman, Md. 25 1 9 10 2 always signed his name) was Secretary and 6369 New York, N.Y. 27 1 9 ⁄5 10 Sales Manager at the Möller Organ Factory in Hagerstown, Maryland after M. P. Möller, Order # 1 Jr., and had complete decision-making au- 7368 T. H. Sheehan, 11 None 2 ⁄5 10 Raleigh, N.C. thority as well as fi scal authority. When he 7 and M. P. “Ted” Möller, Jr., were both on the 6373 Chicago, Ill. Couplers 42 6 35 ⁄25 12 Rev. & Switches 5 road on company business, they coordinated daily by telegram or phone on the day-to-day This amount of current drain is console only. operation of the company. There are many letters between them in the Schurz fi le. 5. The head of the installation of the organ at Schurz High School was John Buterbaugh, The prepared-for stops, the Vox Hu- it should make a very good story. I am sure ′ ′ that Mr. Leroy Wetzel, head of the music a career organbuilder who regularly installed mana, Chimes, and Trombone 16 & 8 Möller pipe organs around the country. He were called for by Calvin Brown on Jan- department of that school, would be glad to assist you in getting any or all informa- was the brother of the head of the Chicago uary 22, 1936 for the sum of $1,330.00. offi ce of Möller, L. B. Buterbaugh. Choir pipework (photo credit: Stephen J. tion, and Dr. William H. Barnes, the organ Schnurr, Jr.) The Vox Humana stopknob was or- architect, South Wabash Avenue, has also 6. This word is crossed out in the typewrit- dered from H. W. Cramer by M. P. made a lot of study on it. He has written an ten letter and an “agressive” (sic) is overwrit- Möller, Jr., January 31, 1936. ten in Whitelegg’s own handwriting! appeared in a music or school publication. If article to be published in the American Or- not, and you can loan me a good photo, and The weekly installation report to ganist on the particular organ, but as this 7. Chicago offi ce: Suite 1742, McCormick Building, 322 South Michigan Avenue, phone some added data, I will be able to write a lit- the factory dated February 1, 1936 publication has not yet come out, I have tle story for one or the other kinds of publica- and signed by John Buterbaugh states: not seen the copy. Harrison 1150. 8. Though placed in the fi le at this point tions. Have written for both the above kinds “Chimes installed. Organ tone regulated and undated, the piece of paper must be much of magazines. The publications pay me when except Solo,” with a listed probable com- Whitelegg writes to “Mike” Buter- later due to the fact that Opus 7368 is listed. a story is used.” pletion date of organ as February 12. baugh August 13, 1936: 9. There are scraps of paper in the fi le that The following week’s installation re- simply have a name on them for documen- Dr. Dennis Northway is Parish Musician port, dated February 8, 1936 states: I hope to be able to see and hear this tation purposes (the Möller company was at Grace Episcopal Church, Oak Park, Il- organ after visiting Kalamazoo when that fortunately very careful and thorough with linois, a former Dean of the Chicago AGO Solo and Choir fi nished, some regula- organ is completed. their pipe organ opus fi les). When I, Dennis chapter, Artistic Director of the Handel Week tion and fi nal tuning of Great and Swell. Northway, worked as a salesman for Möller in Festival in Oak Park, Illinois, an employee of Probable completion date of organ is Feb- L. B. (“Mike”) Buterbaugh, writing the late 1980s only one person regularly had John-Paul Buzard Organbuilders, recently ruary 13th and dedication planned in about access to the closet that contained a chrono- Councilor for Research and Publications of a month. Signed John Buterbaugh. from the Chicago offi ce, Suite 1742 Mc- the Organ Historical Society, and Chair of Cormick Building, 322 South Michigan logical listing of all the pipe organs, by opus 9 number, manufactured by Möller (these the 2012 OHS National Convention. He is C. W. Nowell provides a report of on October 12, 1936, reports, “The organ fi les are now maintained by the Organ His- the co-author, with Stephen Schnurr, of Pipe All Electric Consoles (no pneumatics in itself is in very fi ne shape.” torical Society). Therefore, Nowell was most Organs of Chicago and Pipe Organs of Chi- consoles) built by Möller; a copy of this There is a great deal more in the fi le; likely the ranking secretary of the time at the cago—Volume Two, author of To Touch the is in the fi le and is reproduced here. It however, this array of documents gives Möller factory who was commissioned at one Garment’s Hem: meditations before a choir may be surprising to some that Möller us a glimpse of what it took to get a large time by her or his boss to collect and docu- rehearsal, and editor of The ChicAGO Cen- produced these in this period. Note the instrument in quickly. This also hints to ment the entire list of all-electric consoles. tenary Anthology. exceptional number of magnets in the the truth that all large instruments take 10. Warfi eld Webb, Chicago, IL, identifi es Schurz console and the unique report a great deal of negotiation, in all aspects himself as “a writer for many, many kinds of Listen to Dennis Northway play the confi guration of that entry. (See chart.) of construction and design, to fabricate publications” and further, “wonder if anything Schurz Victory March on Möller Opus John Buterbaugh, who oversaw the and install. Opus 6373 is a monumental in the nature of a story about this organ has 6373 at:
MAY, 2012 29 Cover feature
A. E. Schlueter Pipe Organ Company, Lithonia, Georgia Immaculate Heart of Mary Catholic Church, Atlanta, Georgia The O’Neil-Foster Memorial Pipe Organ Immaculate Heart of Mary Catholic Church is located in my hometown of Atlanta, Georgia, just a short drive from my offi ce. Our involvement in the proj- ect began with an invitation to consult with this church from director of liturgy and music William Jefferson (Jeff) Bush. The church was planning a new sanctu- ary and wanted to study the possibility of building a pipe organ for this space. During my fi rst visit I had the opportu- nity to meet many of the church leader- ship, including Rev. James A. Schillinger, S.T.L., pastor; Michael D. Mullink, asso- ciate director of music; and Paul Tooher, director of business. The organ commit- tee at this church included Jeff Bush as committee chair, Michael Mullink, Phil Jardina, Leann Logsdon, and Mark Gal- vin. Dr. John Romeri was invited by Jeff Closeup of organ case and façade pipes to serve as an informal consultant to him (photo credit: Deana Graham) personally on this project. As this distinguished group talked about plans for the new sanctuary, there was an excitement and zeal for their mis- sion, which personally enveloped me. Beyond a simple cerebral response, I found a lasting emotional attachment to this church and its membership. I left this church posed with the ques- tion, “How could the members of the Schlueter family and our staff not be a part of this grand commission?” To design the new sanctuary, the church engaged the services of the ar- chitectural fi rm CDH Partners with project architect Michael Boland. This fi rm’s work was interlaced with that of the liturgical consultant Brother Martin Erspamer, OSB. His contribution to this project was invaluable. Over a period that spanned years, he provided a distinct vi- sion for the fi nished church building and Console on movable platform (photo credit: Deana Graham) its furnishings. He also worked as an able arbiter to diligently channel and focus the ideas, concerns, and aspirations of all the design parties and committees. The rear panels of the organ casework The organ, later to be named the provide the backdrop for the baldac- O’Neil-Foster Memorial Pipe Organ, chino in the prayer chapel (photo credit: was made possible through the generous Deana Graham) donations of Walter & Mary Alice Foster and Jim & Pat Sedlack. When I was brought into the project, the basic layout of the sanctuary had already been formed and we lacked a space that allowed consideration for an organ chamber location. The only possi- bility was to incorporate a free-standing organ case design. The challenge was to fi nd suffi cient space that would work physically and tonally for the organ. As we studied the building plans to fi nd a location, the sole workable area was on the central axis of the church, just behind the altar. The members of the church were willing to consider this Sanctuary at IHM featuring pipe organ as backdrop to the cross (photo credit: Deana space, but we all knew that the path to a Graham) fi nal design would be an arduous choice, given the prominent chancel location. Taking advantage of the organ’s posi- an instrument that would support wor- We considered over a dozen different tion in the church, we used the mass of ship, with a specifi city of a literature bias organ case iterations, before settling on the instrument casework to separate the to be a secondary concern. From shared a fi nal rendering. main sanctuary