THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC

Sixty-Seventh Year, No. ! - Whole No. 795 FEBRUARY, 1976

SYITIbolisln In .I. S. Bach's Prelude and Fugue lin E-.lal

And 115 Enecl On Per'orl.~ance

By John David Peterson

SYMBOLISM IN THE Rcligious symbols may be pictorial or ment stating belief in God the Father is bers are 29 «(he sum of )-S·B and S·D· MUSIC OF BACH numerical according to their content; in 412: the movement with the words G, which are the initials of the ascrip­ they are expressed in music metrically. "and in one Lord. Jesus Christ" is in tion Soli Dco Gloria/ and 59 (21 + 38, The presence of hidden signs and melodically. or compositionally. One 4/ 4; the movement for the Holy Spirit or BA + CH) . Mult pie! such as 42 symbols in music is 50 pervasive in the pictorial Sign is the depiction of violent is in 6/8. A similar progression exists in (14x3) are as significant as the originals. Baroque that it is often thought of as weather in the turbulence and concitato Cantata 129: the pan for the Father is Bach often signed his name to a the peculiar province of that era when. writing of the chorus "Sind Btille. sind in 4/4: for the Son. 8/8: for the entire work by relating important musical in fact. every period in Western music Donner in Wolken verschwunden" Trinity. 6/8. events with one or more of these num· history has worked with its own tif.yle ("Ha\'c lightnings and thunders in Melodic figures. not inherently math· bers. A structural idiosyncrasy may oc· of extra-musical associations. The ap­ douds disappeared', from The Pas· ematical. are generally more involved cur in the /durteenth measure of a parent pre-eminence or the Baroque In ~i()n according to St. Matthew. Another with pictorialism than are the metrical piece (e.g.. startling chromaticism in this regard is due largely to our venera· hi the writing o[ music having to do symbols. Fast scalewise passages may "Herr Jesu Christ, dich zu uns wend". tion of the late. speculative works of with Shepherds in the com'entional mao represent angels (Orgelbiichlein, "Vom nwv ·709, which also contains the mel· Johann Sebastian Bach. whose manipu­ jor key and compound triple meter o[ Hunmel kam der Engel Schaar'') • odic motive B·A·C·H: or double pedal lation of symbols was truly virtuosic. the pastorale; the most familiar exam· douds (Cantata 26. opening chorus) , in "Christum wir sollen loben schon" Much like the Medieval artists who pies of this come not from the music or watcr (Cantata 26. the tenor aria). from the Orgelbilc1,lein ) . The number built and adorned cathedrals in a com­ of Bach but from Christmas music of Chromaticism was often used in the o( measures in a section of music or in plex symbolic code "showing men onc other Baroque composers, notably Co· baroque to signify grief: in conjunction an entire piece may be a Bach number; thing and inviting them to see in it the relli (the "Christmas" Conceno, Op. 6 with religious thought it often symbo. the final section of the Fugue in F rna· figure of another:" Bach created an No.8) and Handel ("Pasto.ral Sym· lized the Passion of Christ (Mass in D jor, BWV 540. is 59 measures long; in imposing edi£icc out, of the symbolic phony" and "He shall f~d his flock" minOT. "Crucifixus:" Cantata 78. the the Prel1lde and F1lgue in C minor., treatment of musical materials known lrom Atessial,). The numerical sig· opening chorus) . The suspension. aural· BWV 549, the prelude is 29, the fugue as the "doctrine of affections" which nificances, all of early Christian and ly a dissonance and visually a picture 59 measures long. The only piece in he had inherited from his anistic prede­ Medieval origin, are briefly explained o[ Christ's outstretched arms, is another the Orgelbiichlein which uses double cessors. The distinction between this below. figure for the Passion. pedal and has a single cantw /irmw in anachronistic. almost Gothic technique Or,elbiichlein, "Da Jesus an dem a voice other than the soprano was and a Wagnerian sort of leitmotivic or­ 1 prime: the unity of God Kreuze stund" originally projected a5 the fourteenth ganization (to which it bears a superfi. 2 the divine and human natures of C'Christum wir sollen loben schon',. cial resemblance) has been generally One should not make the mistake of recognized since the writings of Arnold Christ 3 the Trinity; the Holy Spirit presuming that he will hear all of these Schering.· We will first provide a cata· 5 the wounds of Christ The figures in the last of our three symbols blaze to life in a sensitive per. log of the most common of these sym. 7 the gUts of the Spirit fonnance. While many symbols can boIs as Bach used them. and then dis· categories use compositional techniques cuss their significance in the pieces in 9 a Trinity number (3x3) to effect symbolism. A cantus tirrnw in help a performer in choosing tempi, Book III of Klavier·Uebung. 2i a Trinity number (8x8x!l) a piece dealing with Christ is often registration. and other musical prob. A chorale text or a pictorial image found in the middle voice, as Christ was lems, the symbolic reason for the de· drawn from the Bible or Christian dog· The metrical expression of symbob (he Mediator (German Mittler. from cision will probably go undiscemed in ma may suggest to the composer a mu· is ineVitably bound up with reJigious Mitte. middle): one connected with the perfonnance, and many of the symbols sical figure or techni9.ue. This may ap· numerology rather than pictorialism. Holy Spirit is often found as the bot­ are completely inaudible. Bach's tech· pear once in a piece hke a sign. or may God the Father, as origin of all and tom voice. as his inspiration is the basis, nique is the objective, impersonal pro· become the organizational basis for an therefore prime, is associated either 01' ground, of the Christian faith (Eigh. jection o( symbols. Though they will entire composition. A typical example with no particular number or else the teen Chorales. "Komm, heiliger Geist" be noticed by a (ew initiates. their con· in the music of Bach is the canon. As number three, for the Trinity (as it in F major). "0 Lamm GotleS," from scious recognition is not important for one voice obeys the other. it may depict is in the all'encompassing concept of the same collection, illustrates a pro· the listener. They fonn, 'Juite simply the obedience of Christ to God the God that the individual persons of the gression in position of the cantw: in - and the adjective here IS important Father (this is a very common symbol Trinity exist). His ancient majesty may the verse to God the Father it is in the - a lecret language. , for the Passion: see Orgelbiiclllein., 0 be symbolized by a musical setting in soprano. in the verse to God the Son in the alto, and in the verse to the Lamm Cottes." "Christe, du Lamm Got· old·fashioned rica-care style with long KLAVIER-UEBUNG, BOOK III les," "Christus, der uns selig macht:, notes. a rhythmic conception which Holy Spirit in the bass. The consistent The same technique may ilIustrale some· implies no regular metric organization answering of a motive by its mirror· thing entirely different; as one voice (Magni/icat, "Sicut locutus est:" Mass fonn may depict the answering of pray· Bach's usc of symbolism reaches a high leads the other. it may illustrate a pray· in B minor. "Credo in unum Deum", er, as prayen rise to God and God's point in the four books of Klavier· er that the Chrfistian be led in the way God the Son is the second person of answers descend (Eighteen ChorDlel, Uebung. His signature is found hidden of truth (Orgelbiichlein., "Liebster the threefold god, and so is associated "Wenn wir in h6chsten Nothen sein", throughout: in the 41 movements of Jesu") ; or may even show in the testi· with duple meten - especially 6/8, a These figures, and othen like them, the first book. the 14 of the second, mony of the two false witnesses from triple subdivision of two - and with (orm an intellectual bridge which spans and the 27 (2x7= 14) of the third. The The Passion actOrdiflg to St . .Matthew the opposition of two to three (Orgel. from a basic part of the text into a 82 movements of the Goldberg Varia· that one is merely imitating the words bilchlein., "]n dulci jubHo:" "Vom Him· musical setting, thus allowing the mu· tionl (aria. 30 variations. and aria da or the other. The specific ' Significance mel hach," BWV 738) . God the Holy sic to do wordlessly the work of music capo) which comprises Book ]V bring always depends upon the immediate Ghost. the third person of the Trinity, with words. tbe total of the movements in the four circumstances of the textual and/or pic. is often siginified by a triple meter, Two kinds of signatory figures are as· parts to 114 (2 + Ix38, or B + AxCH). torial derivation. ]n much the same way especially a compound one such as 9/8 sociated with the name Bach. The first The figure 27 for the third book also Medieval artists could use the lion as or 12/ 8 (Eighteen Chorales, "Komm, is a melodic figure, the well·known has a religious significance. ]t is the a symbol either for St. Mark or for St. Gott Schopfer, heiliger Geist'). B-A-C-H (B "at-A-C-B natural) found number of books in the New Testament: Jerome. and the actual reference de· Changes of meter in a piece may throughout the works of Bach and com· the position of the four Duets before pended on its surroundings. ]n company show a progression of meters to sym· posers since. The other signatory fig. the final fugue is a parallel to the posi· with a man, an ox. and an eagle (the bolize the Trinity. While the most can· IIres arc numerical and have qUlle an tion of the four short Epistles of SS. other Evangelists), it showed St. Mark: sistent execution of this figure is found im'olved derivation. John and Jude before the A~ypse. with an old man in the desert. St. in Book ]]] of Klavier·Uebung itself, If A= 1. B=2, and 110 on (remember. As 27 = 3xSx3. it is not surprising to Jerome. partial applications of it are found else· ing that in the old 24·1etter Gennan find in Book III of the collection 3x3x! There are two principal kinds of where. The first two verses of "0 Lamm alphabet I and J are identical. as arc U pieces centered around the chorales symbolic figures in the music of Bach Gottes" from the Eighteen Chorales., ad· and V), the name B·A·C·H has a nu· which rehearse the dogmas of the reo - those which deal with the subject of dressed to the Father and the Son, are merical equivalent of 2·)·8·8, the total ligion of the Triune God. To reinforce the music itself (in a sacred work, these in 8!2, a simple triple meter: the third, of which is 14: this is probably the best the total emphasis of the work on the are religious signs) • and those which are addressed to the Holy Spirit, is in 9/4. known "Bach number:' 41 is the sum number three. it is actually structured associated with the name Bach ("signa· a triple divided triple meter. In the of the letters J·5--B·A·C·H as well as ture figures',. Creed of the Mass in B minor the move· the revene of 14. Other important num· (Continued., page 6) THE DIAPASON Letters to the Editor &tdblished in 1909

An InJernatlOfUlI MonthZ, Devoted 10 the Or,an, the Harpsichord tint' Chuf'eh Mwic