from the chapel behind listening experiences with the church, To minimize the visual impact of the it. The rear of the organ case was built as we developed an eclectic specifi cation organ case, we held the center of the a paneled oak wall with ebony dividers. with roots in American Classicism. To Closeup of casework details and façade organ case to 10 feet of width on its for- The center panels form an arch to mir- support the choir and congregation, all pipes arranged in an arc (photo credit: Patty ward exposure. The largest pipes of the ror and highlight the baldacchino. The divisions of the organ were planned to Conley) 16′ Principal are positioned to the sides stained glass in the cupola that forms be weighted around an 8′ chorus struc- of the case and arrayed in an inverted el- the rear chapel wall provides a coalesced ture with multiple weights of this tonic clients. We have always looked at this lipse that arcs away from the case center, mixture of light and shadow, which plays pitch register. as our tithe to the communities of faith which de-emphasizes the overall case off the organ’s oak panels to make this As we labored on the fi nal stoplist, where we build organs. In the end, the width and accentuates its verticality. This area a quiet, contemplative space for there were budgetary considerations 8′ Viole Dolce, 8′ Viole Dolce Celeste, 4 greatly reduced the visual weight of the prayer. Here one senses the cloistered that could not be ignored. With the free- ⁄5′ Terz, and the 16′/8′ Trombone unit organ case. feeling of a space that is at once part of, standing case, console, and three-manual became gifts from the Schlueter fam- What has pleased us most with the and separate from, the main sanctuary. specifi cation, this would not be an inex- ily. As artists, it can be liberating to add completed design is that it “feels right.” The emotional response experienced in pensive organ to build. We faced a cross- stops into the organ on the basis of “it The casement is built of red oak with eb- the chapel leaves no doubt that this is road where the design for an instrument should be there” without sole regard to onized walnut accents. Taking the form Holy Space. included most but not all of the elements budget. Hearing the organ in the church of a reredos, it provides a visual back- As the outer shell of the casework was we wanted in a stoplist, but a budget that we know that we made the right decision drop that anchors the cross and the cor- brought to a point of design conclusion, had already been reached. To free our- by our gifts. pus. When viewed from an off-center lo- we began to develop a stoplist that would selves from this stricture we looked in- The Great division of this instrument cation, the largest pipes vertically ascend be capable of the varied uses required ward. Those who have followed our work was built with a Principal chorus of 8′, 4′, toward the center to provide a central of this instrument. From the beginning, know it has not been uncommon for our 2′, and IV-rank Mixture that is ground- focus on Christ. the charge we were given was to design fi rm to gift some additional items to our ed with a 16′ Bourdon. Due to a room
30 THE DIAPASON Immaculate Heart of Mary Catholic Church, three manuals, 44 ranks GREAT—Manual II (unenclosed) 16′ Bourdon (Pedal) 8′ Principal 61 pipes 8′ Hohl Flute 49 pipes (1–12 from Bourdon) 4′ Octave 61 pipes 4′ Rohr Gedeckt 61 pipes 2′ Super Octave 61 pipes 1 1⁄3′ Mixture IV 244 pipes 16′ Tromba (Pedal) 16′ Krummhorn (Positiv) 8′ Tromba (Pedal) 8′ Krummhorn (Positiv) 8′ Trumpet 61 pipes 4′ Tromba (Pedal) Zimbelstern 9 bells Tremulant Great to Great 16′ Great Unison Off Great to Great 4′ Pipes inside the Swell chamber (photo SWELL—Manual III (enclosed) credit: Patty Conley) 16′ Lieblich Gedeckt 12 pipes 8′ Rohr Flute 61 pipes or logical conclusion to the ensemble in 8′ Geigen Principal 61 pipes ′ Pipes inside the Swell chamber (photo credit: Patty Conley) 8 Viole de Gambe 61 pipes large registrations. ′ Mechanically, this organ follows our 8 Viole Celeste 49 pipes 8′ Viole Dolce 61 pipes normal practice with its use of electro- 8′ Viole Dolce Celeste 49 pipes pneumatic slider windchests of the 4′ Geigen Octave 61 pipes Blackinton style, electro-pneumatic unit 4′ Nachthorn 61 pipes 2 action for reeds and large fl ue stops, and 2⁄3′ Nazard 61 pipes a winding system with dual curtain valve 2′ Suavial 61 pipes 3 ′ reservoirs. The resources of the organ are 1⁄5 Tierce 61 pipes 2′ Mixture IV 244 pipes controlled by a three-manual drawknob ′ console that is built of red oak and in- 16 Basson-Hautbois 12 pipes 8′ Trompette 61 pipes cludes ebonized accents commensurate 8′ Hautbois 61 pipes with the organ case. The console features 4′ Clairon 12 pipes such modern conveniences as multiple Tremulant memory levels, programmable crescendo Swell to Swell 16′ and sforzando, transposer, piston se- Swell Unison Off quencer, MIDI, and the ability to record Swell to Swell 4′ and play back organ performances. With any organ project it is possible POSITIV—Manual I (unenclosed) 8′ Holzgedeckt 61 pipes to be so close to your own work that you 8′ Erzahler 61 pipes cannot judge it on its own merits. It be- 8′ Erzahler Celeste 49 pipes comes important to step back from your 4′ Prinzipal 61 pipes work before you can say it is time to “put 4′ Koppel Flute 61 pipes down the brush.” This is particularly true 2′ Octav 61 pipes 1 ′ of tonal fi nishing. The surety of vision 1⁄3 Quint 61 pipes 4 ⁄5′ Terz 61 pipes and purpose that guides one’s work can ′ also result in blinders preventing your 1 Scharf IV 244 pipes 8′ Krummhorn 61 pipes Closeup of organ casework details (photo credit: Patty Conley) best work from coming forward. To miti- 8′ Tromba (Pedal) gate this, our fi rm completes tonal fi nish- Tremulant acoustic that promotes the propagation The Erzahlers proved to be the per- ing over a period of time. Not only does Positiv to Positiv 16′ of bass frequencies, the pipe scales of the fect string stops in this unenclosed divi- it allow the ears to relax, but it also allows Positiv Unison Off 16′ and 8′ registers were pulled in, and sion. With their position at the capstone you to come back to a project more ob- Positiv to Positiv 4′ made slightly smaller to support clarity of in this space, the sound fi lters throughout jective and able to assess your work dis- PEDAL speech and phrasing. We chose to use a the church in an even, gentle manner. passionately. The tonal fi nishing occurred ′ large-scale metal open 8′ Hohl Flute be- These stops, when drawn and coupled throughout the fi rst year, with multiple 32 Violone (digital) 32′ Bourdon (digital) cause of its ability to be used as a blend- with the Viole de Gambe, Viole Dolce, visits to the church as we traveled through 16′ Sub Principal 12 pipes ing and thickening agent to the Great and their companion Celestes, mass in a the liturgical year and made different de- 16′ Bourdon 32 pipes chorus. When used as an independent bloom of sound that buoys the spirit and mands of the organ’s resources. 16′ Lieblich Gedeckt (Swell) solo voice it has a clarity and focus that lifts the soul. I want to extend a sincere “thank you” 8′ Octave 32 pipes are often lost in large-scale open fl utes of An unusual stop in this Positiv is the to our team of tonal fi nishers on this 8′ Bourdon 12 pipes 4 ′ different construction. It is paired with ⁄5′ Terz. Constructed as small principal project, which included Dan Angerstein, 8 Gedeckt (Swell) ′ 4′ Choral Bass 32 pipes a lyrical 4 Rohr Flute that is a playful pipes, it breaks back one octave at G3. Anthony Nichols, John Tanner, Bud Tay- ′ muse in this acoustic. The 8′ Trumpet It can be effective as a coloring agent lor, Dave Koscis, and Fred Oyster. I also 4 Gedeckt (Swell) ′ ′ III Mixture (extension) 19 pipes on the Great has English shallots and is to 8 and 4 stops in the organ, added to want to thank the dedicated members of 32′ Posaune (digital) 1 ′ thinner in scale and texture than its com- the 1 ⁄3 to build a bell-like Glockenspiel my staff, led by Marc Conley, who self- 32′ Harmonics (wired cornet series) patriot in the Swell division. As a chorus mixture, or used with the 16′ and unison lessly provided their hands and hearts 16′ Trombone 73 pipes reed with a subtle edge-tone, it provides couplers to build a secondary Cornet. to the building and installation of this 16′ Basson-Hautbois (Swell) a blaze of color under the Great chorus. With its middle compass octave shift, the instrument. The construction of an in- 8′ Tromba (from 16′) 4 ′ The Swell Basson-Hautbois and Positiv ⁄5′ has enough tonal weight to combine strument of this scale is a monumental 8 Trumpet (Great) 4′ Clarion (Great) Krummhorn are duplexed to this divi- with the mixture to supply a French ac- task with thousands of man hours that ′ sion to allow differing weight and color cent to larger registrations. are visible and many thousands more 4 Krummhorn (Positiv) possibilities to the ensemble or allow To provide suffi cient undergirding that are unseen. The aforementioned are Processional/Chantry Organ— their use as solo voices. for this instrument, we started with the people who helped sculpt the wood, Manual I (prepared for) While everyone recognizes the utili- a case design that allowed an exposed zinc, lead, copper, and brass into poetry. 