The Sludge Debate FEBRUARY. 1976 ROHIT SCHUNEMAN FEllTUlIEII SymboUsm la ,.s. 8oda'. PielDd.e Iud..... Man... , and hqa. la E-Dat cmd Us ZHecl DOROTHY ROSER 15 January 197~ Fourthly, If you will a)low me to stick on Perlormanl» To the Editor: my musicological foot In my mouth: did by lou Dcrrid ""nOD 1...... 11 Auidan' Edi'or Dr Fiucr has created 3. piece of liter­ Bonnet really construct such "an extD­ RCIY.. cmd U.e Barpdcbortl WESLEY VOS ary "sludge" (or us; it is too long and ordinary monument to sludging?" Is it by Larry Palmer .. not a known fact that Bach used regis­ A.G.O. St. Low. CoadaTe Con,,u,ut'ng Edlto,. too loud. CoIICjeDlal cmd. BekDte4 I Sincerely. trations which were considered radical in LARRY PALMER A Poulble Source for Buell·. OrI)aa Joseph Dzeda his time? Is it not a fact that the legato­ rupe la B mlaor, BWV S44 Harp_IIo", New Haven. Conn. style of playing Bach. as espoused and by FenUacmd. Dlnda 1:1 expounded by the late Marcel Dupre. VICTOR WEBER is the true style as transmitted through REVtEWS Chora' Musk Forkel to Hesse to Lemmens to GuHmant He., Harpslduml M_ie, Boob, cmd Fo,.ItIn Co,re.pancMn,. and subsequently to the modem French Recom January 13, 197G masten, as opposed to the herky·jerky by !.any Palmer 4 LARRY JENKINS To the Editor: stnccato touch "knowingly" propounded 1M. Bec:onUalJ'l Re;ading through the January issue. I by Roberl SchallemeID 5 leo """ by Bach's modern-day countrymen in ARTHUR LAWAENCE callnot help being struck by Dr. Joseph the name of "Buoque authenticity?" Cbond Mule _ u.. Blceatflulal by VJctor Weber 17 Fiuc.. •• esthetic di5Se11ation OR "The Perhaps the real reason why organ· ,..,1. Sludge Debate:' Insofar as my Idler was ists continue to play sludge ;s th3t there LEnEBS TO THE EDITOR .. 15 one of those printed in response 10 Mr. is a demand for it. The "instant reli· 1 ,r.-$7.5O Zimmennann's original Declaration of gion" to which I earlier referred is very IlEWS 2,,.,-$13." Sludge. I feel compellc..'tl to colltribute much alive and well in such places as He,.. & Then, McmapmeDl:l, my 2~~ worth here. Brooklyn. Jersey City, 3nd hundreds of CompeUtion. cmd. CoaIerellClH , SI"'Cop,-$I." Fint off, about the music: "Organ other locations across this great land. I Nunc Dlmltu. , 8adr Num"'r-$1,75 mwic has to be orrerrd in relatively darcsay that, in Irish· Catholic Brooklyn, Harpsichord .. (man ,han 2 y,•• ala) abort movements." On the basis of this. there are numerous churches in which Semlaan cmd. Worbbopa Featared. at BosioD ACO '71 10 would Dr. Fitzer rule such pieces as the an organist would st3nd a good chance THE DIAPASON Liszt Ad Nos and the Reubke 94tll Psalm of losing his /·ob were he to render any Appomtmelle. 10 HEW ORGANS 11-12, 14-11 454 South Wabash AV4!!nue, sludge? These: pieces are the zenith of of the master y works of that old fuddy. Clricaga, 111. 60605. Pho.e (512) 427·3149 German romanticism; can we deny their duddy Reger, to say nothing of the CALENDAJI ...21 value on the basis of their being too noisc of Mcssaicn. and yet would prob­ Second·cltw postage INJid at long? There .tTe some piet:es which re­ ably be tendered a raise in salary were CLASSlFJED ADVERTISEMEMTB 2J.23 Chicago, Ill., and at additional quire the bener part DC an hour to per­ he to offer a steady diet of Batiste. mailing ol/iet!. form (witness the Widor Eighth Sym­ Boellmann, Gigout. etc. Call it sludge lUlled monthly. phony - truly a wonderwork, to quote or whatever you will. laugh at it as you AU mbscrlben are urged to trnd Schweitzer) which rank amongst the will, the organists who play it are laugh­ changa of oddrat' prompdy to the The Diapason Office of Publication, musical treasures of all time, and a ing right along with you - all the way 454 South lVabQJh AVI:nue, ofDce of The Diapason. Clungtt Chicago, 1/1. 60605. plethoric quantity which require Jess to the bank. must reach us before the 10th of the thun five minute:s (e.g., Evt!ning Prayer Sincerely, month plUming the date of the Roullnt! It4!!mJ for ,,-ubllad/on rnwl be and Chimes by Cliver) which Clnnot Joseph A. Lindquist receiwd not lateT' than the 10th of "'1: be taken seriously in aoy vein, save their Botton, Mass. first issue to be m:dln:J to the new month to /lSSure insntlon in th. isslle effectiveness in increasmg the Sunday address. The Diapuon cannot pra­ lor the ne;Kt month. For f'edtal tn'o· collection offerings ("imtnnt religion"). vide dupUc:ale copla missed buawe grams and «elver,b'", copy, the clos· No indeed - It is the mU!lienl content. of a subscrlber'. faDure to notify. ing date is the 5th. Materials lor re· not the lenlitlh. which detennines wheth· view sllould reach the ollice by thl: 1st. er or not the piece is sludge. January 7, 1976 To the Editor: Secondly. the instrument. "Limited Assuming that Joseph Fiuer's "Sludge range of expression?" Perhaps in turn· Debate" article is meant seriously. I still of-the-century England, but nowadays? find it amusing but disappointing. In­ Why is it that such masterpieces of 50 much the opiniens. implied in the "sludge" in the French classical period. stead of enrefullogic there are flat state­ anicle are such that 1 Clnnot let it p3.5S Such works most certainly do come off American builders as the Hooks in 1m· lIlents of a priori assumptions with which maculate Conception and Holy Cross without comment. provided that the performer is commit­ the reader is assumed to ape. Some of In what other branch of the musical ted to standards and musical concepts Cathedral and tl1C Johnson in St. Mary's them arc mind·boggling. "Cavaille-Coll's (recently relocated), all three right here proression would anv school of thought that work with ruther than agaJrut the laTAer inslrulIlcnts were crowd.pleascTS attempt to write off the bulk of two music. in Boston, are 10 admintbly suited to the undenvrittcn by - French governments interpretation of all organ music (vide centuries of literature using a tenn Dr. Fitzer's footnote concerning the to help hold the Catholic-bourgeois which is unacceptnble from the stand· shortcomings of the Bonnet Historieal Thomas MurDY's article in the Novem­ \'ote." "The structure of sludge amounts ber 74 Diapason)? The secret of these point of good literary style in musiCil Organ Recitdis is unfonunate. The first to this: too long and too lOUd." "To me criticism? The attitude implied is but volume of this series, published In 1917, and of all the great organs of the world tlle 'Cathedral sound' is rather like the is that they arc designed for maximum one manifestation of Oln Increasingly dis­ WllS for senral drcades the anlT collec­ dumb blonde of beauty contests," "Or­ turbing tendency. Organ Uti are occasion­ tion of early mwic e:tSily aval able Lo effectiveness in their acoustical environ· gan music is OKntially contrapuntal." ment, be the room large. or small. Per· ally subiected to what I call an anti-mu· American organists. What American or­ Mr. Fitzer also says that contrapuntal siarl philosophy which would limit our gan in 1917 could bal/e remotely ap· haps the most salient example of this music is short in length, :md should be em be found in New York where, only concepts of art to an arbitrary set of proached the ideal of IOUnd we now pla)'ed only on smal1-to-medium ;nstru. rrgulations which are rooled neither in associate with this music? Bonnet sim­ a few blocks apart. the gig:tntic Kilgen ments in small-Io-medium rooms. in St. Patrick's CathedDI thunders forth sound musical judgment nor in historienl ply suggested registrational principles As a "church historian" doesn't he principles, but arc an outgrowth of that would work on the Instrument be with a sound Uke mud. whilst the medi· know the size and acoustics of most of urn-size Mollrr in St. Paul the Apostle, dilettantism in ils worst sense. Setting knew at the time. This collection hOI the rooms for which Bach wrote his or­ aside the prime consideration of musical had profound and far-reaching inDu­ only about h.llf the overall size of the gan musief Or that Couperin and con­ former, resounds in its acoustical environ­ judgment. there is no historienl basis to enee and remains the testament of one temporaries were trying to (iJI the same the notion that Bach and Buxtehude of the great organist-musicians of an ment (a room only slightly smaller than rooms which the belle epoch composen St. Patrick's) with such a beauty of tone conceivrd their music in lenns of lim­ earlier era. were trying to fiU? And 15;n't it true that ited instruments. Alas, Bach's own rec­ The serious organ student today is as to Dnk it with the world's truly great musical trash and pieces which are "too instruments. Is it any wonder that this ommendations concerning additions and DCalsionally placed in a state of connict long" have been written in every era, changes in specific instruments run dan­ between what he innately knows is mu­ organ is preferred by so many artists for in every country. and sometimes by good their recordings and recitals? It is this gerously close to Dr. Fitzer's concept of sical and what others feel obligated to composers? "sludge." Knowledge or the o~ns that impose upon him to be doing the "in­ total encompassment with the acoustical I think that Mr. Fitzer is merely stat­ environment that makes or breaks the Buxtehude played in the Maom/drche thing." Taste, musical integrity and .tyl­ ing personal opinions, llS he has a right effcctiveneu of the organ aJ a musienl suggrst anything but pallor and bland­ istic correctness cannot be "applied" to to lIO, bm it is presumptuous to present medium, not the "church rendered vi· ness. music. The answers to musical questions them as universally recognized truths. The anti·musical philosor.hy has its remain largely in the music itself. Noth. brant." For instance, I find most any Rhein­ ramifications upon basic V3 ues in tlCr­ ing can replace the analysis, intuition, Thirdly, Dr. Fiuer refen to the Kurt berger piece to be musical trash and Lueden urticle in the October Mw;c/ rormance. In wh"t other "rea of perform­ and creative agonizing that are the com­ high cunp, but the good Bostonians are ance would a pedonner be tnken to tna1c. ponents of any art. AGO. Did he miss the centerfold of the going to star him at their AGO Con­ St. Ouen de Rouen console? 1 think for projecting too great a serne of line If Dr. Fitzer's reoommendadons were vention. I think that itO{ the least re­ in his pl3yjng? This has OCtutTed indeed to be taken seriously, the esthetic of the that Mr. Lueders gave an acturate ap­ markable thing: about Mr. Fitzer's arti· prais:lI of this instrument as "the finest within the page of this magazine. In organ would be running a. suiddal course cle is that it could have bren written by what other area of performance do cer­ in the direction of preciousness and es­ remaining Romantic otg:ln in the world." • Ph.D. I would even go &0 far as to eliminate: tain details of perfonnance practice be­ trangement from the rest of the musical Wayne Fisher come monuments rather tltan details? world. The organ remains ror me an the "Romantic" from that description. nh'ersit}' of Cincinnati 1 was privHeged, in June of 1974, to have Such matters as inega.Jh~, articulation, instrument of wide ranging expressive a penon~l demonstr3tion of this organ added ornamentation and rhythmic ale possibilities and its esthetic is derived during a concert tour of the Gennan teration should be undentood by the from musical absolutes that are common choir in which I was then singing. and enlightened perfonner. but they are de­ to all types of music making. although time did not aUow me to try January 9, 1976 tails, not mountain, within the scale or Sincerely yours, the instrument myself, I saw and heard To the Editor: values to be realized in performance. Roben Clark enough to convince me that this organ Upon reading Joseph Fitzer's article The implication that certain types of Professor of Music of 64 stop" in one of the largest church­ concerning "Sludge" in the January music. primarily In homophonic texture. University of Michigan es in France, i. a supreme example of DIAPASON. my lint reaction was to will never come acroy to the Mwical the organ builder's 3rt, capable of ef­ dismiss it as a disagreeable and ponder. public rules out not only a great deal of rectively and authentically interpreting ow approach to the esthetic of the or· the nineteenth and twentieth century lit­ any music written for the instrument. gan as 1 conceive it. The attitudes, not erature, but a substantial amount or (Conlinued, page 15)

2 THE DIAPASON Washington Cathedral will celebrate the Robert M. Turner's new organ at the First completion of the nave In a series of dedi. Here & There Presbyterian Church In Trenton. New Jersey cation services from Easter through Labar will be featured In a half·hour special on Day. The cathedral, formally known as the New Jersey Public Television on Tuesday, Cathedral of Saints Peter and Paul. Is the Feb. lOot 9:30 p.m. The program, entitled 6th fargast In the world. The Very Rev. "A Particular Sound: The Turner Organ." Francis B. Sqyre Jr.. dean of Washington will be repeated on Thursday, Feb. 12 at Cathedral. Is seeking the names and ad· coli the Communications Office of the Cathe­ All former students and friends of Mildred 6:30 p.m. on channels 23. 50. 52 and 58 in dreuol of p8f'JOnl who wer. preent at the dral, (202) 966-3500, ext. 247. or write AndrcW3 arc asked please to write to Miss tho New Jersey area. The program traces laying of the foundation stone for the catl\. Washington Cathedral. Mount Saint Alban. Mary Ruth McCulley. 3103 Harmony Lone. the bUilding of the organ from its architec­ edral an Sept. 29. 1907. The Dean would Washington. DC 20016. Amarillo. Texas 79106 as soon as possible. tural plan through Its construdlon and its especially lib to Invite these persons and dedication in February of 1974. and selec­ their famllles to attend the dedication ser­ Avery Fish.r Hall (Philharmonic Hall). tions from Robert Noehren's recarding of vices. It wtll commence with the unveiling of lincoln Center, New York City. Is ellmlnat­ Shallway Foundation has reVised Its bulle­ the music of Dupre on this organ will be the new west rose window on Easter Eve. lng Its large Aeollan·Skinner pipe organ tin on "Boychoir Concert Planning." It Is Included in the program. April 17. The nave dedlcaUan will be on which was dedicoted in 1962. The hall will available free from Shallway Foundation. June 5 and June 6 with the Right Rev. Wil. be closed from May 15 through Oct. 15 this Connellsville. PA 15245. 110m F. Creighton. Bishop of Washington. year for interior and acoustical renovation. Charles Benbow Is currently making a presiding, In a service for the nation on and hall officials, Including Dr. Cyril Harris. canesrt tour of the U.S.S.R .• the second for July 4 with the Right Rev. John Maury Allin, the acaustlcal consultant, have made the Ann Labounsky played the American pre­ the young American performer now resi­ Pnuldlng Bishop. officiating; and on Sept. final decision to entirely eliminate the organ miere of Jean Langlais' "Hull Chante de dent In London, England. His tour will take 12 In a service for the Anglican Communion rather than to expend the amount of money Brelagne" at the Duquesne University Chop· hJm to Minsk. Kiev, Leningrad. and Novosi­ with the Archbishop of Canterbury officiat­ necessary to rebuild II to a smaller size el. Pittsburgh. Pennsylvania on January 22. birsk. and It will conclude with conCerts of Ing. and relocate It in the hall. The organ Is M. Langlais played the world premiere ot the Conservatory of Music in Moscow. Mr. Those knowing of anyone who attended being offered for sale to anyone making a Notre Dame in Paris in December. The work Benbow will return to this country again In the Foundation Stone service In 1907 should reasanable offer ' near $2.5.000) . was published by Bornemann last fall. March..