8 blank stops tarian function of the Swell division as a 16′ Principal in the Pedal. With its In the end, as a principal of the fi rm foil to the Great for congregational ac- forward position in the case, this stop whose name is on the organ, what do I Inter-manual Couplers companiment, we realized early on the is voiced in an unforced manner that think about the organ we built? Early on Great to Pedal 8′, 4′ Swell to Pedal 8′, 4′ importance of careful stop choice for provided the fundamental we desired I knew how special this project could be. ′ ′ the single enclosed division on this in- allied with harmonic defi nition. The As a builder I have been privileged to at- Positiv to Pedal 8 , 4 ′ Processional to Pedal 8′ strument. It would need to have a wide 16 Bourdon and balance of the Pedal tend many concerts at this church and Swell to Great 16′, 8′, 4′ dynamic range and timbre to be effec- resources are positioned at the up- to attend Mass on multiple occasions. I Positiv to Great 16′, 8′, 4′ tive in undergirding the choir and soloist. per rear of the organ case to take ad- must confess that as much as I have en- Processional to Great 8′ The Swell division was designed with a vantage of the acoustical refl ection of joyed the organ in recital, I have taken Swell to Positiv 16′, 8′, 4′ rich palette, replete with various weights the cupola in the same manner as the far great pleasure hearing the organ in Processional to Positiv 8′ of color and texture. resources of the Positiv division. With a worship setting. This is not said to di- With the choir on the side apse, there this spatial treatment, these stops proj- minish the music brought forth by those MIDI Controls (programmable as preset was a concern about the organ being ect forward to tonally sit beside the 16′ who have played the organ in concert; stops) (with record/playback) heard evenly. The expression box opens Principal. Softer underlayment of the rather, hearing the organ taking its part MIDI on Pedal ′ ′ MIDI on Great on three sides to provide an evenly dif- Pedal foundation is provided by the 16 /8 in worship is a validation of the years of MIDI on Swell fused cone of sound in the church and Lieblich Gedeckt in the Swell division. planning and work that go into such an MIDI on Positiv also to provide tonal focus for support of The 16′ Trombone and 16′ Basson- instrument. Having been part of build- the choir. Hautbois provide the reed foundation ing an instrument that serves in worship Combination system with a minimum of The third manual on this instrument is for this instrument. The 16′ Trombone in every day is the greatest gift an organ 128 levels of memory an unenclosed Positiv division. With its the Pedal division is available as a man- builder can have. It is a culmination of rearward position in the upper portion of ual extension to provide a dynamic solo pride, passion, and a legacy that we are the chapel cupola, we were able to take reed. This stop is eight inches in scale at leaving to future generations. A. E. Schlueter Pipe Organ Company advantage of the tangential incidence of CCC and is on a moderately high wind We are very pleased to offer selections can be reached at P. O. Box 838, Litho- the wall surfaces. This refl ects and re- pressure. It provides a rich, vibrant voice from recordings made on this organ by nia, GA 30058; 770/482-4845 or via our fracts the Positiv division to a position of in the favorable acoustics of the room Herbert Buffi ngton, available at
MAY, 2012 31 New Organs
Michael Proscia Organbuilder, Inc., manuals (extensions and borrows) with Bowdon, Georgia one independent rank, the Bourdon at Julius Dayle Harding residence, 16′ and 8′. There are eleven pipe ranks Douglasville, Georgia and twenty-nine digital “ranks,” with In August, 2009, Julius Dayle Hard- the digital voices speaking through six ing commissioned our fi rm to rebuild audio channels over (available) 7,200 and expand his existing, unexpressive, watts, amplifi ed through appropriately four-rank practice instrument, obtained sized speakers, distributed logically from a local Florida hobbyist. The throughout the large music room. ranks consisted of a capped metal fl ute, —Michael Proscia Gemshorn, Dulciana, and Celeste at var- ious pitches controlled by a “Holtkamp”- GREAT – Man. II style, three-manual and pedal stoptab 3 ranks, 11 stops 8′ Principal console, with chests and reservoirs fab- 8′ Metal Gedackt ricated from particle board and other 8′ Salicional (Sw) miscellaneous woods. The organ was 8′ Voix Celeste (Sw) augmented by use of a separate Roland 4′ Octave keyboard and sound engine, amplifi ed 4′ Gedackt through Roland speakers. 2′ Block Flute 1 ′ The expressed goal of our client was to 1⁄3 Quint have in his home an instrument of qual- Mixture III (digital) 8′ Petite Trompette ity, representing four designs of organ 4′ Clarion (digital) building—classic, romantic, theatre, and MIDI-A symphonic—utilizing properly scaled MIDI-B and voiced pipework, appropriate for his MIDI-C residence and augmented with faithful Tremulant digital sampling. After consultation with Gt/Gt 16-UO-4 Sw/Gt 16-8-4 SWELL/MAIN – Man. III 8′ Krummhorn (digital) local Atlanta theatre organ professionals ′ and drawing upon our own experience Pos/Gt 8-4 5 ranks, 14 stops 8 Trumpet de Fete (digital) Main/Gt 16-8 16′ Gedackt Pommer 8′ Brass Sax (digital) with classic/romantic organ design, we Solo/Gt 8-4 16′ Contra Salicional (t.c.) 4′ Gross Octave (digital) believe we have accomplished our goal 8′ Violin Diapason (digital) 4′ Harmonic Flute (digital) and the goal of our client to produce a ACCOMP/POSITIV – Man. I 8′ Chimney Flute 4′ Clarion (digital) successful, multi-dimensional, hybrid in- 1 rank, 17 stops 8′ Salicional 2′ Piccolo (digital) strument that one could say is in a class 8′ Quintadena (digital) 8′ Voix Celeste (t.c.) 2′ Fifteenth (digital) 8′ Viola Pomposa (digital) 4′ Rohr Flute Tremulant by itself. ′ Upon inspection of the extant in- 8′ Tibia Clausa (digital) 4 Fugara Marimba 8′ Viole d’ Orchestre (digital) 4′ Dolce Celeste Harp strument, we recommended a “clean 2 8′ Viole Celeste (digital) 2⁄3′ Nazard Chimes sweep” approach. Judiciously retaining 8′ Vox Humana (digital) 2′ Piccolo Xylophone 3 only those certain components that war- 4′ Tibia (digital) 1⁄5′ Tierce Glockenspiel 1 ranted retention, we embarked upon our 4′ Gemshorn 1⁄3′ Larigot Orchestral Bells journey into uncharted territory. 4′ Viole (digital) 8′ Oboe (digital) 4′ Solo/Solo The four manual and pedal, all- 4′ Viole Celeste (digital) MIDI-A 4′ Vox Humana (digital) MIDI-B PEDAL – 1 rank, 13 stops electric console, a product of our shop ′ craftsmen and the fi rst of its kind for 2′ Harmonic Flute MIDI-C 32 Faux Bourdon 1 ′ ′ us, is fi nished in hand-rubbed, satin 1⁄3 Nineteenth Tremulant 32 Gedackt Resultant 1′ Octave Sw/Sw 16-UO-4 16′ Principal (digital) black lacquer, and fabricated in a style Chrysoglott Main/Sw 16-8 16′ Bourdon reminiscent of residence instrument Vibraphone Solo/Sw 8-4 16′ Gedackt Pommer (Sw) consoles built by the Aeolian Organ Brush All Swells to Swell 8′ Principal (Gt) Company. From bottom to top, the MIDI-A 8′ Bourdon keyboards are as follows: Accomp/Posi- MIDI-B MAIN, fl oating, all digital 4′ Choral Bass (Gt) tiv, Great, Swell/Main and Solo/Bom- MIDI-C 19 stops 32′ Contra Bombarde (digital) Tremulant 16′ Ophicleide 16′ Trombone (digital) barde; the manual divisions, as noted, ′ ′ refl ect the “marrying” of the various Sw/Pos 8-4 16 Tibia Clausa 8 Trompette (digital) Main/Pos 8-4 16′ Contra Viole (tc) Bass Drum designs of organ building. The pedal Solo/Pos 8-4 16′ Vox Humana (tc) Kettle Drum division comprises voices from the 8′ Tuba Horn MIDI-A 8′ Tibia Clausa MIDI-B 8′ Viole d’Orchestre MIDI-C 8′ Viole Celeste Gt/Pd 8-4 THE WANAMAKER ORGAN 8′ Vox Humana Sw/Pd 8-4 1 Attention organbuilders. 5⁄3′ Tibia Quint Pos/Pd 8 4′ Tuba Clarion Main/Pd 8 Listen to it worldwide 4′ Piccolo (Tibia) Solo/Pd 8 For information on submis- 4′ Viole over the Internet! 4′ Viole Celeste TREMULANTS sions for “New Organs” or 4′ Vox Humana Tuba Horn 2 ′ Hourlong streamcasts to sponsor a cover, contact 2⁄3 Tibia Twelfth Tibia Clausa 2′ Piccolo (Tibia) Vox Humana editor Jerome Butera: 2′ Fifteenth Main are featured at 5pm ET 3 1⁄5′ Tibia Tierce the first Sunday of Toe Studs 847/391-1045 SOLO/BOMBARDE – Man. IV Crash Cymbal Roll 1 rank, 17 stops Crash Cymbal Tap each month at wrti.org [email protected] 8′ Concert Flute Gong 8′ Tuba (digital) 8′ Clarinet (digital)
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Louis Perazza; Washington National Cathe- This calendar runs from the 15th of the month of Pickle Piano & Church Organs dral, Washington, DC 5:15 pm NEW YORK issue through the following month. The deadline is Ken Cowan; Grace Episcopal, Charleston, SC Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. 7:30 pm issue). All events are assumed to be organ recitals David Lamb, hymn festival; First United Meth- unless otherwise indicated and are grouped within odist, Columbus, IN 9 am each date north-south and east-west. •=AGO chap- Jeff McLelland, with Alabama Symphony and Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- IPC Choir, Brahms, A German Requiem; Inde- cation, ++= OHS event. pendent Presbyterian, Birmingham, AL 4 pm Information cannot be accepted unless it speci- St.St. Andrew’s by the Sea,Sea, fi es artist name, date, location, and hour in writ- 30 MAY Hyannis PortPort ing. Multiple listings should be in chronological order; Daniel Brondel; Methuen Memorial Music please do not send duplicate listings. THE DIAPA- Hall, Methuen, MA 8 pm SSt.t. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Kathrine Handford; Lawrence University Me- the accuracy of calendar entries. morial Chapel, Appleton, WI 12:15 pm Michael Batcho; Cathedral of St. John the Evangelist, Milwaukee, WI 12:15 pm UNITED STATES Dean W. Billmeyer GAVIN BLACK East of the Mississippi 1 JUNE Princeton Early Keyboard Center Ken Cowan; Emmanuel Episcopal, Chester- University of Minnesota town, MD 7:30 pm 732/599-0392 15 MAY Minneapolis 55455 • [email protected] www.pekc.org The Chenaults; All Saints Church, Atlanta, GA 2 JUNE 7:30 pm Christopher Houlihan, Vierne symphonies; Church of the Ascension, New York, NY 3 pm 16 MAY and 7:30 pm Larry Wheelock; Cathedral of St. John the Choral Evensong; Christ Church Grosse Byron L. Blackmore THOMAS BROWN Evangelist, Milwaukee, WI 12:15 pm Pointe, Grosse Pointe Farms, MI 4:30 pm John Gouwens, carillon; Memorial Chapel, Crown of Life Lutheran Church UNIVERSITY 17 MAY Culver Academies, Culver, IN 7:30 pm PRESBYTERIAN CHURCH Thomas Weisfl og, with Wylie Crawford & Bach Vespers; St. Lorenz Lutheran, Franken- Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA muth, MI 7 pm James Fackenthal, carillon, and Motet Choir; Rockefeller Memorial Chapel, Chicago, IL 4:20 pm 623/214-4903 ThomasBrownMusic.com 19 MAY Simon Preston; Spivey Hall, Clayton State 3 JUNE University, Morrow, GA 8 pm Andrew Henderson; Temple Emanu-El, New Spring Choral Fest; Cathedral Church of St. York, NY 4 pm Paul, Detroit, MI 5 pm Angela Kraft Cross; St. Patrick’s Cathedral, David Chalmers New York, NY 4:45 pm DELBERT DISSELHORST John Gouwens, carillon; Memorial Chapel, Concert Organist Culver Academies, Culver, IN 4 pm Choral Evensong; Riverside Church, New York, +Michael Hey; St. Paul Episcopal, Milwaukee, NY 5 pm GLORIÆ DEI CANTORES Professor Emeritus WI 1 pm Christoph Bull; Shrine of Our Lady of Guada- University of Iowa–Iowa City lupe, La Crosse, WI 3 pm Orleans, MA 20 MAY Victor Hill, harpsichord; Clark Art Institute, 5 JUNE Williamstown, MA 3 pm Doxology Youth Choir; Peachtree Road United Diane Meredith Belcher; First Baptist Church Methodist, Atlanta, GA 7 pm JAMES DORROH, AAGO, PhD STEVEN EGLER in America, Providence, RI 3 pm Central Michigan University Marilyn Keiser; St. James’ Church, New York, 6 JUNE Saint Luke’s Episcopal Church Mt. Pleasant, Michigan NY 3 pm Christian Lane; Methuen Memorial Music Hall, Methuen, MA 8 pm Samford University Artist in Residence Saint Andrew Chorale; Madison Avenue Pres- First Congregational Church byterian, New York, NY 3 pm Kent Tritle; St. Ignatius Loyola, New York, NY Birmingham, Alabama 7:30 pm Saginaw, Michigan Elmo Cosentini; Cathedral Church of St. John Organ Consultant Organ Recitals [email protected] the Divine, New York, NY 5:15 pm Andrew Peters; St. John’s Lutheran, Charles- James Metzler; St. Thomas Church Fifth Av- ton, SC 10 am Michael Stefanek; First Congregational, Ap- enue, New York, NY 5:15 pm Organist / Pianist Stephen Rapp; St. Patrick’s Cathedral, New pleton, WI 12:15 pm York, NY 6:30 pm Michael Elsbernd; Sinsinawa Mound, Sinsi- JOHN FENSTERMAKER Cordus Mundi; St. Mary’s Church, Burlington, nawa, WI 7 pm Michael Gailit NJ 4 pm TRINITY-BY-THE-COVE www.gailit.at R. Robin Austin, carillon; Longwood Gardens, 8 JUNE [email protected] Kennett Square, PA 3 pm Las Cantantes; Trinity Church, Wall Street, New York, NY 1 pm APLES LORIDA Konservatorium Wien University Gary Desmond; Washington National Cathe- N , F University of Music, Vienna dral, Washington, DC 5:15 pm Christopher Jennings, with the New York Jonathan Hellerman; Mount Calvary Church, Repertory Orchestra; St. James’ Church, New Baltimore, MD 5:15 pm, after 4:30 pm Evensong York, NY 7 pm Las Cantantes; St. Michael’s Church, New Christopher Houlihan; Morning Star Luther- A Professional Card in an, Matthews, NC 4 pm York, NY 8 pm Michael Morgan & Gregory Barmer; First Joseph Marchio; Fourth Presbyterian, Chi- The Diapason STEPHEN HAMILTON Christian Church, Elizabeth City, NC 4 pm cago, IL 12:10 pm For rates and digital specifi cations, •Katelyn Emerson; First Presbyterian, Battle contact Jerome Butera recitalist–clinician–educator 10 JUNE Creek, MI 4 pm 847/391-1045 www.stephenjonhamilton.com Gryphon Trio, with Christ Church Schola; Christ Mary Pan & Christopher Ganza; First Church [email protected] Church Grosse Pointe, Grosse Pointe Farms, MI of Christ, Wethersfi eld, CT 7 pm 4:30 pm Michael Hey; First Presbyterian, Allentown, PA Lisa Hall; Christ Church Cathedral, Lexington, 4 pm KY 4:30 pm Patrick Pope; Episcopal Church of the Holy Bruce Neswick; St. Thomas Episcopal, Lou- Comforter, Charlotte, NC 7 pm WILL HEADLEE ANDREW HENDERSON, DMA isville, KY 4 pm Choral Evensong; Christ Church Grosse Ken Cowan; Independent Presbyterian, Bir- Pointe, Grosse Pointe Farms, MI 4:30 pm 1650 James Street Madison Avenue Presbyterian Church North Shore Choral Society, Handel, Israel in mingham, AL 4 pm Syracuse, NY 13203-2816 New York, NY Kristin Lensch; Zion Lutheran, Wausau, WI Egypt; Temple Beth-El, Northbrook, IL 3 pm 3 pm (315) 471-8451 www.andrewhenderson.net Jonathan Ryan; St. James Cathedral, Chi- 13 JUNE cago, IL 3 pm Faythe Freese; Methuen Memorial Music Hall, Kelly Dobbs-Mickus; Madonna della Strada Methuen, MA 8 pm Chapel, Loyola University, Chicago, IL 3 pm Nancy Siebecker; First Presbyterian, Neenah, WI 12:15 pm A two-inch Professional Card 21 MAY J. Nixon McMillan; Sinsinawa Mound, Sinsi- Wolfgang Rübsam; Elliott Chapel, Presbyte- nawa, WI 7 pm in The Diapason rian Homes, Evanston, IL 1:30 pm 15 JUNE For information on rates and specifi cations, contact Jerome Butera: 22 MAY Choir and Choristers of St. John’s Cathedral, [email protected] 847/391-1045 Weston Jennings; Grace Episcopal, Kilmar- Albuquerque; Cathedral of the Incarnation, Gar- nock, VA 7:30 pm den City, NY 7:30 pm
23 MAY 16 JUNE LORRAINE BRUGH, Ph.D. Christoph Bull; Methuen Memorial Music Choir and Choristers of St. John’s Cathedral, Hall, Methuen, MA 8 pm Albuquerque; Church of St. Mary the Virgin, New Gail Archer, An American Idyll; Central Syna- York, NY 1 pm Associate Professor gogue, New York, NY 7:30 pm Todd Wilson & Elizabeth Lenti, with orches- 17 JUNE University Organist tra, Haydn and Paulus concertos; Trinity Cathe- Choir and Choristers of St. John’s Cathedral, dral, Cleveland, OH 12:10 pm Albuquerque, Evensong; Church of St. Mary the Valparaiso University Virgin, New York, NY 4 pm Valparaiso, IN 25 MAY Andrew Peters; St. Patrick’s Cathedral, New www.valpo.edu John W.W. Sherer; Fourth Presbyterian, Chi- York, NY 4:45 pm cago, IL 12:10 pm Ryan Anthony, trumpet, and Gary Beard, or- gan; Shepherd of the Bay Lutheran, Ellison Bay, 219-464-5084 27 MAY WI 7 pm Choral Evensong; Cathedral Church of St. Craig Cramer; Madonna della Strada Chapel, [email protected] John the Divine, New York, NY 4 pm Loyola University, Chicago, IL 3 pm