Th. Sixth Annual Church Music Warkshop, sponsored lolntly by the Knoxville AGO Chapter and the Unlvers!ty of Tennessee. Conferences will be held February 19.21, 01 Church Nunc Dimittis Street United Methodist Church. Knoxvllle. Guest consultants will b. Gerre Hancock of St. Thomas Church, New York, who will The University of Evansvill. will hold Its offer classes In organ service playing and annual Church Music Festival and Clinic on improvisation; Donald Plott of Davidson Col­ March 19·21. Guest clinldans for thl. year's Nelson F. Adams, 046, dean of the School Sacred Music in New York City. She was lege. DaVidson, N.C.. who wlll lead sessions Festival are Robert Clark, who will giVe on of Rne Arts at Southwestern University, a student of Palmer Christian and Clarence on adult choIr repertoire and techniques; organ recital and present a lecture on tho Georgetown, Texas. died as a result of on Dickinson. and Helen Kemp of Westminster Choir Col­ flArt of Hymn Playing." and David Wehr. automobile octident near Ashville, North Mrs. MacGregor taught at the University lege. who will condud several sessions on who will lead sessions devoted to choral Corollna. on December 27, 1975. His wife of Michigan. William Woods College in children's choirs, In addition to working literature and a discussion on church music remained in critical condition In MemorIal Fulton, Missouri, Simpson College In Indian­ with a large group of children In prepara­ administration. The culmination of the f8$oo Mission Hospital In Ashvllle, but the chll· ola. Iowa. and Huntington College In Mant­ tion for a children's choir festival. Other tival will be a performance of Mendelssohn's dren escaped serious Injury. gomery. Alabama before moving to Auburn. events scheduled in connection with the "Elilah" by the Evansville Choral Society Survivors include his wife; a son, Richard, Survivors Include one daughter. Mrs. Sam­ workshop are a recital by Gerre Hancock on and the University of Evansvllle Orchestra a student at Greensboro College. N.C.; two uel H. Nichols. Jr. of Auburn. and two the 049-rank Aeollan-Skinner organ at under the direction of Dr. Robert Rapp. daughters. Sondra. a student at Duke Uni­ grandchildren. Church Street Church. a recital by organ University credit is available for the fest I· versity, and Kristine. 11 years of age, and students from area colleges on the large vol. For further Information, please wrltel his mather. Mrs. G. G. Adams, Sr., af Char. Schantz organ at First Baptist Church, and Douglas Reed. Music Department, Univer­ 10He. North Carolina. displays of organ and choral music. The sity of Evansville. P.O. Box 329. Evansville. Dr. Adams. who assumed the deanshIp of AUen R. Kresge, professor emeritus In Doyle High School Chorus of Knoxville will IN 4n02. the School of Flne Arts at Southwestern an music at Ohio University, Athens. OhIo. died also perform for workshop participants. July 1, 1974. came there from Brevard on Oct. 7. 1975 In Athens following a long Registration forms and other Information College, North Carolina. where he had Ulness. He was 86. Is available from The Department of Con­ served as professor of music and chairman Mr. Kresge was born In lehigh GoP. Po .• ferences and Institutes, Communications Roberta Bilgood, president of the A.G.O. of the Division of Fine Arts. and received his trainIng under C. A. Bldg .• The University of Tennessee. Knox­ and organist-choir director of the First Can. A graduate of Duke University with the Marks. James Prescott. Albert Ross Parsons, ville 37916. gregotional Church. Bottle Creele. Michigan. BA and Master of Religious Education de· Wilhelm Mldde1schuhe. and Joseph Bonnet. will conduct a program of her own choral grees. Or. Adams held the MSM and DSM He taught organ, piano and theory at Ohio and organ compositions at Drew University's degrees from Union theological Seminary University, retiring In 1959, and he was a 22nd Church Music Conference at Madison. School of Sacred Music In New York City member of the First United Methodist Church New Jersey, May I, 1976. Under the dl. where his areas of concentration were organ of Athens where he served as organist for red ion of Lester Berenbroick, the conference and musIcology. -40 years. Managements will also include sessions on choral reper­ toire by Paul Knox. a program on the struc­ listed In "Outstandlng Educators of Amer­ Mr. Kresge was a member of the A.G.O., Ica." Dr. Adams held membership In Music tural analysis of organ works by Bach and the National Retired Teachers ASSOCiation, Franck by Walter W. Reinhold. and a work­ Teachers Association of America. Music Ed­ Phi Mu Alpha Fraternity. Sigma PI Fratern­ ucators Nallonal Association, the American shop-demonstration on junior choir tech. Ity, The Izaak Walton League. Post 21 of nique. More information may be obtained Guild of Organists, the National AssocIation the American Legion, and Conrath Bean of Schools of Music. the Nononal Fellowship from Prof. Lester Berenbroick, Drew Univer_ Chapter of the Disabled American Veterans. sity. Madison. NJ 07940. 01 United Methodist Church Musicians, the He was a veteran of World War I. American Musicological Society, the Hymn SocIety of Amorlca. and other organizations. Mr. Kresge was preceded in death by H. had held state and notional offices In his wife. Frances Wright Kresge. in 1969. various organizations and had served fr. and also by twa brothers. Robert and Wrll. quently as consultant and panelist. He Is survived by his daughter. Eugonia A. At the fall meeting of the NASM in San Kresge of Athens. and one niece. Diego. Dr. Adams was elected chairman of the Community/ Junior College Commll$lon which gives approval for membership of Competitions Junior colleges in NASM. The death of the Freltch conductor. organ· An occompl1shed organist and choral dl. 1st. and musicologist. FeUx Raugel. was reo redor. Dr. Adams hod gained a wide repu.­ ported In Paris on January 4, 1976. He was tatJon as director of college ensembles, clvlc 94. Raugel was born at Salnt.Quentin. Appllconb for the Ruth ond Clarence choral and Instrumental groups. France. November 27, 1881 , after winning a Moder MemorIal Scholarship Competition to prize In viola at the conservatory at lille. be held In Los Angeles are reminded that he moved to Paris, where he studied organ Karel Paukert, curator of musical arts at applications, Including a top. recording with Decoux and took further studies with the Cleveland, Ohio, Museum of Art. has and a written proposal for the use of the Roussel. Libert, and d'indy. He was choir­ been added to the list of artists represented $1000 award In on organ study program. Margaret MacGregor, well known organ. master of twa Parisian churchesl Solnt·Eus­ by Lilian Murtagh Concert Management. Mr. must be postmarked no later than April 1. lst and former faculty member of Auburn tace 1911-28, and Salnt-HonorHf'Eylau Paubrt Is also artlst·ln.resldence at the 1976. Appllcotlon forms may be obtained Unlvers1ty. died on December 16, 1975 In 1928-40. He founded and conduded the Cleveland Institute of Music. At the Cleve­ from the Ruth and Clarence Mader Mem­ Auburn. Alabama. She had suffered a fall chorus of Radlodlffuslon fron~lse from land Art Museum. he Is In charge of an orial Scholarship Fund, P.O. Box 94-<:. Pasa­ earlter In the day and was taken to the 1934 to 1947. and was conductor of the active concert series, Including regular or­ dena. California 91104. hospital where she died of a heart aHack. Socfe" Phllharmonlque de Relms 1926-62. gan recitals. and he has founded a cham­ The Los Angeles and Posadena Chapters Mrs. MacGregor was born In Springfield. In addition, he was muslcol director for ber ensemble made up of members of the of the A.G.O. presented a benefit concert Ohio on March 18. 1890, the daughter of l'Anthologle sanore 1949-59. and was vice­ Cleveland Orchestra. called the Cleveland for the Moder fund at Immanuel Presbyter­ Judge and Mrs. Francis M. Hagon. Her hus.­ president of the French MusIcological So­ Camerata. He has been a guest condudor Ian Church Tn los Angeles on Jonuary 5th. band was the late Howard E. MacGregor. ciety 1944-.59. with the Cleveland Philharmonic Orchestra. The concert included organists Rayner Brown. on aHarney. M. Raugel was probably best known to Mr. Paukert Is a graduate of the Prague Gaylord Corter, Orpha Ochse. Robert PrI­ Mrs. MacGregor retired as organist at the organists for hIt many descriptions of French Conservatory of Music and the Royal Con­ chard. Irene Robertson. and Ladd Thomas Auburn United Methodist Church In 1969 argans. chiefly In the early Issues of The servatory of Music In Ghent. Among his performing with oboist Morc Blake, trum­ aher 14 years In that copaclty. She hod Organ and in l'Orgue. Among his seven teachers were organists Jan Bedrlch Krals peters Russell Kldd and Anthony Plog, and taught organ In the Auburn University music books on the organ, Las Grandes Orgues and Gabriel Versdlraegen. He studied oboe soprano Diane Thomas. The program In­ department. and even aher retiring she con­ des eglises d. Pari. et du depart.ment d. with Frantisak Hantak and conduding with cluded Seth Bingham's "Ut Queant Laxls." tinued to teach privately. 10 Seln. (PariSI Flschbacher. 192n remalm the late Waclav Tallch. He was oboist for Rayner Brown's Sonata for Oboe d'amore She graduated with distinction from the unsurpassed for Its thorough descriptions and orchestras in Prague and Iceland. Since and organ, Clifford Vaughan's Flfth Sym­ College of Music In Cincinnati and then re­ documentation. He also published several coming to this country, Mr. Poukert has phony. "Three Biblical Songs" by Clarence Cftlved bachelor and master degrees in mu­ editions of early organ music. Including the taught on the faculties of music at Washing. Mader. Concertina for twa trumpets and sic from the University of MichIgan. She works of Du Mage. A prollflc writer on tan University and Northwestern University. organ by William Schmidt, and organ tran. enioyed the honor of having earned the many musical subj~, Rauger alsa wrote for Mr. Paukert concertizes regularly In this scrlptlons (by Gaylord Corter) from Aaron first master's degree In organ awarded to Honegger's Dktionnalre d. la Mudque, 10- country and In Europe. He Is married to Copland's "Rodeo" and Leonard Bernstein's a woman. She later earned the MSM _degree rousse de 10 Muslque, Mande Muskal, and Japanese soprano. Norlleo FujII, and the "MaSSo" The concert attracted a largo and from Union theological Seminary School of Ole Muslk In Geschlchte und Geg.nwart. twa have given frequent 10lnt concerts. ·.nthusfastJc audience.

FEBRUARY. 1976 3 oil young man; however Orenstein', diJ­ cography reveals yet another fascinating :Qavel and the Barpsiehord item: a 1927 electric recording of the Harpsichord News two M:arot Epigrams with Paule de Les­ by Larry Palmer tang. soprano, accompanying herself at the h''J''ichordl (O",nstein, p. 249). As a postscript to the Ravel centenary by InlCrn:atiollal Music Company. New Ravels desire for the harpsichord', of 1975. I should like to c:all attention to York , which simply JistJ "Piano.") distinctive color in this IOOg, his one: Kenneth Gllb...t wtll gl\le his sbeth sum­ Ravel', one nc:arly·unknown use of the In Arbie Orenstein's fine new book and only usc of the instrument, im­ mer course In Antwerp from July 1 through harpsichord in his distinguished list of Routt. Mczn and Mwieiczn (Columbi:a presses me as OJ. mwician', reaction to the 10, 1976. The music to be studied this sea· compositions. During a recent visit to University Press. New York 1975) the same: sort of stimulus which led Rainer son Include. FreKOboldl's Tocratas 1. 2, 3. Dallas. the pianist Dalton Baldwin sug­ work is ;also lilted ror "voice and piano" Maria Rilke to speak o~ the Clavedn 8, 9 and Partite from Primo Ubro dl Tocmte gestro to me that Ravel's song "D'Anne and we learn that the autogmph. in in his Neue GMichte (New Poems) of (86renrelter), Rameou's Suite In A minot Jou;mt de l'Espinefte" should really be the possession or Madame Alexandre 1907. In LeUI .. Abend (Lut Evening), (1706), E minor (l724), and A minor (1728)' acmmpanied at the harpsichord. Fas.­ Ta\'ernc. is signed and dated Dettmber the ~t begins. and the ltaUan Concerto, aVIV 971 and cinated by this idea. I discovered a copy 1896. The oUidal fint per£ormance, with "And n1lht and distant travel; for the tnln French Ouverture, BWI 831 of J. S. Bach. of the anginal edition of this work, the b\'el and M. Hardy·'fh~ (the dedica· of the whole army swept aIon.. the park. This course Is for advanced students who He looktd up frum the ha1'plicltord apin second of the two Epigrams of Clement tee), wa5 given on January 27, 1900, at wish to Increase their knowledge of early Marot{ ca. 1497-1544). a more re­ and played and slanccd a. her without J"e'o poet the S:alle Erard: Ravel must certainly mark •••" keyboard music played on historic Antwerp mr:mbered for h15 metrical versions of have pJ:ayed the work here on the piano, translated by J, B. Leishman, harpsichords In 0 building which b Itself the Psalter than for his llS5OCiation with as he doubtless did at earlier "unoUi. New DirectioDl, New York, 1964, 470 years oki (the Vleeshuls or Butchers' the courts of Marguerite de Valois and cial" he:aringl :at the home of Mad:ame pp. 112-11' GuiklnalO. Those Interested in oppbcot$on Francois I. Rl!nc~ de S:aint·Marce:aux. a singer to The harpsichord, in those early days forms or mote information should wrlte to The text. "To Anne, pbying on the whom Faure often took his composition of its renaissance, amjured up the p:ut. the Ruckers-Genootschap, V.Z.W .• Vleeshou­ spinet" namo the: instrument, of course, class so they might he:ar their vocal Would that Ravel. with his love for the wersstraat 38-40. &-2000 Antwerpen. Bel­ and in this original edition (Editions works perfonned. (See Orenstein, p. 21). anlique, reasoned darity, the exquisite. gium. Deadline for completed applications Max Eschig. first publilhed in 1900). Since Ravel's song, 25 channing meas· had punued further the use of our Is April 15th. Ravel has marked the: acmmpaniment ures in 5/ 4 meter, is re:ally quite awk­ instrument. At any r:ate. he joins that "Clavecin ou Piano (en Sourdine) " - ward at the harpsiChord, one could sim­ rather surprising list of 20th century a designation which has dis:l.ppearcd in ply accept the designation of this instru· composcn who mac.Je at le.:ut a. single the reprinu or the work (such as that ment :as the romantic antiquarianism of bow in her direction. Th. INtlIu.. of Ardleology and Mud· oaIogy of tho Catholic Unl ....lty of Lauvaln, In association with the Inlfru,"". Museum of .ruMett, the Belotan Mutkoioglcal So­ de." and the Mlnlttry of 'rnch Culture. aponsored two weekend seminars on the New Harpsichord Music, Books, Records Construction 01 Ho.,mchonh I""" tho FII. teenth to ElghtHnth Centuries. January 31- Reviewed by Larry Palmer february 2, and ,.brvory 7-9, 1976. The lessions, held In Louvoln and BtulSeb, were directed by Aloin Anselm, organ and harp­ Matgilret Campbell: Dolmetxh - the tainty prererable, at least from a play· ,Ichord builder of Monlargls, france. Speak­ Man and his WOrL Hamish Hamilton, er's viewpoint.. Would that publishen er, were Knud Kaufmann. Martin Kaufmonn, London . .£5.25. gave performen a chana: to comment Jean Taurnav, and NkDlos Meeus. The sub­ This long·awaited m:ajor biography on such things during the proof stages !«ts pre.. nted Included the hUt"", .1 build· of Arnold Dolmetsch should help to of a publicationl ing Fleml,h, 1tallan~ and fr.nch harpsl· fill a gap in our undentanding of the chords, bibliographie and konographle docu­ early music revival of this century. Mar­ mentatio", and problems of restorotlon. tun-­ garet Campbell has done extensive Teo Franzpeter Goebeb: BIrd·Boogie for lng, and klt-mntt,udton. Redtols by Jos search not only in England. but in Harpsichord. Blrrnn:iter 5500. Van Immarseel and Charles Koenig were America and on the continent: 25 cha~ "This light-hearted encounter be­ pkJyed on modern Instruments built by ten cover the Jire-Slory of an extraordi· tween past and prt:sc!nt. under the ban· Moene, Tournay, arM:! B6dard, and Robert n:ary artist from the early yean through ncr of careme dancing. is a ·Composi· [ahnen played his program on a Oukbn the last battle, and an ev:alu:ation of tion', th;at is. a putting·together of old af the perlod. "DoImetsch the Scholar." ! 18 pages, de­ :and new mwic." So begins the pref:ace lighlfuliy illuSlraled. to this collage. the fint p:art drawn from the Battle in Lady NeveU's Book Students at North Texas State University, Armand.Louis Couperin: ScI eel c d (1591) by William Byrd (10 whom the Denton, played all of the three-part Inven­ Worb for Keyboard, ediled by David title rrfers). the second a ground·b:ass tions of J. s. Bach and the 16th Ordte of Fuller. A-R Editions. Inc., Madison, Wis­ boogie with all appropriate change3 francob Couperln in a horpskhord recital on consin. 2 volumes, $9.95 each. (i.e., "blues" chants). There is a. short December 5. The fint two volume! of A-R's new return to Elizabethan times (the fint). series "Recent Researches in the Mwic but any archaic flavor is dispelled by of the Pre-Classical, Classical. and Early the 1:ast chord. Fun. Romantic Eras," selected works of Ar· Lorry Pol ....r was harpsichordist for three mand.Louls Couperin (1727.1789), pre· performances of Handel'. Messloh (parts one and two complete) wUh the Dallal Sy~ sent ror the fiut time in a modem Francois Couperin: premier Livre de phony Orchestra, louis Lane. conducting, edition a group of fascinating works by Clavcdnj Secoad Uvre de Cland... Ken­ this mid.18th-century member of the an December 19, 20, 21. The Watkins-Shaw neth Gilbert, harpsichQrd. Mwical Hen­ edition was used. Couperin dan. The music is of wildly­ IlIg. Society, MHS 5128/29/50/51 and varied worth, ranging from unsettled MHS 5181/82/85/84. and trite experiment to truly moving An extraordinary opportunity to ob­ tal notes indicatt.'tl as black·notes, make art.. Volume one consists of music for tain the mmplete Couperin ror harpsi. Along with the mony chorol programs on two kcybo:ud instrUments (Simphonle ing the organization of the rhythm some. London', South Bank during December. chord in exemplary performances at ex· what easier in the D'Angh:bcrt works), de davecins and Deuxl~mc qu:aluor a tremely re:ason:able prices, These record· there were appearance, by the VIenna Co­ deux davedns). while volume two con­ the transcriptions from Lully', operas pello Academlca, Eduard MeUcu,. direc­ ings have bcen made recently (originally (fascinating examples of early instru­ tains mwic for solo keyboard (Alle­ issued on Harmonia Mundi in Europe) tor and baroque violin and Uonel Salter, mande, Counnte I.fl De Croissy, L'af· mental adapt:ations for the keyboard, harpsichord In this program on December on a. 1968 Hubbard harpsichord. The these were originally placw within the fligh, Les tendres sentimens. the iuite playing, as one might expect. follows 3, Vivoldl. ConCftrto In D minor. op. 3 no. Les quatre nations, a Dialogue for or· suites. yielding groups of rather un­ 11, Boc!t. Concerto In C minor for oboe the new edition which Gilbert has pre­ wieldy lengths as a result), six important pn, and an Aria con Vari:llJone, p0s­ p:ued for Heugel (published in the and vlobn, aWl! 1060, Handel. Look down sibly for piano; also music for solo key­ work.! for organ, and a group of pieces. harmonlOUJ saints Cl6rombouft, et Pupltre series); In lhese sets already previously unpublished, from an auto­ leonar. board with Slrings [4 son ....J .) issued by MUS. we find all of Book I Hero, Haydn, Concerto In C for vlohn, lob Of particular value is the extensive graph manuscript recently attn"buted to Van "'.,.ren, harpsIchord ,In a Netherlands .nd .11 of Book II, plu. the Elghl Prel· D'Angleben. A shari treatise on figured Introduction to these volumes. an essay udes and an Allemande from Couperin's Embassy Concert (December 10 ), Sweellnck, on A.L Couperin. containing all known bass, 9 faaimiles. and an index show­ Ballo del Gtanduco, Taccota 15; Fresco­ "VAn de toucher Ie davecin." An add· ing the relative anangement or D'Angle-­ biographical details; a fine discussion ed bonus is the translation of George boldi. Toccatas 9, 10 (Bk. I), Canzano 3; of his mwic; and enlightening discus­ bert's edition of 1689 in comparison to Couperln, moyements from Ordre 5; Scar· B«k', informative notes from the origi· the present one complete the contents alons of the Instruments for which it was nat Fn:neh issue. 10"1, SonatOSl Bath, English Suite in E intended :and the performance practice of thIS 225·page volume. ",Inot, BVIV 810, Chrltf'ophet' Herrlc:k at the of the age. For yean 1 have been hear· Purcell Room an Deotmber 16, all Bach (12 ing from one source or another that pr.ludes and fugues and the italian Con· David Fuller should write a maior book Je:an-Henry n'Ang1ebert: Pi«es de Howard Ferguson's weful anthologies certa), and even a concert "far paren" on the Frrnch baroque harpsichord, its Cbvecin. Edited by Kenneth·Gilbert. of early music (F,arly K.eyboard Mwie and children" wh.re Jean Phillips, harpsi· literature and composen. From the e\'i· Heugel, I.e Pupitre 54. in England and Pr.mce, in Germany and thOI'd and Gerard Benson. storyteller, pre­ dence of this 5O-p:age: introduction, 1 How good it Is to have the music of Italy. :and the two-volume scI.! oC Early .MInted Bach's Caprlcdo on the Departure of would concur. Fuller writes with both O'Anglebert available at last in a new English, Frendt, Genaan, and ItaIlaD the Beloved Brother. wit and clarity as well as superior knowl­ performing edition. Commentaton on Keyboard Music) have been disting­ Jan Worden. harpsIchord, Martha ROSJ. edge and :a love for the music. He talks early keyboard music, men of the sta· uished, each one, by his thoughtful, cello. and Gigl Mitchell. flute presented as a perfonning harpsichordist-organist ture of Willi Apel and Wilfrid Mellen, comprehensive, and clearly-stated intro­ the 1976 New Yeor's Day Chamber Music in addition to his mwicological exper· h:ave assigned D'Anglebert's music to a ductlons. Now the material which ap­ Concert at the home of Mr. and Mrs. Ray. tise - a winning combination. place of great pre-eminence among the peared originally in these anthologies mond Entenmann, Dallas. The programl Son­ Indeed. 1 h:ave almost no reservations French clavecinisl5. Now it should be has been gathered into one 211-page ata In G Malot, Mareello; Sonolo In a about this publication save one: the possible for all of us 10 play the music softbound book, and the malerial has minor, Both, harp.lchord solost Sulle for a layout of the pages should have been and thus to nesh out the bones or been considerably expanded, as well. Musical Clodc and Forest Music. Handel: better; especially in the solo harpsichord musicology. For a one-volume reference 1001, this 6th Concert, Coup.rin, Suite. JaMph B0- pieces there are far too m:any awkward In Gilbert', exemplary edition we book Is highly recommended. Chapte.. din de Baismortler. page turns. In the opening Allemande. find the extensive ornament table from include InstrUments. Musical Types and [or instance. why put one system from D'Anglebert', publi.hed volume of 1689, Forms, Tempo. Phrasing and Articula. the s«ond part at the bottom of page the four suites of pieces (2 in G minor, tion, Fingering. Rhythmic Conventions. one? (Especially since this .1I0ws the one each In D minor and D Majod, Ornamentation (with an index of orna.· fltCltu,.. and ne .. Items for the.. pogee fint system. of the following Courante three of them with p~ludes non mn­ ment signs). EWton' Problems, .ugges­ aN afwop wekame. Add,... th •• to Dr. to come at the bottom of page three.) ura

THE DIAPASON The Sl. Louis Chapter of the A.G.O. style of hymn improvisation, surprising providc:d genial hospitalit), and a relaxed A.G.O. St. Louis Conda,'e illl audicnce which was happ)' to sing atmosphere for this winter's "in· he­ for a change in a "hymn festival." Iween" nalional meeting of the Ameri­ No more excellent dosing program can Guild of Organists on Dec. 28-31. could be provided than that which filled 1975. One would hin-e expected the at· Congenial and Relaxed the morn'ng of New Ycar's E\'e at the tendance 10 be slim, for St. l.ouis is not Old Cathedral. Robert Bcrgt Icd hi!'i noted for its lovely winter climate, and soloist!, the American Kantorei, and the the economic atmosphere has not left orchestra in a program which included man)' people with extra cash nowing i,('(1 Ihi5 time into " Cameo Rccitals" in i ~ diHicult to hcat' at all in the na\'e Parts IV· V of Bach's Christmas Oratorio, from their pockets for such meetings. order to provide a maximum exposure if olle is siuing more than half-",a) John Gardner's Cnrllata [or Christmas, Add CO Ihat the fact that the Bostonia1l5 10 organs and performers. Mario Sah'a· hack from the crossing. Ne\'crthcless, and Helmut Barbe's Cantrcle of Simeon. arc preparing a smashing bicentennial dol' aptl)' demonstrated the 19~9 Kilgell Hcschke tried hard to make the ht."5t The registrants were treated to ex· U)II\'cnlion this coming summer for urgan at SI. Louis Cathedral with works or it in works b)" Uadt, Widor, and traonlinary social and pleasure event! which Ill'arly e\'el1'one is saving their by Bach, Messiacn, and Jutcs Grisson Messiaen, and in John "'arc's Sonata as well. ,\11 e\cning meal 011 the river­ pennies ( . .. dollar5!). It was thus a - the latter picce of theatrics on "Adestc for Organ. boat, " Robcrt E. Lee" replaced the tra· pleasure for the hosts to ha\'e attracted ndelis" proving to be jllst the killd of Christ Church Cathedral has bccn ditional banquet, and brcakfast at the O\'er 260 reginrants for the meeting "l1Im'ie music'" that the organ was made completcly renovated in the interior top of thc tower al Stouffer's Riverfront which was held in the lo\' ~ l y ne\\' Sumf­ to do weB. John Ohctz pla}ed a thor­ since the Aeolian-Skinner organ was Towers pro\'idcd a chance for A.G.O. fer's Ril'erfront Towers facing the fam ­ Dllghty nostalgic program of works bl" placed in it in 1965. ,\11 the pews arc President, Roherta Bitgood, to talk wilh ous Gateway Arch. Ihe Americans Paine, James, Parker alHl gone, replaced by movable chairs, and hcr "subjects" as they re\'Olved over the If the climate was dreary and wet Sowcrh)' in the excecdingly dry acollstic the chancel platfoml can be extcnded cit)' of St. Louis, enjoying the foggy (fortunately not freezing), it diu nOl of Second Presbyterian Church, on its into the cros.sing in varying configura­ \'iew while listening to the unseen lead­ carry o,'er to the program, which was 1965 Sdlantz organ. Works by Johann tions by the lISe of mo\'able cubes, The er. Fol' those whose intcrcsts extend be. achieved on the lowest butlg,,:t e\'er (a Nepomuk David and Rudolph K.remer acoustic.'i ha\'e been cnlhened considcr· nmd the church and academic doors, a lillie over hal£ what was used for the were played on the new Sipe organ at ably. To demonstrate the "Fl~xible fine opportunity was provided to attend past two midwinter e\'ents). As one Delmar Haptist Church by Rudolph Cathedral" Ronald ,\rnaU directed a a dress rchearsal for the new production A.G,O. luminary said it, "I gh'e them Kremcr. The program of Gcrman moda­ program of IIt tUic for organ and instru. of Tom jmtcs, a musical bcing readied cledit for keeping me awake at every lislII included the premiere of the "Toc­ ments, choir. and dance company (the ror production at the Loretto Hilton program." Certainly there w:)s \ ariet}' cata organistica" wrillen by the perfornl­ Concert Dance Company of Southern Repertory Thcatel'. The social tone was III the program. Monday included three er. One of the most stunning rccitals of Illinois Unh'crsity, Edwardsville). The clcgotutly set at the beginning of the inleRost sessions with panel discussions; the meeting was performcd by 'Vol£­ lIIulti-faceted program demollstrated well meeting. since all uf Sunday e\'cning "The I'otential Use of Elecmmic Music gang Riibsam's all-lJach program. Light­ just ho\\' ncxih le the space is with works consisled of a "welcome" party at the in the Church" with Richard O 'Don· er in content, Marilyn Keiser's program bl' Sirauss-Rcger, Arnau, Oldfield, Fel· home of Dr, and Mrs. Carl T. Cori nell: "The Care and Feeding of Small included works by Handel, StOllt, Gehr­ dano, Uriucn. and Vaughan Williams. undcr the sponsorship of Mu Phi Epsi­ Guild Chapters'" with Boward Kelse} , cnbeck, Luening, and Vierne, a pot The latter composer's SIIepllt!rds 01 tlte lon, John OheLZ, Roberta Bitgood, and }Jourri accurately played in another dT)' Deiu lable Mountain, a seldom-heard So those who managcd to muster out Father Mark R. Nemmer5; and "Arts §citing on the largc Bosch organ of work, was a fitting close to an enjoyable 10 St. Louis for the last A.G.O. e\'cnt Programs in the Inner Cit)' Church" 1970 at The Ladue Chapel. The new c\'cning of music. of 1975 wcre treated with good fare. No with Ronald Arnatt, the Rc\'. Thorn " ' . Robert 1\1. Turner organ of 1975 could Providing the best foil to an organ­ matter ahout that 51. Louis fog. There Blair (rector o[ Trinity Church, Has­ hardly be heard to good ath'antage for dominated program, was the shon pro­ was jmt nothing foggy or dampening Ion), \'el1lcr I. Burks (architcct of !it. Richard Heschke's redtal at the Church gram of works by Vh'aldi and Core1li, about the program or the friendly wel­ l.ollis), and the Rev. Ralph Edward of St. Michael and Sl. Georgc. The ccil­ played with wonderful \'en'e and energy come provided by Ihc 51. Louis Chapter. Pctcrson (r astor of St. Pcter's Lutheran ing is so low in the long building that b)' the excellent CASA String Ensemble It was a fitting end to another year, Church, New York, City). Th~ n fol· thcre is zero ambience acoustically. In of thc St . Louis COlIscr\,at0'1' of i\liu ic, and a pleasant way to begin the next. 10\\'t.-d the standard daytime fa re, organ- bet, the swallowed.up chancel organ And Paul l\Ianz demollstrated his - Robert Schuncman