MAY, 2012 33 CALIFORNIA LUTHERAN UNIVERSITY Toni Raats, carillon; Rockefeller Memorial •Glenda van der Zaag, Karissa Lystrup, Phil Chapel, Chicago, IL 5 pm Chap, Charles Raasch, Alicia Adams, Katie MICHELE JOHNS Holder; First United Methodist, Costa Mesa, CA A.Mus.D Kyle Johnson, DMA 19 JUNE 4 pm Organ — Harpsichord Christian Lane; First Presbyterian, Glens Paul Woodring; Cohan Performing Arts Cen- University Organist Falls, NY 7:30 pm ter, San Luis Obispo, CA 3 pm The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV Carol Williams; Spreckels Organ Pavilion, Bal- School of Music 20 JUNE boa Park, San Diego, CA 2 pm www.callutheran.edu John Robinson; Methuen Memorial Music Hall, Methuen, MA 8 pm 22 MAY Lynne Davis; All Saints Church, Atlanta, GA VocalEssence; Burnsville Performing Arts Cen- 7:30 pm ter, Burnsville, MN 7 pm Brian Jones KIM R. KASLING James Hicks; First United Methodist, Apple- D.M.A. ton, WI 12:15 pm 23 MAY DirectorDirector of Music Emeritus Yollanda Bornhoff; Sinsinawa Mound, Sinsi- Jae Rim Lee; Cathedral of Our Lady of the An- St. John’s University gels, Los Angeles, CA 12:30 pm TRINITY CHURCH nawa, WI 7 pm BOSTON Collegeville, MN 56321 22 JUNE 26 MAY Katelyn Emerson; First Unitarian Church, Joseph Roenbeck, silent fi lm improvisation; Worcester, MA 7:30 pm Cathedral of St. Mary of the Assumption, San Ken Cowan; Longwood Gardens Ballroom, Francisco, CA 3:30 pm Kennett Square, PA 11 am Cappella Romana; St. Sophia Greek Orthodox JAMES KIBBIE Cathedral, Los Angeles, CA 4 pm The University of Michigan 23 JUNE 27 MAY Ann Arbor, MI 48109-2085 John Gouwens, carillon; Memorial Chapel, ORGAN CONSULTANT Culver Academies, Culver, IN 4 pm Maxine Thevenot, Saint-Saëns, Symphony No. 734-764-1591 FAX: 734-763-5097 3; St. Francis Auditorium, Santa Fe, NM 2:30 pm www.gabrielkney.com email: [email protected] 24 JUNE Cathedral Choir of Boys and Girls, St. Brigid Lee Dettra; Nelson Hall, Elim Park, Cheshire, School Honor Choir; St. Mary’s Cathedral, San CT 4 pm Francisco, CA 3:30 pm Langsford Men’s Chorus; Christ Church Grosse James Welch; St. Denis Catholic Church, Pointe, Grosse Pointe Farms, MI 4:30 pm Menlo Park, CA 3 pm David K. Lamb, D.Mus. Philip Smith; St. Edmund’s Episcopal, San Andrew Schaeffer; St. Andrews Lutheran, RTHUR A IRANDE Marino, CA 4 pm Director of Music/Organist A L M Park Ridge, IL 4 pm Carol Williams; Spreckels Organ Pavilion, Bal- Tim Sleep, carillon; Rockefeller Memorial First United Methodist Church [email protected] boa Park, San Diego, CA 2 pm Columbus, Indiana Chapel, Chicago, IL 5 pm Philip Brisson; Shrine of Our Lady of Guada- 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 30 MAY lupe, La Crosse, WI 3 pm David Tinoco; Cathedral of Our Lady of the Angels, Los Angeles, CA 12:45 pm 25 JUNE Marsha Foxgrover; Elliott Chapel, Presbyte- 1 JUNE David Lowry rian Homes, Evanston, IL 1:30 pm Marek Kudlicki; Bethel Lutheran, Rochester, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD MN 7 pm 26 JUNE Ars Nova Singers; St. John’s Cathedral, Den- 1512 BLANDING STREET, COLUMBIA, SC 29201 Tom Trenney, recital and silent fi lm accompa- ver, CO 7:30 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY niment; Soldier and Sailors Memorial Auditorium, Mark Brombaugh; Christ Church Episcopal, ROCK HILL, SC 29733 Chattanooga, TN 7 pm Tacoma, WA 7:30 pm James Taulbee; Trinity Lutheran, Manhattan 27 JUNE Beach, CA 12:15 pm David Carrier; Methuen Memorial Music Hall, Methuen, MA 8 pm 3 JUNE Naomi Rowley; Holy Cross Roman Catholic Maxine Thevenot, with Cathedral Choirs; Ca- ANDREW PAUL MOORE Church, Kaukauna, WI 12:15 pm thedral of St. John, Albuquerque, NM 3 pm A.S.C.A.P. Charles Barland; Sinsinawa Mound, Sinsi- Oratorio Society of Utah; Cathedral of the Mad- FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH nawa, WI 7 pm eleine, Salt Lake City, UT 8 pm 345 SADDLE LAKE DRIVE Robert Gurney; St. Mary’s Cathedral, San ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS 28 JUNE Francisco, CA 3:30 pm (770) 594-0949 Don VerKuilen; First English Lutheran, Apple- Susan Jane Matthews; Grace Cathedral, San ton, WI 12:15 pm Francisco, CA 4 pm Janette Fishell; First Congregational, Los An- 30 JUNE geles, CA 3 pm OUGLAS EILL Gordon Turk; Ocean Grove Auditorium, Ocean James Welch; St. Joseph Roman Catholic LEON NELSON D O’N Grove, NJ 12 noon Church, Mountain View, CA 3 pm Cathedral of the Madeleine John Gouwens, carillon; Memorial Chapel, Peter Bates; Covenant Presbyterian, Long University Organist Culver Academies, Culver, IN 4 pm Beach, CA 4 pm North Park University Salt Lake City, Utah •Wilma Jensen; West End Methodist, Nash- Philip Scriven; All Saints Episcopal, Beverly Chicago, Illinois [email protected] ville, TN 7:30 pm Hills, CA 5 pm 801/671-8657 Hymn festival; Church of Our Saviour (Episco- 29 JUNE pal), San Gabriel, CA 5 pm John W.W. Sherer; Fourth Presbyterian, Chi- Young organists concert; Spreckels Organ Pa- MARILYN MASON cago, IL 12:10 pm vilion, Balboa Park, San Diego, CA 2 pm CHAIRMAN, DEPARTMENT OF ORGAN 4 JUNE UNIVERSITY OF MICHIGAN UNITED STATES Joseph Adam; Benaroya Hall, Seattle, WA ANN ARBOR West of the Mississippi 12:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it with awesome technique and a thrilling command of its daring writing.” 6 JUNE The American Organist, 1980 16 MAY Alvez Barkoskie IV; Cathedral of Our Lady of Su-Ryeon Ji; Cathedral of Our Lady of the An- the Angels, Los Angeles, CA 12:45 pm gels, Los Angeles, CA 12:45 pm 8 JUNE SYLVIE POIRIER 17 MAY Jung-A Lee, with fl ute; St. Andrew’s Presbyte- LARRY PALMER Palestrina, Missa Papae Marcelli; All Saints’ rian, Newport Beach, CA 12:30 pm Episcopal, Beverly Hills, CA 7:30 pm 10 JUNE Professor of PHILIP CROZIER 18 MAY Ryan Anthony, trumpet and Gary Beard, or- ORGAN DUO gan; Prince of Peace Roman Catholic Church, Harpsichord and Organ Colorado Chorale, Bernstein: Chichester Psalms; St. John’s Cathedral, Denver, CO 7:30 pm Sun City West, AZ 3 pm 3355 Queen Mary Road, Apt 424 Michael Batcho; St. Mary’s Cathedral, San Meadows School of the Arts Francisco, CA 3:30 pm Montreal, H3V 1A5, P. Quebec 19 MAY Durufl é, Requiem; First Congregational, Los Raymond Johnston, with Cathedral Choir SOUTHERN METHODIST UNIVERSITY Canada Angeles, CA 11 am and Choral Society & Aurora Brass Quintet; St. Fauré, Requiem; St. Alban’s Episcopal, West- Mark’s Cathedral, Minneapolis, MN 7:30 pm (514) 739-8696 wood, CA 4 pm Dallas, Texas 75275 Houston Chamber Choir; Church of St. John Fax: (514) 739-4752 Frances Nobert, with choir and orchestra; Pa- the Divine, Houston, TX 7:30 pm cifi c Palisades Presbyterian, Pacifi c Palisades, Musical Heritage Society recordings [email protected] Robert Bates; Trinity Episcopal Cathedral, CA 4 pm Phoenix, AZ 7:30 pm Los Angeles Master Chorale; Walt Disney Con- David Higgs, masterclass; Fremont Presbyte- cert Hall, Los Angeles, CA 7 pm rian, Sacramento, CA 10 am Carol Williams; Spreckels Organ Pavilion, Bal- boa Park, San Diego, CA 2 pm 20 MAY Raymond Johnston; Church of St. Stephen 13 JUNE A four-inch Professional Card the Martyr, Edina, MN 2 pm VocalEssence; Orchestra Hall, Minneapolis, Choral Evensong; St. John’s Cathedral, Den- MN 8 pm in THE DIAPASON ver, CO 3:30 pm Samuel Soria; Cathedral of Our Lady of the Choir of the Cathedral of the Madeleine; Cathe- Angels, Los Angeles, CA 12:45 pm For rates and specifi cations dral of the Madeleine, Salt Lake City, UT 8 pm Hordur Askelsson, with cello; Trinity Lutheran, 14 JUNE contact Jerome Butera Lynnwood, WA 7 pm VocalEssence; St. Olaf Catholic Church, Min- Isabelle Demers; Grass Valley Seventh-day neapolis, MN 8 pm 847/391-1045 Adventist Church, Grass Valley, CA 2 pm, 7 pm David Higgs; Fremont Presbyterian, Sacra- 15 JUNE [email protected] mento, CA 4 pm Jonathan Ryan; Co-Cathedral of the Sacred Thierry Escaich, choral concert and organ Heart, Houston, TX 8:30 pm improvisations; Renee and Henry Segerstrom Christopher Houlihan, Vierne symphonies; Concert Hall, Costa Mesa, CA 5:30 pm St. John’s Cathedral, Denver, CO 7:30 pm
34 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 16 JUNE 23 MAY Christopher Houlihan, Vierne symphonies; Ronald Ebrecht; Conservatorio Santa Cecilia, Stephen G. Schaeffer St. John’s Cathedral, Denver, CO 7:30 pm Rome, Italy 6 pm Martin Baker; Westminster Cathedral, Lon- Recitals – Consultations 17 JUNE don, UK 7:30 pm Lawrence Lawyer; St. Mary’s Cathedral, San Cathedral Church of the Advent Francisco, CA 3:30 pm 24 MAY Birmingham, Alabama Carol Williams; Spreckels Organ Pavilion, Bal- Cameron Carpenter; Lancut Festival, Lezajsk, www.AdventBirmingham.org boa Park, San Diego, CA 2 pm Poland 8 pm Liudmila Matsyura; Chiesa di S. Filippo, Biel- 20 JUNE la, Italy 9 pm Namhee Han; Pasadena Presbyterian, Pasa- Carolyn Shuster Fournier, with orchestra; ROBERT L. Stephen Tappe dena, CA 12:10 pm Saint-Didier Church, Voreppe, France 8 pm Paul Meier; Cathedral of Our Lady of the An- Olivier Latry, with La Maîtrise de Notre-Dame; Organist and Director of Music gels, Los Angeles, CA 12:45 pm Saint-Sulpice, Paris, France 8:30 pm SIMPSON Saint John's Cathedral Ian Tracey; Ellesmere College, Ellesmere, UK 24 JUNE Christ Church Cathedral Denver, Colorado 7 pm Durufl é, Requiem; St. Cyril of Jerusalem, En- 1117 Texas Avenue www.sjcathedral.org cino, CA 4 pm Houston, Texas 77002 Carol Williams; Spreckels Organ Pavilion, Bal- 25 MAY boa Park, San Diego, CA 2 pm Mario Duella; Chiesa Parrocchiale SS. Ambro- gio e Theodulo, Stresa, Italy 9:15 pm ORGAN MUSIC OF THE SPANISH BAROQUE 25 JUNE Carolyn Shuster Fournier, with orchestra; Agape Ringers; St. Mark’s United Methodist, Saint-Didier Church, Voreppe, France 8 pm Overland, KS 7 pm Joel Vanderzee; St. Jude’s Anglican, Brant- David Troiano Joe Utterback ford, ON, Canada 12:15 pm DMA MAPM COMMISSIONS & CONCERTS 26 JUNE 586.778.8035 Agape Ringers; St. Paul’s Lutheran, Omaha, 26 MAY 732 . 747 . 5227 NE 7 pm Craig Cramer; Hervormde Kerk, Noordbroek, [email protected] Netherlands 8 pm 27 JUNE Marilyn Harper; Bloomsbury Central Baptist Samuel Soria; Cathedral of Our Lady of the Church, London, UK 4 pm Angels, Los Angeles, CA 12:45 pm Kimberly Marshall; St. John’s, Smith Square, David Wagner London, UK 5:45 pm Marcia Van Oyen DMA Gerard Brooks; St. Saviour’s Church, St. Al- First United Methodist Church, INTERNATIONAL bans, UK 5:30 pm Madonna University Plymouth, Michigan Livonia, Michigan 27 MAY mvanoyen.com [email protected] 15 MAY Gerard Brooks; Methodist Central Hall, West- Nathan Laube; Frauenkirche, Dresden, Ger- minster, London, UK 7:30 pm many 8 pm Simon Johnson; St. Paul’s Cathedral, Lon- Philip Scriven, Bach works; Chapel, Cran- don, UK 4:45 pm leigh School, Cranleigh, Surrey, UK 1:10 pm Peter Stevens; Westminster Cathedral, Lon- don, UK 4:45 pm Kevin Walters KARL WATSON 16 MAY Robert Quinney; Westminster Abbey, London, Jill York; Reading Town Hall, Reading, UK UK 5:45 pm M.A., F.A.G.O. SAINT LUKE’S 1 pm 29 MAY Rye, New York METUCHEN 18 MAY Philip Scriven, Bach works; Chapel, Cran- Randy Mills; St. Jude’s Anglican, Brantford, leigh School, Cranleigh, Surrey, UK 1:10 pm ON, Canada 12:15 pm 31 MAY 19 MAY Gary Sieling; Chiesa di S. Filippo, Biella, Italy Margaret Phillips; King’s College, Cambridge, Davis Wortman 9 pm RONALD WYATT UK 6:30 pm 1 JUNE St. James’ Church Trinity Church 20 MAY Gary Sieling; Chiesa Parrocchiale SS. Ambro- Craig Cramer; St. Andreas Kirche, Hildesheim, New York Galveston gio e Theodulo, Stresa, Italy 9:15 pm Germany 6 pm Simon Johnson; St. Paul’s Cathedral, Lon- Maxine Thevenot; Church of the Holy Trinity– don, UK 4:45 pm Eaton Centre, Toronto, ON, Canada 7:30 pm Simon Hogan; Westminster Cathedral, Lon- don, UK 4:45 pm 2 JUNE Charles Dodsley Walker, FAGO John Carnelley; Westminster Abbey, London, Durufl é, Requiem; Cathédrale, Evreux, France Artist-in-Residence Founder/Conductor UK 5:45 pm 8:30 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street 21 MAY 3 JUNE Darien, CT 06820 New York, NY 10128 Henry Fairs; Methodist Central Hall, Westmin- Craig Cramer; Katholische Kirche, Elmstein, (917) 628-7650 (212) 222-9458 ster, London, UK 7:30 pm Germany 4 pm Roberto Menichetti; Cattedrale, Pistoia, Italy 22 MAY 5 pm David Hamilton; Palmerston Place, Edin- Keith Hearnshaw; Westminster Cathedral, William Webber, C.A.G.O. burgh, UK 7:30 pm London, UK 4:45 pm Philip Scriven, Bach works; Chapel, Cran- Andrej Kouznetsov; Westminster Abbey, Lon- leigh School, Cranleigh, Surrey, UK 1:10 pm don, UK 5:45 pm Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at
7PWLKYLHTZ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V (76)(PZHWYV\K Jerome Butera [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM [OL Z\WWVY[LYVM [email protected] ¸RPUN VM PUZ[Y\TLU[Z¹ PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL 7PWLKYLHTZ ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ ^^^HWVIHJVT 847/391-1045 :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06
MAY, 2012 35 Philip Crozier; St. James United Church, Mon- Carolyn Shuster Fournier; St. Louis Cathe- STEVEN BETANCOURT, with VOX Grand Choeur, Reed; Triptyque, Bédard; treal, QC, Canada,12:30 pm dral, Choisy le Roi, France 4:30 pm 3 Collective, James Morehead, conduc- Bergamasca (Fiori Musicali), Frescobaldi; Matthew Burgess; Westminster Cathedral, tor, Daniel Moss, violin, and Emily Ann Trio Sonata No. 5 in C, BWV 529, Bach; 7 JUNE London, UK 4:45 pm Granger, harp, Loyola University, Chicago, Toccata in F, BuxWV 156, Buxtehude; Vater Pierre Nimax & Aivars Kalejs, with orches- Michael Eckerle; Methodist Central Hall, IL, December 18: Lauda per la Natività del unser im Himmelreich, Böhm; Litanies, JA tra; Eglise Saint-Martin, Dudelange, Luxem- Westminster, London, UK 7:30 pm Signore, Respighi; My True Gift’s to Come, 119, Alain. bourg 8 pm Martin Ford; Westminster Abbey, London, UK Friesen-Carper; Noël on ‘Quand le Sauveur Kath. Stiftskirche St. Marien, Neuzelle, Arno Hartmann; Chiesa di S. Filippo, Biella, 5:45 pm Jesus Christ’, Dandrieu; Oratorio de Noël, Germany, August 21: A Trumpet Minuet, Italy 9 pm op. 12, Saint-Saëns. Hollins; Psalm Prelude, op. 32, no. 2, How- John Keys; All Saints, Oakham, UK 11:15 am 19 JUNE ells; Allegretto Grazioso (First Book of Or- Margaret Phillips; St. Paul’s Cathedral, Lon- Philip Scriven, Bach works; Chapel, Cran- JAMES RUSSELL BROWN, Loyola Uni- gan Pieces), Bridge; Prelude and Fugue in e, don, UK 7:30 pm leigh School, Cranleigh, Surrey, UK 1:10 pm versity, Chicago, IL November 20: Le Fils, Walmisley; Choral Dorien, JA 67, De Jules Pierre Grandmaison; St. James United Verbe et Lumière (Méditations sur le Mystère Lemaître, JA 62, Alain; Grand Choeur, Reed; 8 JUNE Church, Montreal, QC, Canada 12:30 pm de la Sainte Trinité), Messiaen; Pastorale, op. Élégie, Antienne No. 1, Gagnon; Offertoire 24, Tournemire; Cantabile, Franck; Commu- Mystique, Tardif; Intermezzo, Létourneau; Arno Hartmann; Chiesa Parrocchiale SS. Am- nion: Les oiseaux et les sources (Messe de la Vater unser im Himmelreich, Böhm; Trip- brogio e Theodulo, Stresa, Italy 9:15 pm 20 JUNE Simon Preston; Westminster Cathedral, Lon- Pentecôte), Messiaen; Scherzo in E, Gigout; tyque, Bédard. don, UK 7:30 pm Andante sostenuto (Symphonie Gothique, 10 JUNE op. 70), Widor; Préludio (Deuxième Sym- JONATHAN DIMMOCK, Memorial Craig Cramer; Basilika, Steinfeld/Eifel, Ger- 22 JUNE phonie in c-sharp, op. 26), Dupré. Church, Stanford University, Palo Alto, CA, many 4 pm Cameron Carpenter; Melbourne Town Hall, November 4: Sonata No. 1, Hindemith; Nun Nathan Laube; St. Augustinus, Stuttgart- Melbourne, Australia 6:30 pm LORRAINE S. BRUGH, Presbyterian freut euch, lieben Christen g’mein, BuxWV Neugereut, Germany 7 pm Homes, Evanston, IL, November 28: Trum- 210, Buxtehude; Prelude and Fugue in e, Andrew Dean; Westminster Cathedral, Lon- 24 JUNE pet Tune for Advent, Read; Nun komm, der BWV 548, Bach; Sonata IV in a, Wq 70:4, don, UK 4:45 pm David Newsholme; Westminster Cathedral, Heiden Heiland, BWV 659, Bach; Prolog C.P.E. Bach; Von Gott will ich nicht las- Jeffrey Makinson; Westminster Abbey, Lon- London, UK 4:45 pm (Mysterium Sacrum per Organ), Teml; Prae- sen, Matter; Sonata IV in B-fl at, op. 65, don, UK 5:45 pm Michael Eckerle; Westminster Abbey, London, ludium in g, BuxWV 163, Buxtehude; Kyrie, no. 4, Mendelssohn. UK 5:45 pm Gloria (Soli Deo Gloria: Homage to Bach), 12 JUNE Gehring; Fantasia and Fugue in g, BWV DELBERT DISSELHORST, First Pres- Philip Scriven, Bach works; Chapel, Cran- 26 JUNE 542, Bach. byterian Church, Charlottesville, VA, No- leigh School, Cranleigh, Surrey, UK 1:10 pm Geoffrey Ward; St. James United Church, vember 8: Prelude and Fugue in G, BWV David Hirst; All Saints, Huntingdon, UK Montreal, QC, Canada 12:30 pm ERIC BUDZYNSKI, ROBERT HOR- 541, Bach; Sonata de 1o tono, Lidon; Wie 7:30 pm Stephanie Burgoyne & William Vandertuin; St. TON, JOHN W. W. SHERER, with Laura soll ich dich empfangen, Vom Himmel hoch, Julie Pinsonneault; St. James United Church, Paul’s Cathedral, London, ON, Canada 12:15 pm Park, violin, Music Institute of Chicago, da komm’ ich her, Ich ruf zu dir, Herr Jesu Montreal, QC, Canada,12:30 pm Evanston, IL, November 13: Adagio (Vio- Christ, Ein feste Burg ist unser Gott, Walcha; 30 JUNE lin Sonata No. 1 in g, BWV 1001), Bach; Sonata IV, op. 65, Mendelssohn; Fantasy in 14 JUNE Cameron Carpenter; Sydney Opera House Fantasia in f, D. 940, Schubert, arr. Hor- A, Franck; Postlude pour l’Offi ce de Com- Anthony Halliday, with vibraphone; Chiesa di Concert Hall, Sydney, Australia 3 pm ton; Imperial March, Elgar, arr. Martin; Air, plies, JA 29, Alain; Arabesque sur les fl ûtes S. Filippo, Biella, Italy 9 pm Hancock; Tu es Petra, Mulet; Sonata No. 1 (Suite française), Langlais; Fantasia on ‘Sine in f, op. 65, Mendelssohn. Nomine’, Phillips. 15 JUNE Anthony Halliday, with vibraphone; Chiesa Organ Recitals CRAIG CRAMER, Our Lady, Queen of FREDERICK FRAHM, with David Fel- Parrocchiale SS. Ambrogio e Theodulo, Stresa, the Most Holy Rosary Cathedral, Toledo, berg, violin, Jean Piatak Eickhoff, soprano, Italy 9:15 pm OH, October 14: Fantasia and Fugue in g, and Alison Schuler, narrator, St. Luke Luther- MAHLON E. BALDERSTON, Trin- BWV 542, Bach; Prelude and Fugue on O an Church, Albuquerque, NM, November ity Episcopal Church, Santa Barbara, CA, 13: Toccata Settima, Toccata Ottava, Toccata 16 JUNE Traurigkeit, O Herzeleid, Smyth; Introduc- November 27: Now thank we all our God, tion, Scherzo and Fugue on B-E-A-T-E, Nona (Book II), Frescobaldi; How Lovely are Gillian Weir; St. Mary Redcliffe, Bristol, UK Karg-Elert; Morning Song Variations, Your Dwellings, Frahm; Prelude and Fugue in 3 pm, class 5 pm Zahnbrecher; Festival Fanfare, Leighton; Splendor Paternae Gloriae, Balderston; Noël Salutation, Petition and Acclamation on Salve b, BWV 544, Bach. and Variations, Daquin; Sinfonia, Handel; Regina, Trapp; Air with Variations (Suite), 17 JUNE Christmas Oratorio Overture, Bach; Three Sowerby; Le Mystère de Noël, Fauchard. DAVID A. GELL, with Willi Rose, piano, Stephen Tharp; Basilika, Waldsassen, Ger- Carol Lullabyes, Diemer; Variations on St. Joseph Cathedral, Columbus, OH, Oc- Trinity Episcopal Church, Santa Barbara, CA, many 5 pm ‘Gloria’, Giamonco; Chorale Prelude on ‘In tober 16: Praeludium in d, BuxWV 