Muffat, Georg. Appar.tlUS Musico-Or­ Muffat spent most of his lifc} to warrant ganisticll! (1690) . (Complete) I'layed by taking ad\'alllage of the distinction. Not Leena Jacobson on the Johan Nicolas that Ihe Cahman orb"an is entirely bad Cahman organ (1728) at Leufsta Bruk. ror these works - but 1\Is, Jacobson's Sweden (Restored by MarcuS5Cl1, 1964). Ne'ft' Re~ordings authority in search of authenticity is di­ Musical Heritage Society, MHS 3074/5/6. minished by anotller discrepancy. What about the playing itself? It is all excruciatingly dogmatic application uf some (emphasize some) of the prac. Muffat's glorious collection of 12 toe· Reviewed by Rob,·!'t Schuueman t ices of the period. SOllie aspects of catas, a passacaglia, a ciacona, and the early fingcring of the period are slav­ NUI/(I Cyclopeias Harmmlica have long ishly followed; the 'aclus (or "struc­ awailed a complete recording. Leella tural bcat," as she calls it) is always Jacobson, young Swedish musicologist painfully audible, and tempos are con­ who is "cntirely de\'Oted to the p rob­ and dynalllics, ami that it IS cltlircl, cluing, howe\"cr, Ms. Jacobson raises more sistently derived from an application lems of old music, especially keyboard appropriate to tenn Rcnais.'muce and questions than she answcrs. "'ere the IIf mcnsural time values in relation music from the 17th and 18th centurit.'S; ' Baroque ideas as a "lost tradition," cit­ systematics of the composers, philoso. 10 tempo ordinaria. Ornaments arc thus had open road ahead of her, and ing the use of the quoted tenn frolll phers and writers of each nation uni· played correctly, and there is 110 at· could have produced a milestone in re­ Frilz Rothschild's book, T ile Lost Tra­ formly in agreement throughout the lith tempt 10 add 10 that ornamcntation corded organ music. Indeed, she ap­ ditioll ;11 Musir. Ilh)'tlilli tUu/ Tempo century? (I doubt it.) Was the appli. which Muffat indicates. On the other proached these recordings (as well as the ill j . S. Radl's -rime, (London, 1953). cation of musical-rhetoric figuR"5 the hand, thc business of double·dotting new "Urtext" edition of Muffat's AP­ Although she citcs Rothschild along with same in all kinds of music? (probably is misunderstood, and Ms. Jacobson paratus which she is currently prepar· Matthcsoll (Der J'olhommeue Capell­ not, if one is to maintain that there is unaware of the practices concern­ ing) with the intent of returning to JIIe ;'~ ter) and Schcibe (Der Crilisclte arc also other govcming circumstances ing hL'miolas and notational coloratioll, baroque perfonnance practices in ordcr Musiku.,) as an "important study of imposed on the music, such as danc4: which arc ignored. It would seem that to capture the cornerstone of the music rhythm and tempo in old music," the charactcristics, sacred usages, ctc.) Was MuHat's usc of time-words such as _ rhetorical structure, the tht.'Ory of It."nn, on i15 own, is not ncarly as ap­ IIII1Sic with text (an acctllOltc way to Illlel: l'O and viva(~ would indicate his 1953. :\ musical figures and aHccts, and so 011. plicable today as it was in see the connection betweell words/ rhe · concern that strict mensuml limc valucs This is a laudable appmach, and it is lot of musicological study has been done toric and musical figure) uniformly in arc 10 be altcred in some way , but Ms. explaincd in all too brief detail in her sin.:c then , and the tradition is Icss " lost'" agreemcllt with tbe theories or rhclnric Jacobson also ignores that. Dance program notes accompanying the ree­ than ever in performance. Furthcr, one propounded by the thcorists? (Not as rhythms are never taken into considera­ onls. Alas, the bridge between musi­ must he wary or her pmise of Roths­ much as one would like it 10 be.) The tion, and thcrdore a Gigue,measure, ror cological knowlcdge and genU inely mu­ child so early in hcr arguillent. There more one knows, the more one questions instance, is sub\'erted by the heavy taetus sical performance is a perilous Olle, and i!'i not sllf£id ent space in this re\'iew to Oil the subject; and the morc une ques­ thctic point on the wrong part of the it is 1111 opinion that Ms. Jacobson. in criciquc Rothschild's work (cited by tions, thc Icss cleal arc the answers, measure. Unequal notes in the figura­ spite 0 good intentions, has stumbled DOll i n~ton as being "out of touch with particularly in the degree of force with tion are playeu almost absolutely aud faltered before reaching the other reality') . -I he reader should be pointed which they arc gil'en herc hy Ms. Jacob­ equall), unequal, thus gil'ing a dum-de­ side of the bridge. Claiming musicolo· to a devastating rc\ iew of Rothschild's son. Dne could carry Ihis line of think­ thull·de-dum affect, failing to find mu­ book hy l-aul Henry Lang in the Musi· logicdl authority 10 gain musiCiI authen. ing further, but this is enough to illu· sical hcirarchics of \'altlt."5. The mark­ ticity in performallcc docs nut (espe­ cal Quartcrly Uan. 1934, pp. 50,55) minate the major prohlc:m. It is all too ing of some of the most lush hannonic cially in this case) nccessarily prm'ide and Arthur Mel1ucl's relic\\' in the Mu­ evident in the performancc. cadential areas (one of the delights o( good or adequate music.11 rcsults. It is sical Qutltterl), (October 1953, pp. 61i- In her search for authenticity, why Muffat's music) is left by the wayside therefore a minor tragedy, in my opin. 30), or Walter Emeq"s revicw in M lIJie did Ms. Jaco bson choose to tiM! a Swed· ilS if it were 1I0t important. In short, ion, that snch a bold undertaking should tIt" l Lellers Uuly 1953, pp. 2jl-64). We ish organ of the period rathcr than all much of the performance practices is tum out so musically arid for thc listcn­ can only assume that Ms. Jacobson is Austrian one more nati\'e 10 that which dogmiu im lly applied, and all of it with· cr who would enjoy this music. either not aware of this criticism (most MuHat would ha\'e played? Although ollt imagination. There is lilerally no of it by 110"' well-rounded) , or that the Cahman organ is a good Olle, one freedom of movement to give the music (I hasten to add that 1 am not at­ she has consciously dt.-cidcd to ignore must question Ms. Jacobson'S assertion any living "breath." It takes mOl'e than tempting to hear the pcrfonnanCt."5 on it amI accept Rothschild's misguided that "after the last restoration the organ the practices. It takes genuine musical these recordings with an a priori set of position. can be said to colT t'~ poltd cntird y to imagination to bring to life the t.'SSCllce opinions on what the performance prac­ She procceds in her notes to establish thc intcntions of its builder." Ms. Jacob­ uf a manner long er:t!'iCd from our sensi­ tices used should be - much as the mcnstll'al tilllc qualitit."5 as an appliat­ son shows herc' her lack of organological bilities. musician traincd ill 19th centm)' style tion to the solution of problems con­ knowledge. The organ is not tuncd in J\CcaU5C of the imporlance of this first woulLl apply to something such as, say, cerning teo\po, accepting the fa ct that the an uncqual temperament as it most recording of Murral's works, because of mcdieval chant, thus expecting the chant tact us is a "structural beat" without certainl), was by Cahman_ If rhetorical the exciting possibilities contained in to COliform 10 19th century aural ex­ which the performance would scverely figUl'cs or alleel are 10 be laken into this excellent lIIusic, and because or thc pectations. I am aware of this problem, distort the melodic and harmonic as­ any kind of consideration at all in per­ scarch for an authentic pcrfonnancc and I am also uaincd in 17th and 18th pects. From here, she proceeds to lean fonnancc, they must be ticd to the tem­ with its extenshe documentation pro­ CClitUry perfonnance practices. All tllat hard 011 thc so-called musical-rhctorical perament and tuning of the instrument. vided by 1\ls. Jacobson, alas, these re­ follows in this re\'iew is an attempt to figures cataloged and cxplaincd by MuHat's al/ecws daloris may be obvious cordinb~ cannot be ignored. But we tackle Ms. Jacobson'S results on their Kircher (1650). Finck (155G) , Bernhard in mcan-tone temperament, but is it the shaH have to wait a longer while be­ OW II groulld.) (1(49), Mattheson (1i13). and Bur­ same in equal temperamcllt? (1 sa)' defi­ fore the music will be given adequate The problems begin with Ms. Jacob­ lII ~istcr (1600). It is a lauuiblc effort nitely not I) Certainly tuning and tem­ performance on recording. Too bad, for son's own program notes. She rightly to try and understand the attcmpt of perament must be (aken into considcra­ this worth-while attempt is simply too cxplains that the performance of old tbe lith century theorisL<; to systcmatize tion. And there arc enough tonal differ­ dull for words, and so lacking in tmag­ lIIusic finds little relevancy in the 19th the "passiol15 of the mind," to apply ences between European organs of the ination as to reduce the lUusic to a century concepts of things like tempo rhctorical technique to lIIusic. In so North and thosc of the South {where rhetoric on1), of the mind.