139, Herr December 18: Magnifi cat octavi toni, Kin- Daniel Roth; Saint-Sulpice, Paris, France Dulci Jubilo’, Dupré; Prelude on ‘Forest Jesu Christ, ich weiss gar wohl, BuxWV 193, derman; In dulci jubilo, Buxtehude; Chorale 4 pm Green’, Balderston. Canzonetta in C, BuxWV 167, Wir danken Partita on Psalm 42, Nun komm der Heiden dir, Herr Jesu Christ, BuxWV 224, Gelobet Heiland, Pachelbel; Vous qui desirez sans fi n seist du, Jesu Christ, BuxWV 188, Toccata in (Nouveau Livre de Noëls avec un Carillon), ORGAN BUILDERS G, BuxWV 164, Gelobet seist du, Jesu Christ, Corrette; Noël, Dubois; Christmas Med- BuxWV 189, Fried- und Freudenreiche Hin- ley, Whitworth; Variations on Sussex Carol, farth des altern großgläubigen Simeons, Haan; Improvisation on Cranham, Gell; Two BuxWV 75, Ein feste Burg ist unser Gott, Carol Settings, Martin; Fanfare and Toccata L. W. BLACKINTON THE NOACK ORGAN CO., INC. and associates, inc. MAIN AND SCHOOL STREETS BuxWV 184, Praeludium in C, BuxWV 138, on The First Nowell, Janzer. GEORGETOWN, MA 01833 Herr Christ, der einig Gottes Sohn, BuxWV www.noackorgan.com 380 FRONT ST. 191, Praeludium in e, BuxWV 152, Ich dank KYLE JOHNSON, California Lutheran EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America dir schon durch deinen Sohn, BuxWV 195, University, Thousand Oaks, CA, November Canzona in g, BuxWV 173, Durch Adams 4: Flourish and Chorale, McCabe; Lyric Fall ist ganz verderbt, BuxWV 183, Praelu- Rhapsody, Wright; Passacaglia and Fugue martin ott pipe dium in C, BuxWV 136, Buxtehude. in c, BWV 582, Vater unser im Himmelre- organ ich, BWV 636, Bach; Èpilogue (Hommage company inc. PHILIP CROZIER, St. Johannis, à Frescobaldi), Langlais; Lied (24 Pièces en Lüneburg, Germany, August 16: Volun- style libre, op. 31), Vierne; Comes Autumn 7408 Somerset Ave. tary in A, Selby; Petite pièce, JA 33, Alain; Time, Sowerby. St. Louis, MO 63105 314-504-0366 Phone Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com
NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 ATOS F I N C Y 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 ExperienceAmerican Theatre Organ Society www.fabryinc.com Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838
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36 THE DIAPASON ARDYTH LOHUIS, with ROBERT ity, Langlais; Good Christian Friends, Re- lied, Orpheus, Symphonische Dichtung, JAN WORDEN-LACKEY, First Presby- MURRAY, violin, St. Bede Catholic Church, joice, Bédard; From Heaven Above to Earth I S. 98, Weinen, Klagen, Zorgen, Zagen, S. 180, terian Church, Santa Fe, NM, December 9: Williamsburg, VA, November 2: Elegy, op. 27, Come, Reger; From Heaven Above to Earth I Adagio: Cantabile con divozione, Andantino Magnifi cat primi toni, BuxWV 203, Buxte- Sommerfeldt; In paradisum, Callahan; Trös- Come, Edmundson. (Six Pensées poètiques), S. 172, Präludium hude; Fugue III in B-fl at, HWV 607, Handel; tung, Gläser; Fantasie über ein ungarisches und Fuge über B-A-C-H, S. 260, Liszt. Nun komm, der Heiden Heiland, BWV 659, Geistliches Lied, Gardonyi; Jesus, Price- JEFFREY SCHLEFF, St. Andrew Luther- Prelude and Fugue in C, BWV 545, Bach. less Treasure, op. 97, Bender; Variations on an Church, Mundelein, IL, November 27: DAVID TROIANO, with Rose Carmel ‘Amazing Grace’, Held; III. Allegro (Sonata, Nun komm, der Heiden Heiland (Orgelbüch- Burgess IHM, soprano, Immaculate Heart JAY HAROLD ZOLLER, with Dwight op. 58), Wermann. lein), Wachet auf, ruft uns die Stimme, Bach; of Mary Motherhouse Chapel, Monroe, MI, Tibbetts, Andy Forster, Mark Mumme, Lo- Wachet auf, ruft uns die Stimme, Walther; October 23: Toccata avanti La Messa Della ren Fields and Mike Peterson, brass, South LINDA RANEY, First Presbyterian Savior of the Nations, Come, Comfort, Com- Madonna, Canzona (Messa Della Madonna), Parish Congregational Church, Augusta, Church, Santa Fe, NM, Nov. 25: Now Thank fort Now My People, Manz. Frescobaldi; O Love That Wilst Not Let ME, December 17: God Rest Ye Merry Gen- We All Our God, Karg-Elert; Praeludium in Me Go, Simple Gifts, How Great Thou Art, tlemen, arr. Clark; Go Tell It on the Moun- D, BuxWV 139, Buxtehude; Toccata, Renzi. CAROLYN SHUSTER FOURNIER, Ab- Diemer; Fuga sobre Ave Maris Stella, Elias; tain, arr. Henderson; Sleigh Ride, arr. Purdie; bey Church, Marmoutier, France, August 21: St. Bridget of Ireland, St. Gabriel, St. Ceci- Silver Bells, arr. Dedrick; Winter Wonder- JAMES P. RASMUSSEN, with Bessie Dialogue in C (Book III), Marchand; Récit lia (Selections from Saints’ Days), Pinkham; land, Frosty the Snowman, arr. Henderson; Rasmussen, soprano, and James L. Rasmus- de Tierce en Taille, Veni Creator (Livre Prelude for Organ, Fanny Mendelssohn; Jingle Bells, arr. Cable; Christmas Fantasy, sen, violin, First Presbyterian Church, Santa d’orgue), de Grigny; Romance (Sonate en Ave Maria, Ave Maris Stella (Preludes on arr. Raney; Noël No. VI, d’Aquin; Westmin- Fe, NM, November 18: Prelude in C, BWV Quatuor, Œuvre IIIe), Balbastre; Nun komm’ Gregorian Chant Melodies), Near; Pie Jesu, ster Carol/Angels We Have Heard on High, 545, So wie es Gott mit dir getreu gemeint, der Heiden Heiland, BWV 659, Prelude and L. Boulanger; Ave Maris Stella, Decker; Salve arr. Gillis; O Holy Night, arr. Frackenpohl; Vergnügen und Lust (Gott ist unsre Zuver- Fugue in G, BWV 541, Bach. Regina, Titcomb. Antioch (Joy to the World), Decker; Hark! sicht, BWV 197), Bach; Dio, siete buono!, The Herald Angels Sing, Joy to the World, op. 98, Adagio, op. 84, Bossi; Gentle Words, CHARLES TALMADGE, Trinity Episco- KAREN ULLESTAD, First Presbyte- arr. Frackenpohl. I Have an Assortment of Beautiful Flow- pal Church, Santa Barbara, CA, December 4: rian Church, Santa Fe, NM, November 4: ers (A Wreath of Shaker Song), Rasmussen; Diptych, Prelude on ‘I Wonder As I Wander’, Prelude, Fugue and Ciacona, BuxWV 137, RUDOLF ZUIDERVELD, Sts. Peter & Deep River, My Good Lord’s Done Been Hebble; He Is Born, the Divine Christ Child, Fugue in C, Buxtehude; Prelude and Fugue Paul Catholic Church, Nauvoo, IL, December Here, arr. Hogan. Wood; Adeste Fideles, Ives; Prelude on Irby, in A, BWV 536, Bach; Vater unser im Him- 4: Fugue in C, Savior of the Nations, Come, Willcocks; Silent Night, Fedak; Silent Night, melreich, Praetorius. BWV 659, Wake, Awake, for Night Is Flying, DOROTHY YOUNG RIESS M.D., with Diemer; Theme and Variations on Vom Him- BWV 645, Rejoice, Dear Christian Congre- Kyle Dillingham, violin, Nichols Hills United mel Hoch, Pelz. ANITA EGGERT WERLING, First Pres- gation, BWV 734, Bach; Chorale Fantasy Methodist Church, Oklahoma City, OK, Oc- byterian Church, Macomb, IL, October 23: on ‘How Brightly Shines the Morning Star’, tober 23: Prince of Denmark March, Clarke; STEPHEN THARP, St.-Clemens-Kirche, Aus tiefer Not schrei’ ich zu dir, BWV 686, Buxtehude; Pastorale - all’Offertorio - post Noël, Daquin; Prelude and Fugue in D, BWV Dortmund, Germany, September 25: Tu es Bach; De profundis, Chant héroïque (Neuf Communio, Zipoli; Noël Grand Jeu et Duo, 532, Bach; The Musical Clocks, Haydn; Cho- Petrus (Esquisses Byzantines), Mulet; Pa- Pièces), Langlais; Litanies, Alain; Prélude et Daquin; Cornamusa, Noël de Saintonge, Dan- ral in a, Franck; Meditation for Organ and vane, Fauré, transcr. Bird; Organ Sonata No. Fugue sur le nom d’Alain, op. 7, Durufl é; drieu; Veni Emmanuel, Rübsam; Berceuse on Violin, N.C. Clarke; Serene Alleluias from 8 in A, op. 91, Guilmant; Funérailles (Harmo- Variations sur Lucis Creator, Alain; Virgo ‘Forest Green’, Zuiderveld; Early American a Soul longing for Heaven, Outburst of Joy nies Poétiques et Religieuses), Liszt, transcr. Mater (Offrande à la Vierge, op. 40), Dupré; Variations on ‘Adeste Fideles’, Taylor; Toccata from a Soul before the Glory of Christ which Demessieux; Intermezzo A-Dur, op. 118, no. Le Jardin suspendu, Trois Danses, Alain. on Antioch, Phillips. is its own Glory (The Ascension), Messiaen. 2, Brahms, transcr. Tharp; Variations on the hymn tune ‘Rouen’, Baker. TOM WIKMAN, Lutheran School of The- NAOMI ROWLEY, Bethany Lutheran Speyer Cathedral, Speyer, Germany, Sep- ology, Chicago, IL, December 6: In dulci Ju- Submit your recital programs to THE Church, Batavia, IL, December 11: Prelude tember 28: Variations on the hymn tune bilo, J. M. Bach; Partita on In dulci Jubilo, DIAPASON! Send programs to Joyce Rob- and Fugue, Lübeck; Savior of the Nations, ‘Rouen’, Baker; Orgelsonate Nr. 8 A-Dur, op. Luebeck II; Partita on Vom Himmel hoch, inson, THE DIAPASON, 3030 W. Salt Creek Come, Bach; March on Handel’s ‘Lift up Your 91, Guilmant; Trois Danses, Alain. Pepping; Prelude and Fugue on Vom Himmel Lane, Suite 201, Arlington Heights, IL Heads’, Guilmant; Song of Mary: An Aria for hoch, Pachelbel; Es ist ein Ros’ entsprungen, 60005-5025, or via e-mail, to jrobinson@ Organ, Carter; Toccata on ‘Sleepers, Wake’, TIMOTHY TIKKER, Kalamazoo College, Brahms; Aria Pastorella, Rathgeber; Prelude sgcmail.com. Martin; Concerto in F, Handel; The Nativ- Kalamazoo, MI, October 22: Weimar’s Volks- No. 1, Bloch; Chant de joie, Langlais.
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Utterback Service Music Sale . . . Images—3 An Eton Memorial March is virtually un- Atlantic City Convention Hall Organ— The Like the harpsichord? Harpsichord Tech- piano/organ duets: $10 for 2 copies. Voluntar- known today, even at Eton. The great Glouc- fi rst recording since 1956 of the world’s largest nique: A Guide to Expressivity, second ies—7 useful organ solos: $10. Send order and ester organist, Herbert Brewer, made this ex- organ, the famous organ created by Senator edition, by Nancy Metzger is the hands-on check for either or both pieces with $3 postage cellent transcription of Lloyd’s original work. Emerson Richards and built by Midmer-Losh (media mail) to Jazzmuze, Inc., 80 Rumson It’s as good as the Elgar marches, I think. with 7 manuals and 449 ranks to fi ll the 41,000- guide for touch and historically informed Place, Little Silver, NJ 07739. Please include michaelsmusicservice.com; 704/567-1066. seat Atlantic City Convention Hall with sound. performance. www.rcip.com/musicadulce. e-mail and phone. Check www.jazzmuze.com for Organist Timothy Hoag and others recorded sample pages. this CD in November 1998, for the Atlantic City Certifi ed appraisals—Collections of organ Convention Hall Organ Society to raise interest books, recordings, and music, for divorce, es- in the largely neglected instrument. This CD is ELECTRONIC ORGANS The Tracker —The Organ Historical Society tate, gift, and tax purposes. Stephen L. Pinel, priced at $14.98 plus shipping. Visit the OHS publishes its journal four times a year. The Appraiser. [email protected]; 609/448-8427. Online Catalog for this and over 5,000 other or- FOR SALE Tr a c ke r includes news and articles about the gan-related books, recordings, and sheet music: organ and its history, organbuilders, exemplary www.ohscatalog.org. Johannus Organ, Rembrandt Series 3900—3 organs, regional surveys of instruments, and Historic Organs of Seattle: A Young Yet Vi- manual, 32 key AGO pedal board, 64 voices, the music played on the organ. The emphasis is brant History, the latest release from OHS, is a 24 speakers and 1 sub-woofer. Digital surround on American organ topics of the 18th, 19th, and four-disc set recorded at the 2008 OHS national 40 Free Harmonizations of 24 Familiar Hymn sound acoustic system. MIDI data fi ler with in- 20th centuries, and there are occasional sub- convention, held in the Seattle, Washington area. Tunes for Organ, Vol. 1 (34 pages), settings structions. Adjustable bench. Custom organ back jects on European topics. Most issues run 32 Nearly fi ve hours of music feature historic organs for 1 or 2 manuals w/ pedal, 1–4 verses each: on console. 3 x 100 watt monitor system with cus- pages with many illustrations and photographs, by Aeolian-Skinner, Casavant, Hook & Hastings, Aberystwyth; America; Antioch; Austria; Az- and at least one annual issue is published in mon; Bourbon; Brother James’ Air; Bunessan; tom speaker cabinets. Excellent condition, one and Hutchings-Votey, Kilgen, Tallman, Woodber- owner. Extensive music library included. Contact: full color. Membership in OHS includes a sub- ry, Hinners, Cole & Woodberry, plus instruments Coronation; Deus Tuorum Militum; Diademata; scription to The Tracker. Please visit our web- by Flentrop, C. B. Fisk, and Rosales, and Pacifi c Duke Street; Easter Hymn; Ellacombe; Ellers; [email protected]. site for more information or subscription: www. Northwest organbuilders Paul Fritts, Martin Pasi, Gelobt Sei Gott; Gloria Patri; Hankey; Hanover; organsociety.org. John Brombaugh, Richard Bond, and many Hyfrydol; In Babilone; Italian Hymn; Kingsfold; more! Renowned organists Douglas Cleveland, Kremser. Visit www.frumuspub.net to view list- Rodgers Organ, 905, 3 manuals, 45 ranks, Julia Brown, J. Melvin Butler, Carole Terry, Bruce ings and details; also look for featured down- eight speakers, manufacture date 1998, excellent Fruhauf Music Publications is pleased to an- Stevens, and others are featured in live perfor- loadable PDF fi les. Contact: Eafruhauf@aol. condition, $25,000. Rockford, IL, 815/397-5579. nounce the release of a new choral composi- mances on 24 pipe organs built between 1871 com; 805/682-5727, mornings, Pacifi c time; or: Buyer assumes shipping costs. tion for the spring season: Sing The Waters, and 2000. Includes a 36-page booklet with pho- Fruhauf Music Publications, P.O. Box 22043, a verse anthem for SATB + soprano solo and tographs and stoplists. $34.95, OHS members: Santa Barbara, CA 93121-2043. organ, is based on the tune NETTLETON, with a $31.95. For more info or to order: http://OHSCata- PIPE ORGANS new text that celebrates the cycles of life and log.com/hiorofse.html. spirit (15 pages, softbound 8½x11). Visit www. Refl ections: 1947–1997, The Organ Depart- FOR SALE frumuspub.net, or contact: [email protected]; ment, School of Music, The University of Michi- 805/682-5727, mornings, Pacifi c time; or write Variations on ‘God Save the King’ by Edward gan, edited by Marilyn Mason & Margarete Thom- Fruhauf Music Publications, P.O. Box 22043, 1995 Fowler self-contained pipe organ. Two Fisher (1848–1913) is based on the patriotic sen; dedicated to the memory of Albert Stanley, manuals, seven ranks, all solid state control. Santa Barbara, CA 93121-2043. tune also known as “America” and recognized Earl V. Moore, and Palmer Christian. Includes an just about everywhere. It’s not harmonically ad- informal history-memoir of the organ department Ideal for smaller church seating up to 200. Full vanced for the time nor as difficult as some other with papers by 12 current and former faculty and details on request. Complete with 10 year war- The OHS Catalog is online at www.ohscatalog. sets of variations, but you’ll get a chance to use students; 11 scholarly articles; reminiscences ranty, installed—$44,000. Contact Fowler Organ org. More than 5,000 organ and theatre organ some good combinations of stops, and of course and testimonials by graduates of the department; Co., [email protected] or 517/485-3748. CDs, books, sheet music, DVDs and VHS vid- there is an obligatory pedal show-off variation at 12 appendices, and a CD recording, “Marilyn Ma- eos are listed for browsing and easy ordering. the end. http://michaelsmusicservice.com/mu- son in Recital,” recorded at the National Shrine Use a link for adding your address to the OHS sic/Fisher.VariationsOnGodSaveTheKing.html. of the Immaculate Conception in Washington, Hook & Hastings opus 1366, built in 1887. Catalog mailing list. Organ Historical Soci- DC. $50 from The University of Michigan, Prof. From Felicity Methodist, New Orleans, Louisiana. ety, Box 26811, Richmond, VA 23261. E-mail: Marilyn Mason, School of Music, Ann Arbor, Completely restored and installed; $75,000. Roy [email protected]. See new classifi ed advertising rates on page 37. MI 48109-2085. Redman; 817/996-3085.
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PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1869 E. & G.G. Hook organ for sale. The or- Martin Pasi pipe organ—Two manuals, 24 Atlantic City Pipe Organ Company—2-manual, Releathering all types of pipe organ ac- gan measures 14 ft. wide, 10 ft. deep (with pedal) stops, suspended-tracker action. $350,000. Web: 3-rank, 5 Walker stops, free-standing DE chest tions and mechanisms. Highest quality ma- and is 20 ft. tall. It has mechanical action, Great, http://martin-pasi-pipe-organ-sale.com; phone: & pipes with detached console, Peterson relay, terials and workmanship. Reasonable rates. Swell, Pedal divisions, two combination pedals, 425/471-0826. 10 years old; $7,000 OBO. 16′ reeds, principals, Columbia Organ Leathers 800/423-7003. 15 ranks; available immediately. $95,000, nego- strings. 609/641-9422; mywebpages.comcast. www.columbiaorgan.com/col. tiable. Please contact Stephen Tappe at Saint net/acorgan. John’s Cathedral in Denver for more information: Moeller Artiste, 3 ranks, very good condition, [email protected]. some renovation completed, builder ready to Aeolian/Robert Morton-style maroon leather assist in moving for additional cost. $10,000/ Wood pipes. Missing pipes made to match. is now available from Columbia Organ Leath- best offer. 414/228-8737; jennifer.ankerberg@ Damaged pipes in any condition repaired. Over ers! Highest quality. 800/423-7003, www. Portative organ: Designed for small choral or sbcglobal.net. 25 years experience. Filip Cerny, 814/342-0975. columbiaorgan.com. baroque ensembles. Four stops: 8′, 4′, 2′, and 1-1/3′, with the last two divided into bass and tre- 4 stop portable organ—3 piece, move in a mini- ble registers and an adjustable point of division 16′ Double Open Wood Diapason with chests van. $20,000. Roy Redman; 817/996-3085. ANNOUNCEMENTS (b24/c25 or c25/c#26). Adjustable pitch between and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- A=440 Hz and A=415 Hz. Quartersawn white oak fi eld, NH. Can deliver. john@organclearinghouse. 62nd Sewanee Church Music Conference case. Available immediately. For more informa- MISCELLANEOUS com; 617/688-9290. tion, contact Létourneau Pipe Organs at mail@ takes place July 9–15 at the University of letourneauorgans.com or 888/774-5105. FOR SALE the South and the DuBose Conference Cen- ter, Monteagle, TN. Open for 150 registrants; 16′ Principal pipes, wooden, small scale, two full scholarships available to fi rst-time Consoles, pipes and numerous miscellaneous Moller low 12 notes, cost $4000. 8′ Tuba, large attendees. Keith Shafer is conference direc- Austin Op. 1513— Two-manual/pedal, 4-rank parts. Let us know what you are looking for. scale, Tellers, cost $1200. Deagan Xylophone, tor; faculty include Huw Lewis, Bruce Nes- unifi ed. $6,000 or best offer; buyer to remove/ E-mail [email protected] (not comcast), 37 notes, needs releathering, cost $800. 24- wick, Rev. Matthew Moretz, Bradley Almquist, ship. Currently in storage, playable before dis- phone 215/353-0286 or 215/788-3423. note Harp needs releathering, $600. Reisner Chip Mays, Jennifer Stammers, Alvin Blount, assembling, some restoration needed. 612/554- direct action magnets, 77 3/4, 66 1-1/8, 159 Bill Bane, and Susan Rupert. Information, 3350; [email protected]. 5/8, cost $350 each. Siedle Organ Company, registration form available at www.Sewanee- ATTENTION CHOIR DIRECTORS! Are you 412/221-5484. Conf.com, or contact registrar Ellen Jones: 1964 M.P. Möller pipe organ. 36-rank American fed up with working so hard to plan and lead a choir rehearsal, only to have choir 423/887-7594; [email protected]. Classic specifi cation including two célestes, two ′ members arrive late, or miss numerous re- SERVICES/ enclosed divisions and 32 reed. Three-manual hearsals entirely? Are you tired of the re- console. No casework or façades; instrument is sults of this—sloppy fi nal consonants, fl at SUPPLIES THE DIAPASON E-News is mailed monthly to in good condition but will need releathering. Ask- or sharp intonation, poor blend when the registered subscribers who have signed ing $50,000 “as is” or can be rebuilt with some divas crank it up? We have the answer— Highest quality organ control systems since up to receive it. Don’t miss the latest news, modifi cations. Available immediately. For more the Virtual Church Choir! Your choir can 1989. Whether just a pipe relay, combination announcements and classifi ed ads (with information, contact Létourneau Pipe Organs at sing their parts at home, record them on action or complete control system, all parts photos) before they appear in print! Visit [email protected] or 888/774-5105. their computers, and e-mail the fi le back are compatible. Intelligent design, competitive www.TheDiapason.com; at the bottom left column, click Subscribe to our newsletter. to you. From the comfort of your home pricing, custom software to meet all of your re- you can edit your choir into a thing of For assistance, contact Joyce Robinson, Small pipe organs for sale. Great prices. For quirements. For more information call Westa- beauty—fi xing those sour notes, poor cott Organ Systems, 215/353-0286, or e-mail 847/391-1044, [email protected]. more information, please go to our website, entries or cutoffs, minimizing the over- [email protected]. www.milnarorgan.com. prominent voices, and repairing the wob- bly ones. Our Virtual Church Choir pack- age includes a supply of microphones, Postal regulations require that mail to Wicks organ, 2 manuals, 4 ranks, ca. 1990. speakers, and all the software you need to Need help with your re-leathering THE DIAPASON include a suite number to 16′ Rohrfl ute 97 pipes, 8′ Principal 85 pipes, 4′ mix choral masterpieces—and reproduce project? All pneumatics including assure delivery. Please send all corre- Gemshorn 73 pipes, 8′ Trumpet 61 pipes. Excel- them on Sunday mornings. Order yours Austin. Over 45 years experience spondence to: THE DIAPASON, 3030 W. lent condition. Oak casework and console. Lauck today! Box Choir-Con, THE DIAPASON, (on the job assistance available). Salt Creek Lane, Suite 201, Arlington [email protected]. 615/274-6400. Pipe Organ Co. 269/694/4500; e-mail: k.reed. Heights, IL 60005. [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859
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HAGERSTOWN Own a piece of history! ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating The cover of the 100th Anni- versary Issue of The Diapason is 301/797-4309 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
MAY, 2012 39 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 Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*
Christian Lane Canadian International Organ Competition Winner Available 2012-2014
Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney
Celebrating Our 90th Season!
*=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young