FEBRUARY, 1976 5 Bach Symbolism 50 this prelude shows a figure for Christ of God the Creatur_ Another Trinity original of a motive by its mirror-form. (Continued from p. I) -the three crosses which stood on Cal­ sign is thus complete, this time with This identifies this second setting of \'ary - even before the music beginsl two settings of one chorale and one of this penitence hymn with God the on a series of systematic musical depic. Its subject is a decorated version of another. Father, who answers prayers. The chor­ tions of the. Trinity .... The figures used the first chorale phrase which shows the The fugbetta on the Creed has a ale "Jesus Christus, unser Heiland" in the chorale preludes identify each sign of the Cross on I he page. another Single SUbject derived from the first deals with Christ·s institution of the onc of them with one of the persons sign [or ChrisL phrase of the chorale and simply worked sacrament of Holy Communion. He is of the Trinity: they are arranged in ou~ As the dotted rhythm was associ­ shown in the trio setting by the middle seven groups of three preludes each. ated in the 17th and ISth centuries with position of the cantus liTmus. The outer The fol1owang table illustrates the con· grandeur and majesty, this setting may voices illustrate exactly the first verse tents of Book III arranged to show the be assigned, like the larger one, to God o( text, line by line: "Jesus Christus, groups of chorale preludes as they rom· the Father. The origin o~ the canonic unscr Heiland" - "Jesus Christ, our prise Trinity symbols. along with the lTeatment in the large settlDg of "Vater Savior" - presents the head-motive: person of the Trinity with which they unser im Himmelreich" is in the sev­ are associated. enth nrse of the hymn, where God is Chorale Prelude Person 0/ Godhead asked to help make strong opposition I. Ktrie, Gott Vater Father to temptation on the right and left Son hand. The strong opposition is made C rule. aller Welt Trost Older von UDS den Gotteszorn wand" - Kyrie. GOlt heiliger Geist Holy Spirit with one canonic voice of the cantus liTmus in each hand, and the distress­ "who turned God's wrath away from ing temptation is shown in the rhyth· us" - presents this motive in retrograde, II. Kyrie, Gott Vater (fughcua) Father ttlrning it away: Christe, aller Welt Trost ( " ) Son mically complex and highly chromatic Kyrie, Gatt heiliger Geist ( " ) Holy Spirit writing of the other two voices in the manuals. The sextuplets are marked Father staccato by Bach himself in all but three - i= =-::: = '=' :"::--:: _ =_ _ m. Allein Golt (F major) ------Holy Spirit places (mm_ 7S. SO. 82), where the text -~t rf=..J t ~\~ r ¥r Allein Gatt (G major) Allein Gatt (A major) Son mentions the comfort of the Holy Spirit. "durch das bittre Leiden sein" - "b)' This seuing belongs to him, the third his bitter suffering" - shows the sign IV. Dies sind die heiligen zebn Gebot Son person of the Trinity, as it is through of the Cross: Dies sind (fughetta) Holy Spirit his strength that the Christian is able Wir glauben all' Father to combat the evils which oppress him. The main accompanying motive in the V. Wir glauben .11' (Iughetta) Father little setting of the Lord's Prayer ap­ Vater unser Holy Spirit pears both in its original (descending) "half er uns aus H6Uenpein'" - "he Vater unser (manualiter) Son and mirror (ascending) fonns, a figure helped us out of the pains of hell" - for the answering of prayer. Its first vividly illustrates those pa.ins by the VI. Christ, unser Herr Son appearances move downward as if from quick)}' changing chromaticism. Christ, unser Herr ((ugheua) Father the divine realm - this prayer was Aus tiefer Noth Holy Spirit ginn by Jesus Christ himself and this prelude is an illustration of his model ----=-=: =i=- =. VII. Aus defer Noth (manualiter) Father prayer descending to us and then as · Jesus Christus, unser Heiland Son cending from us back to him. The 6/S Jesus Christus, unser Helland (Iugue) Holy Spirit meter identifies it even more closely with Christ; another Trinity symbol is The chorale "Kyrie Gou Vater in complete_ -::::- Ewigkeit," a Gennan paraphrase of the Fonnalty it consists of an exposition The first setting of "Christ, unser This is a prelude of Christ's redemption trope "Kyrie fons bonitatis," has three of one subject, an exposition of a second, Herr" is a picture of the sacramcnt of ==and belongs to him. The last fugue on musical1y similar (not identical) verses, and then a combining of the two, illus­ Baptism. The canlus lirmus (which, to "Jesus Christus, unser Heiland" is in the the first addressed to the Father, the trating the two (divine and human) avoid awkward voice-leading from the style and spirit of the fugues of the serond to the Son, and the third to the natures of Christ. These three figures, pedal d on the first two counts of m. Well·Tem/JeTed ClavieT, especially those Holy Spirit. Bach created from these two visual and one compositional, fonn 59 to the left hand c' on the third, of Book II. The chorale text contains textual associations three chorale prel­ an unmistakable sign. So the settings of must have a sounding pitch one octave many concepts involving things in two'l: udes of like nature and style but differ· the Trinity hymn symbolize the entire higher than that of the left hand) rep­ one person loving another, the necessity ent individual characteristics. (Cf. the Trinity by presenting the kernel of resents Christ (Mediator) ; the flowing for a Christian to aUy himself with Creed of SI. Athanasius: "'Ve worship their texts musically. As in the two lowest part, water; and the upper two Christ, the two physical elements of the one God in Trinity, and Trinity in "Kyrie eleison" groups, these three prel­ the dichotomy of the physical sign and Communion (bread a.nd wine), and, Unity; neither confounding the Persons, udes ha\'e a common substance - their the spiritual grace which constitute a most important, the physical sign and nor dividing the substance.") ' All three three· voiced texture. sacrament. These two voices share the spiritual grace of a sacrament. As the are in a motet style, alia breve, with The 12 chorale preludes which fol · same material, but move together only text shows concepts in two's, the chor· the cantus /irmus 10 long notes first in low arc not arranged in groups of twice: in m. 41 (the words in the second ale prelude shows entries of the fugue the soprano (Father), then the tenor three, but in pairs - there are two verse are "Gott spricht" "God SUbject in pairs. Grace is conferred by (Son-Mediator), and finally the bass settings of each hymn. Bach has still speaks'') and in m. 56 (also in the sec. the Holy Spirit: he transforms the phys­ (Holy Spirit) . Each prelude, though of gi\'en to each a stamp of one person ond verse: "nicht aUein schlecht 'Vas­ ical into something godly; this prelude like substance to the others, has one of the Trinity and carried through so ser; sein heiUgs Wort iSI auch dabei" belongs to him. 'the seventh and last unique quality. just as the three per­ that there are four complete Trinity - "not only common water; his holy Trinity symbol of the chorale preludes sons of the Trinity maintain individual­ groupings of three preludes each word is also there'') ,Y illustrating the is complete. ity of person along with community of (formed now by two settings of one joining of the spirit with the physical The four Duets, placed between the substance. The fint "Kyrie" has only hymn and one of another). means of Christ's sacrament. This is a last chorale prelude and the Fugue in one stretto o( the inversion (m. 34): the The melody of the hymn on the Ten prelude of God the Son. The fughelta E-flat which closcs the collection, are "Christe," only one appearance of the Commandments has five phrases. In the which follows, based on the same chor­ independent pieces not founded on inversion of the head-motive (m. 43); chorale prelude Bach has set them in ale. bears the same relationship to the chorales. For this reason it has been the last "Kyrie "has in its tldrd pair two.voiced cannon to show ten phrases large prelude which a stained-glass me· submitted that they found their way of entries the only occurrence in the for the ten laws, but he has split one dallion window of intensely concentrated into Book III by mlstake.tO Against this piece of the mirror of the subject belore phrase in two so that the prelude ac· symbolism bears to a large pictorial one. it must be said that Bach himself prob­ the original fonn. tually presents not five, but six phrases This 'hree-voiced piece shows thTee ably engraved some of the plates,u and The next three chorale preludes are - in canon, 12. This shows the Ten presentations of the subject rightside up for a composer so close to the printing four-voiced fughettas also based on the Commandments of the Old Covenant and three inverted, symbolic of baptism of a work structurally so complex to German "Kyrie." Once again their i.d~n­ plus the two o( the New Covenant in all three persons of the Trinity. The allow a wilful insertion of extraneous tification with one person of the Trmlty which Christ gave: to love God and to piece therefore belongs to God the material is to imply an incompetency is predetennined, and Bach depicts love one's neighbor; this is derived from Father, as it is in him that the whole incompatible with the brain that de­ them by triple meters with numerators the text of the last verse, a Christian Trinity exists. The chorale motet on vised the structure. The argument that of increasing value - 3/4 for the Father, doxology, and therefore identifies the "Aus tiefer Noth" (whose pedal, to the Duets sound much better on harpsi­ 6/S for the Son, and 9/8 for the Holy piece with Christ, The mantuJliler (ugh· avoid incorrect 6... 5 in mm. 13 and 67, chord must be countered by saying that Spirit. etta on this chorale is an extension of must sound an octave lower than the many of the mantuJliteT chorale prel· The chorale "Allein Gott in der Hoh this idea of Christ"s fulfillment of the manuals) shows only one structural udes also sound better on harpsichord sel Ehr" is also a Trinity hymn having Law, By its compound triple meter and curiosity, and it is from this that its tex­ (most notably "Dies sind die heiUgen after an introductory stanza three verses, subject range of a seventh (for the tual association may be seen. All five zehn Gebot" and "Jesus Christus, un­ each addressed to a different person of seven gifts o( the Holy. Spirit) I it seems voices always continue after the cantw ser Heiland'): to exclude pieces on the Godhead. Tbe diverse natures o( to belong to the Holy Spirit. It is a liTmus (the sixth voice) enters, except that ground would mutilate the collec­ these three settings eliminate the rather musical expression of Paul's doctrine in the last phrases, where the bass drops tion. (It is not unlikely that all the simple, objective identification possible of freedom in the Spirit and redemp· out and waits two full measures before manualiler chorale preludes were ac­ with the "Kyrie" settings, so one must tion from the Law: "But now we are re·entering, symbolizing the text in the tually intended for harpSichord - the look at the texts in more detail to dis­ rid of the Law, freed by death from our fourth verse: "So thu Israel . . • der term manualiter does not mean "for cover the key to the symbols. The first imprisonment, free to serve in the new aus dem Geist erzeuget ward und seines organ, manuals only" but simply "for setting (F major) shows two voices with Gotts erharre" - "Let Israel, conceived the manuals;" the Toccata in G major spiritual way and not the old way of u com:r.lex rhythmic !1ctivity api!!st a a written law:" (Romans 7:6) The of the Spirit, wait for the Lord:" This is so marked and is unquestionably for soli , even cantus /muus. ThiS IS de­ large setting of the Creed is a three­ gi\'CS the piece the stamp of the Holy harpsichord.) The place of the Duets scribed in the verse of the text addressed voiced fugue on only the first phrase Spirit, thus completing another Trinity can be most satisfactorily explained as to the Father: "regierst ohn alles Wan­ of the chorale "Wir glauben all' an grouping. a signature. The total of their measures ken'" ("you rule without any waver· einen Gott Schopfer" superimposed God's answering of prayer is the sub­ is 369. This is the product of 41 and 9, ing"). and so belongs to him. The sec­ over a visually triangular (thus Trini­ ject of the text of "Aus,tiefer Noth," allying a Bach signature number with ond setting of this chorale. a trio in G tarian) oslinato: a Trinity number, the aural eqUivalent major. has a striking chromatic portion of a visual ascription which might read (mm. 7S-S2) at the pc:tint of mention of (HOC SYMBOLUM SANCTAE TRINI· Christ's Passion in the fourth stanza; TATIS FECIT J. S. BACH.) It is fur­ the cantw there is in canon (another ther support for the view tbat the es­ Passion symbol) between the two outer sence of the collection is a symboliza­ voices. It is the fourth verse which is tion of the Godhead. addressed to the Holy Spirit. and so The chorale preludes of Book III of this prelude belongs to him. The third Klavier-Uebung are, then, a series of and last setting of this hymn is a fugh­ At the end (mm. 92-98) the last phrase seven musical representations of the etta in A major. a key with a Signature of this very long chorale appears in amI the principal figure of the fughetta Trinity, signed by means of the Duets. of three sharps. The Gennan word for the tenor. showing the fint and last. Al­ is the one often used to show the an­ The first three sets of preludes are sharp. KreUl, is alw the word for cross; pha and Omega. a very ancient tymbol swering of prayer, the answering of the three complete dcpictions_ Beginning

THE DIAPASON whit lhc sellings of "Dics sind die hrill­ Klttvit: r·Uebung is arranged as a series proximitics o( !S2 and 18 as wen as in the many instantts or the opposition of gcn zchn Gebot" thcre are four com­ of musical depictions of the Trinity, it the straightronvard appearanccs of 27 two to three in this fugue. The meas­ plele depictions, each consisting of two is reasonable to St.'Ck symbolic aspects and 14. ure preceding this medial cadence con­ preludes on one chorale and one on of composition in the Prelude to ex· tains a herniola, as docs m. 81. imme­ another. 'Vith such a systematic work­ plain these structural curiosities. • • • • • • • diately preceding the third fugue - ing·out, it would be entirely likely that There are three materials; this fact two mcasures with a triple pulse rather the pieces which open and close the already makes feasible the view that The Fugue in E flat major which than the duple one implied by the 6/4 collection would also take part in this the Prelude itself can symbolize the closes the collection is structured as a signature. The subject pecuHn to this religious exercise. Not only would this Trinity. E"cn the familiar figures as­ serics of three fugu~ which conttast fugue occurs both right side up and in gi\'e a suitable introduction and coda sociated wilh musical depictions of the each other in cOIlIj,sitional technique mirror. symbolizing Christ's descent to 10 the chorale preludes, but it would godhead are present. The dotted rhythm but whose materia s arc quite closely the earth. The first subject is not intro­ also bring the number of Trinity sym­ was associated with majesty, and the related. The nrst fugue is a nve·voiced duced in this fugue until after m. 59, hols up 10 nine, which, as 8x8, is a first of the materials (A) uses that fugue o( two expositions. The second is i.e .. half way through, 10 show Christ \'cry important Trinity number. (This rhythm exclusively. Thus it rna}' be a fugue in rour \'uices on a subject in his two natures - human. which w;u would give furthcr credibility. if not said to belong to Cod the Father. which contains thc opening notes or exclusively his own, and divine. which (inal proor, to the notion that the Duets That there arc two appearances of thc tunal answer of thc first fugue. he held in common with the Father. arc os signature - nach's boole 01 nine material n is significant - Christ's na­ This is also shawn by the .ix entries Trinity symbols is signet! 41x9.) A de­ hlrcs ""'cre two, the divine and the hu· Tonal an8~er, ,ugue I: of the fint subject in this fugue, con­ tailed examination of the prclude and man. Wilhin each appearance of that trasted to the twelve In the fint - haU (ugue which ft:lme the collection is material arc liC\'eral duple factoTS. An as m:lny, to show the mixln~ of natures therefore in order. ct:ho is duple, as it is a second exact co .... in the person of Chri:lt. The number !llateJllCnt; mrn. 33·! 4 make another du­ 9'l\ r rtF six is also another juxuposition of two SYMBOLISM IN THE ple faClor with mrn . ' 5-36. That whole and three - it is their product. This PRELUDE AND FUGUE section (55-56) is repeated a firth higher Subject, Fugue II: rugue is 45 measures long (4+5=9), in mm. 37-40. creating a larger duple and its subject is melodically identical to The Prelude in E-flat with which structure. To further sign these for the first bass notes of the larger chorale Book 111 of Klavier-Uebung begins is Christ, Bach has used descending fig. prelude on "Christ, unser Herr," a prel­ ures, ilIustmtiug his descent to earth: based 011 three contrasting musical ude of Christ. ideas; there arc four sections character­ Each of the two large B s«tions (33· 50; 112.129) has an overall fh'e,part Its subject is nrsl exposed then The third fugue has the subject of ized by a dotted rhythm (mm. 1-82; rectw. the first in it from its beginning - the structure: HmerSIl!; after a h:t1f-cadence a new .51-71; 99-111; and 175-end); two homo­ Holy Spirit h31 not two naturC', but phonic sections which are \'irtually idA exposition is begun with the subject is entirely dh'ine. The familiar running entical to each other except in tonality 3J-:H 35-]6 37-38 S9-W 41-'so (If the first fugue attached to it. The 112-113 11+-115 116-117 118-119 120-129 16ths arc symbols of the Spirit 31 wind: (mm ... 88-50: 112-129) and which con­ third fugue is written on a lively sub­ there are nine (!x3) entries of the fint lain echos; and three sections which jecl to which the suhject o( the first I-h'e i:l a very important "Christ num· subject, emphasizing the tripleness of make cxtensive usc of scalewise running (ugue is added almost from the begin­ the third person of the godhead. Like 16tll not'" (mm. 54·58; 71.98; and 130- ber," as his wounds were fh'e; the most ning. This is not a uiple fugue - ror effusive of them was the fifth - the the first rugue. this one is 36 measures 17<4) . A structural diagram of the prel­ t he subject of the second fugue would long . • ~ar·thrust to his side from which combine with both the other lubjects ude will show how the various materiala The assignment or the fint rugue to >Ire presented. at the end (::as in the Fugue in F# minor from Rook II of the Well-Tempered the Father. the second 10 the Son, and the third 10 the Holy Spirit is attested l\feasur~: 1·~2 51·71 Clflvlt:r) . The structure here is unique. 3~·50 to by the relationship among their meter Material: A (dotted) R (echos) A and C bascd 011 other Ih3n usual formal can­ sidel"3tions. signatures which, with that In the Tonality! E·nat mod. to 8-nat mod. to c "Kyrie" fughetlas, is the most Iystematic A relationship 10 the Trinity is im· working Ollt of this Trinity symbol in 71·98 99·111 112·129 mediately Scell in the simple fact that the rugues arc three in number. (Many all the works of Bach. Atla breve 11 the C (16th.) A B meter of the first, like that of the modulatory A-flat mod. to E-nal writers who ha\'e claimed this work as "the Trinity fugue" have done so on "Credo·' in the Mass in B minor; 6/4 is that of the second - a duple meter 130·174 li5·205 (end) this basis alone.) Further. Bach main­ with triple subdivision: the third has C A taim the individuality of each of the 12/ 8, the most elaborate of the com. E·nat E-flat fugue!! by their subjects while at the pound signatures used bere_ The tonal same time he unifies them by the Immcdiately a resemblance is seen to answer of the fint fugue s~lb in Ger· ubi'luitousncss of the first subject (a man notation Es-D-G (=S-D-G=Soli the Baroque ritornello principleta - in· flowed water and blood, the wound mUSical depcction of "neither COli­ deed, this is how the piece is usually Dca Gloria). The entire fugue 11 117 which pierced his heart. So, in the founding the persons nor dividing the measures long (1+1 + 7=9). dcscrilJcd. Howc\'cr. a closer examina­ music, the fifth part contains linear substance" of the Creed of St. Athana· tion shows that the three materials arc There are in the whole rugue 27 chromaticism. suspensions, and rder· sius) .11 But no matter how individual entries of (he lint subject (allo the not sharply indh'itlualizcd, hut are con· cnces (0 the paralfel minor; it broadens thc persons are. they :1re still manircsta· ncC1ed with each other in subtle and number of pieces in the book); 27 is out into a callment! which can only be liolls of one impulse. and so the second bolh a Trinity number :and a Bach \'cry unusual ways, quite unlike the compared to arias !rom the Passions. :1."d third subjects arc related to the u:dllliquc of contrast which is at the number. Bach's signature i, also con­ Running l6ths can s)'mbolize the Holy first: the seoond, melodically. as shown (ail.ed in the number of voices - the he:Ul of r;torueJlo writing. Spirit as wind. They appear Ihree times ;lIHJ\·C';I& Ihe third, rhythmically.1I In a rilomd/o mo\'cment the rctUnt5 (111m. 54-58; 71·98; and 130·IH) as he of the opening material would be iden­ is the third person of the Trinity. There tified by a strong, usually authentic, are ::also three appearances or descending cadence. and the appearance or the 16ths In the pedal. The melodic mate· head-motive. In the E·nal Prelude the rial in the two top voices in m. 79f£. is head-motive, which is two measures the basic motive from the large chorale long. signals the return of material A prelude on the Baptism ("Christ, unser only once (m • .51). In mm. 99 and 175, Herr") , where it represented water and .- the fint half of the head-motive is the Holy Spirit_ Donated as a scale descending in 16th! ~ ±: ~ _ a continuation of the previous sec­ tion (material C) - and only shows its ;( - r"11 - I ::-J~ _ ~ M-" ~ second half in iu original guise. The structural details or the fugues - ~ ,t.=r~·F~ _::r =C-r:(= P-- bear alit this interpretation_ The first is alia brroe, in long noles, showing God's two oUlside fugucs ha\'e five, the mid· These sections belong then to the Holy ancient m .. jest); it cont:lins 12 subject die aile, four: .5+4 +5= 14 , The sym. Spirit. entries (I +2=3) and is 86 (3+6=9) bolislII is much more matbelnatical in k:\4~~ The numerical identification or the mcasu res long. It also conuins three NCOD". the fugue than in the prelude, and Its Trinity is aJl.pcn'ading. The music sig­ thematic references from the chornle application more systcm:ltic. nifying Christ occurs twice: that or the preludes, each from a prelude belong­ Holy Spirit, three tim~; th::at or the ing to :1 different ~rson of the Trinity_ Uq~'6:1! father, four - :1 number meaning little Measure 8 is identical with mm. 24 and I'EIHORMANCE OF THI! in it5CIf, but which makes the total 47 or the large setting of the Creed. I'RELUDE AND FUGUE --- number o( sections a Trinh)' llulDber which belongs to the Father. The first Measure 99 is music:dh' not the equiva­ - nine. The prelude is thus a complete four notes of the rugue subject are con· lent of m. I, but of In. 4. and is not picture o( the Trinity. tained not only in mo.. 51 and 69 of the All this symbolism would be merely the complele head·motive. Nor does a The sign:uure numbers of the name largc setting of "Christ. unser Herr," so much intellectual gamesmanship if strong. clearly defined cadence begin Bach occur first in the number of meas· which belongs to the Son. but also in it hat! no bearing on pcrfonnance. We tbe return. The last obvious cadence ures in thc Prelude - 205 (4IxS). They m. 54 of the large scUinJ of "Aus tiefer contcnd that the :I)'mbolic organi1.3tion­ was in Ill. 92, and the next one is not al mailers arc intrinsic elements of the also occur in configurations of measure ~oth," which is aSSOCiated with the really until m. III. numbers throughout the piece. The fol­ HOi), Spirit. So symbols from chorale work, and that a good perfonnance can Another unusual ft:aturc of Bach'l lowing diagram illustrates the prescncc prciudes of all three persons arc given and should give expression to them treatment of the dotted material - the of the numbers which represent the en­ in (he fugue o( God the Father. as it is (where pmsible) just as it does musical "head.motive" - is his usc of it as a tire name. They are identified by the from him that the Son i!! begotten and organizational matters such as key link in mm. 50 aud 129 - quite a de· person of the Trinity to which they the Holy Spirit proceeds. changes and important cadences. We deF:rlure from the norm of ritornello rder. therefore conclude this study with a \\Tlting_ M. 129 is c..'spccially curious in discussion of the e£fect of the extra­ this rt.'g:ud, as it docs not signal are· 20 musical material of the Prelude and turn to material A. hut is a link be­ Fugue on its performance. tween matcri:lIs n &: C. As if all these 8 The score itself gives qUite a bit of curiosities "'cre not ~nough. there is ~ information about interpretation, The the ,'cry peculiar place (mm. M·58) 32 18 ! + 5 12 '1:1 14 18 H 32 tempo of the Prelude is Implied by the where material A is combined with "ather Sou F HS "-ather HS F Son HS F Gila brroe marking of the original pub· material C, each cq,ual1y important. lication" (not often faithrully repro­ When mmical matetl::als :lre so con­ The 2O-measure long 5eClion in this t!UCLoU ill modem editions) - the pulse structed that rather than contrasting scheme counts as one appearance ror is two to the bar. As no tempo change with cach olher, they can run into onc the I'-ilther rather than two short ones The second fugue divides itself (and is imJicated or implied, a tempo must another (l1un. 98, 174), sound simul­ (8+ IS), as the fi\'e·mc:l.Sure superim­ the entire work) exaclly in half at m. I>c chosen whid. will do for all of the tancously (nun. 54-58). or even link two position of lUusic of the Holy Spirit 59 (21 +88, a Bach number). This pre· very diverse elements of the whole othen (m. 50). there has bern a radical lIe\'cr drh'cs out the dotted rhythm cise bisection of a triply structured work work. Mm. 54-58 rumilh us an impor- deviation rrom the classic rilorneiJo which signified the Father. The signa· is a symbol of Christ as the second of forlll_ Since the whole third book of lUte numbers 2-1-3-8 arc found in the I he three penons and is only one of (Continued, page 8) fEBRUARY, 1976 7 Bach Symbolism on the RP. Without manllal changes, the pan correctly where there might be the second, a tempo relationship which as we propose, it seems better to lea\'e confusion em. 52) and presumed that cuts triply across the natural duple ac· (Conti,l1Icd /rolll p.7) the manual reeds off, but retain the the perfonner would obscne the con· cent of the second fugue. The first rec­ Pt.'tlal Posaune. This would pro\tjde a \'ention elsewhere. ommendations for this solution arc that (ant clue - iI one chOOscs, as many reed sollnd in the bass to which the it lets the piece go at a rate at which ha\'e, to play the dotted sections slowly reedless manual solllld would give con­ • • • • • • • • it can sound; and that the tJucc fugues a'ld the 5ct:tinns in 16ths quickly. 10 be trast in those parts where there is no The Fugue in E-nat is also marked will be \'ery nearly equal in length. consistent he should here ha\'c to pia,' pedal. organo pletlo, directing the use of the Symbolically. this latter IS an expression the dOlled parts and the 161h5 at dif­ Another question is what 10 do with Principal dloms throughout. The sus· of the equality of the persons of the ferent lempt - a solution so 01)\'ioIl51), the pedal notes on the echos (mm. 34 · tained choral style of the first fngue Trinity. u lli ellahle as to be ludicrous. 40; 113· 119) . On an ideal instrument Tt.'quires a \'ocal plenum, without reeds The registration is gil'en - -I,ro organa the rdal would balance with the Prin­ O J' the higher mixtures. For the second /,limo, directing the usc of the Princi­ cipa chorus of either manual, so no fugue it might be possible to go to the I'-ugue I : 36mm. x 4 pulses= 144 pulses (lal (hOnlses on each manual and the adjustmeut would be requiR'tI. On the RP, pro\tided that the Principal chorus Fugue 2: 45111m. x 8 pulses= 135 pulses pedal. (Whether or not to usc the reeds other hand. it might bc desirable he used. A di££iculty with this is that I:ugue 3: 3611un . x 4 puIses=144 pnlst.'S will depend on the performer's decisions (though not required) to reduce the the opening four notes of the second about manual changes.) Four cehos pedal for the second and fourth notes fugue may be co\"ered hy the chords arc marked (mill. 35·6; 39·40; 11-1·115; of each pattern (those following the The most convincing aspect or this sustained on the HW. Many performers solution, however, is that it creates yet and 118·119). As usnal in Baroque or­ /Jlarlo passages), perhaps by retiring the choose to hold the chord its written :!. uoth er conflict betwccn twos and gan music, the lIlark pimlO has not a reed. This would fulfill the echo and ,'alue, hreak, and then hL,pn the second thl'Ct.'S in the second fugne. The con­ dm3mic significance, hut a technical make the dualism clearer (not to men­ fugue. Against this it should be said flict between things duple and things ollc - (ht.'Sc cehos arc to be pla)'CtI on tioll soh'ing the problem of what to do that Bach did not write it this way;"'" triple in this part of the piece is all­ the /,lcIIIIIII of the Riickposith' dh'ision on an Orgall less than ideal) . (abbrc\·i:m.'tl RP) hanging 011 the bal­ pen'ading. At the smallest le\'el, t.lle s!lb­ cony rail rather than on the Hauptwerk ject has a natural rhythm which ml­ j HW) nr Cn'at dh'ision in the main 111"'4 ~ . . poses a duple subdh'ision of the doued case, Tn play thelll softly would belie half. the ofgallo P/~"o marking. No other manual changes arc specHically indio C"olt cll hy nacho ~l I' f r: 1'4 Subject: HoW '1 he first opportunit ~' ror a manual (f.~ . tq~, change is round at the pickup notL'S to . . Accent ~ tt ern · r· '1 i Dr IIUbjtlC tl r·' Ill. 3:" (Relating to a lIaroque organ, • r': . • , • the player would ht."gin here on the Accent pII ttern ) RI' ;md Ihen go to the nrnslwerk IliW) Dr 6/. pulae : r r t r r for the echos.) To make a change here . . . is 10 imply that this material is intended to be distinguished from the former by The subject or the first fugue is by its a new soulld. One would presul1labl)' nature duple and is superimposed 011 return to Ihe HW with Ihe head-Illoth'e the second fugue ametricall): in the lowt.~t manual mice in 111,51, pro· ceeding with all mices with the pickup -i- .;... to m, 52. The difficult\' with this is that (~. Accent J:8ttem the material in a dOlicd pauem in III, Dr 6/. pulau 50, always associated wilh the head­ Accentll Dr lIIoth'e. would now be assigned to the Imlllediately following these echos arc !int. aubject: suund which is intended to cmJlrnst with the two "I'assion arias," the spear­ Accant. af the sound of the head-moth'e. To he thrusts to Christ's heart. Their texture tn introduce an extra dotted·half value ..CDM lIubject: tlUe to the fint idea olle must play is on two le\'els - a solo line and a upselS the exact mathematical (and this link on the J-1\\'; and 10 make it two· \'Diced homorhythntic accompani· therefore temporal) proportions estab· suund like a link when phl)"ed on the ment. The mark /orte appears abo\'e lished hy the composer in the balance of the Ilumbers of measures in each A pulse which cuts tripl)' across a HW it lUust come hom the HW sound. them, allowing olle to conslrue that he duple meter. as we propose. is an ex­ fugue (30-45·36). So to make a manllal change at Ill. 33 could play all voices on the HW. Since tension of this rhythmic complexity. is musically at least questionable. The these are, however, the only measures The other solution is simply not to Interestingly, it lines up exactly with situation is the sallie at mm. 112-124. in thc prelude written as a melody with make a mauual change, but to play the the hemiolas in mm. 58 and 81, allow­ The next place which seems to invite accompaniment. it seems desirable to entire piece on the J:lW. This is sup­ ing a very graceful transition ill to the a manual change is the music of the lea\'e the accompaniment on thc RP ported by the symbolic identity of sub­ third fugue (half note of Fugue J1 = Holy Spirit, tn. 71££.; this is paralleled and solo out the top \'oice 011 the HW !il.mce of the three persons of God, and dotted quarter of Fugue 111) • ;U Ill. 130fr. The material is quite dif· ~ ill1r.lyillg that the forte applies onl)' illlpliL't.I hy the identity of material This tempo makes the first subject felent from the preceding, so a new I() t Ie melody) . taking all \'oices to the within the three fugues (as if to say, move half as slowly when it appears sound might be in order, There arc HW with the dotted patteru in 50 and "As substance of material is identical, in the second (ugue as it did in the two faclors which augur badly for stich 129. let substance of limbre also be identi­ first. This relates to the nUlllber of a choice. Qne is the transitions out of That rhythmic alterations frolll the £:011 '1 . Tu stay on the HW for the en­ subject entries. which is half _as .mal~y thL'SC sectons (mm. 98, 174 ) " The de· printed page were made in Baroque tire piece eliminates the perellnial prob­ as in the first - a way of slgmng It scending scales are the floriated head­ music is unquestionable; that the)' were It'm of where to make the manual again for Christ. These two sign~ are moth'c and so, if the preceding section practiced in Gennau)' in liadt's time is change for the third fugne - on the ratifications of each other - olle IS t.'S­ i!> played on the RP, should be pla)'t.'t.I moot. There are no Baroque Gennan fitst or the rourth 8th-note of m. 82. sential; the other, temporal, on the l-lW (starting 011 c.. in m. 98 sources which deal with it; on the other T o return on the first is preferable from and g' in m. 174). Bul to go hum the hand, forcign music was known and the standpoint o( accent. but dot.'S not RP to the HW for these scales cheats foreign performers were heard in Ger­ dcliuC'olte the bt.'ginning of the new sub­ • • • • • • the sections immediately bC£ore, as it man)'. A reasonable rule of thumb for ject: to ft.'HUn Oil the fourth shows the impedes the rush of the Hitlls, To sta), a performer would be for him 10 ex­ subjt.'ct de:!rl)' but throws an unnatural Au intensi\c study of any of the com­ on the RI' ulltil the 8th· note pickup is piO
e French performance practices in accent onto that beat. If staying on the positions of Bach's la~t }'car~ leavcs. liS cht.'atillg the sections following, as it a Gerlllan work (111)' if that work is II\\' throughout. the only change which in complete awe o( Ius mllslcal gcnlUs. begins on the new sound in the middle obViously written ill the French manner. might he dLosirable is the addition of a In one sensc it seellls impertinent tu of the head·moth·e instt.'ad of at the Only a handful of Bach's works arc. high lIIixture nil the fourth 8th·note u( write abollt thelll, for we feel that we beginning of it. Second. if one insists and the E-nat Prelude is not among m. H!! (presuming that the lower-pitched lIlust, like 1\Iost.'5, take uff our shot.>S thOlt the material in 16ths should have thelll. The alteration which might be mixture is alread) 011). This docs not before walking 011 this grollnd. In an­ its own sound, what will he do with possible in the prelude is not the "dou­ alter the sound, but does gh'e more bril­ other scnse, though, it would he wrong mm. 54-5R ~ l'la)' the 16ths on the RI' hle·dot" of the dotted,8th and 16th liance tn the luuning 16ths of the third am.l the chords, which arc derh'ed from not to share what limited insight "'C pattern - this is a style which nach's rtlgue. the second measure of the head-moti\'e. may be hrash enough to claim. And so o\\'n slurs absolutely exclude from con· rhe relationship among the tempi of on the H\\,? To be entirel), rair to the this study is oUered in humility, with sidcratiou,1I It is the shortening of the the three fugut.'S has always been a topic the reminder that the I'rescnce which lIlusic, one must stay 011 the H\V 8th.note upbeats to 2 , 4, and cor· of discussion. ~Iusical considerations throughout these sections, which means 111m. we approach in this music is far greater responding places which is to be con· suggt.'St a consistent pulse throughout that, except for the four little echos. than any of us comprehendS. sidered. The issuc is not the double· the work to hold it tOb~ther. The first olle will stay on the IlW throughout dot, but the fact that all upbeat which :tIltl third fugues ha\'e the sallie quad­ the entire prelude. , was not beamed to preceding notes was ruplc metrical structure and the same NOTES " We worship one God in Trinity, often written longer than its intended number of lI1e

CRITICAL ACCLAIM COPENHAGEN, Cathedral:

GREAT ORGAN PLAYING.

John Hamilton proved himself master of his instrument. He is a virtuoso, but at the same time is a musician equiI)ped with an abundance of temperament which makes bis I) laying profound. He can build up musical structure with grandiose firmness. - Copenhagen Politiken

His playing carried a remarkable virtuoso stamp, at tinJes brilliant, at times captivating in attitude. - Copenhagen Aktllelt

gl'eat skill and distinguished musicality . . . - Copenhagen Berlingske Tidellde

LOS ANGELES, University of Southern California From the first mordent Mr. Hamilton commanded close attention. It was a pleasure to hear, as it is now pleasant to describe, a performance of Bach which avoided all the usual misconceptions. I have only In·aise. - Peter Yates, Arts & Architectllre

NEW YORK, Carnegie Recital Hall: .•. a completely satisfying evening, one very kind to the ears. - The American Orgallist

DALLAS, Southern Methodist University: • • • impeccable taste and skill . • • - Dallas Times-Herald

OSTFRIESLAND, West Germauy:•

EIN PAGANINI DER ORGEL.

Mr. Hamilton is Professor of Music, University of Oregon, Eugene. Seminars and Workshops Featured at Boston AGO '76

The customary round of concerts and re­ to the use of eledronlc media In a work. dtals at the A.G,O. Notional Convention shop for all conventioneers. He will explain this summer (June 21.25) will be supple­ the resources of the synthesizer and offer mented by challenging $Omina~ and work­ examples illustrating the use of pre-recorded shops. The convention's program committee, tape with chorus and/or organ. whose efforts were coordinated by John Fer­ Thomas Richner. organist of the Mother ris of Harvard University. realized that Church, Is one of the few musicians who church mus~ons Jock to their biennial meet· carries on a concert coreer as pianist and Ing for stimulating professional experiences. organist as well. His workshop discussion of Everyone will hove DpportunUies to heaf keyboard technique and style will certainly new music, discuss new liturgical dlredions, find applicability for beyond the work whkh and become better acquainted with every­ Is to be his primary point of departurel ....L thing from Mozart to the native American Mozart's Andante In F, K. 616. This ladure -.O...:J: t-- t-- organ and Its musle. demonstration will be offered twice during Eleven spedal seminars will be offered the convention week. \ 2eel. on a firsl-come, first-served basis at an ad­ Directly related to the organist's role as 2'~ :2:1 £I-;Iocut IbB 1~IIlOIi dilional fee to those convention registrants church musician is Gerre Hancock's seminar who wish to pursue a topic of particular an Improvisation and service playing. He J1. 2/ 10~ Interest to them. The seminars, wllh two ex­ will provide guidelines for Improvising prel­ ceptions, will meet for one hour each day, udes and free accompaniments on hymn Tuesday through Friday. They have been so tunes. Approaches to the creation of short Harpsichord & arranged that 11 will be possible to register interludes and more advanced contrapuntal for two seminars not running concurrently. forms will be discussed and Illustrated. Mr. Workshops, on the other hand, will be open Hancock's workshop, open to the entire con­ F ortepiano Kits as regular events to all who aHend the vention aHendance. will summarize some of convention. The workshops cover their mo­ these principles of Improvisation as they re­ AU rHENTIC INSTRUMENTS IN KIT FORM teriol in one session. late to service playing. Five of the seminars are dedicated to the Fritz Noack will expound basic principles Replicas of 18th century keyboard instruments literature and playing techniques of the of organ design In his seminar. Recorded principal historical epochs of organ music. ror construction by the amateur craftsman: examples of the effad of different styles of Harald Vogel from the North German Or­ scaling and voidng. as well as .lIdes of case Ta, kin double-manual harpsichord ( 1769 ) gan Academy will discuss in his seminar the designs will explore the wide range of application of baroque performance pradlce possibilities available. Both historic and con· Stdn fortepiano (l784, as restored by Philip Belt) concepts to German music of the 17th and temporary organs will be examined. Even The kits supply carefully Finished parts, complete 16th centuries. Contemporary theory and though the seminar will concern itself with materials, detailed instructions and drawings. instruments will be correlated with old finger­ essentials. a certain familiarity with techni­ Ings and pedal techniques. Mr. Vogel will cal vocabulary and the princlpol style per­ also direct the participants' aHention to mat­ iods will be necessary. Th,tt CtTltllrits of Ilarpnchord Makmg ters of articulation, touch, rhythm and dy­ Both the history of an Instrument and the Harvard University Press, S 15 namics. At Old West Church (Fisk organ), music for It will be traced in Barbara Owen's where the seminar will be held, Mr. Vogel workshop "The American Organl An Instru­ will play a recital of 17th century Gennan ment without a Literature?" Besides answer­ For kit brochures or book \\rite: music (Scheidemann, Tunder, Bruhns. Buxte­ Ing the question in the affirmative (with FRANK HUBBARD, Harpsichord ~Iaker hude) for the entire convention. Andre lsoir Illustrative examples) she will outline the 185A-D Lyman Street. Waltham, ~Iass . 02b-' will cover French organ literature of the development of indigenous organ building 17th and 18th centuries in his seminar. M. Tn the 19th century. lsolr will listen to participants play prepared All members of the American Guild of selections of their choice from the classic Organists will receive the convention bro­ French repertoire and offer suggestlans on chure listing every event with descriptions 18 Stops - 25 Ranks sty li stic motters. Pa rt of htl recllal at Harvard of seminars and workshops. Non-members University's Memorial Church (Fisk organ) may be placed an the moiling list by writ. Slider Chests will provide master illustrations of this music Ing to Ms. Margaret Krewson, 3 Applo Tree and later French repertoire. Both the Vogel Drive. Plainville, MA 02762. Futuro Issues Electric Pulldowns and Isolr seminars meet two days for two of The Diapason will havo further Informa­ and one-half hours each day. It is possible tion on other .seminars, workshops, anthem to register for both of these seminars. sessions, recitals and concerts at Boston AGO Related to baroque performance practice 76. Paul G. Bunjes Is a seminar in organ continuo playing to Consultant be offered by John Gibbons. harpsichordist to Boston's Museum of Fine Arts. In addi­ tion to providing an exposition of generol principles, Mr. Gibbons will coach students Henry J. Engelhardt who wish to ploy for fellow seminar partl. Director of Music cipants. Naturally. a knowledge of figured base is recommended. Appointments Bethel Evangelical Lutheran Church No AGO Convention would be complete University City, Missouri without the participation of Arthur Poister_ His moster classes are famous and conven­ tioneers will hove on opportunity to observe his inimitable teaching techniques In a con­ vention workshop. In addition, he will coach SCHLICKER ORGAJV CO•• INC. participants In his seminar on Romantic and Contemporary French organ literature. This BU"u'o.lVew yo.. li14217 sttmlnar will make use of the large Reuter organ in Old South Church. Readers at The Diapason are familiar wUh Robert Schuneman's illuminating observations on the interpretation of German Romanlic organ music. He has been engaged for a for the bicentennial: seminar "Understanding German Organ Ro­ manticism" to be illustrated with the Hook ond Hastings organ at the Church of the Immaculate Conception. lint's Prelude and Fugue on BACH will be the point of de­ Variations on "America" parture for a discussion of specifications. registration, dynamics and expression. Those (including some variations for manuals alone) who cannot be aCQ)mmoclated In the semi­ nar can still hear Mr. Schuneman's lecture Rosalind Mohnsen has been appointed on a complementary topic: "The Organ as organist and choir director of St. Joseph's Religious Symbol In 19th Century German Catholic Church. Belmont, Massachusetts. She Musical Aesthetics." The Immaculate Con­ holds the BME degree from the University by David N. Johnson ception Instrument will also be the scene of Nebraska and the MM degree and Per· of a maior convention recital by Thomas former's Certificate from Indiana University, Murray. He will play works of Mendelssohn. where she Is now a candidate for the DMA $1.50 Franck and Elgar. degree. She was formerly on the faculty of Contemporary organ repertOire will be Westmat College, Le Mars, Iowa. served by Martha Folts in her seminar. She has planned an Interesllng combination of Trinity Cathedral Press lecture. demonstration. coaching and dis­ R. Joseph Wiesdnger has been appointed cussion - some of It tied In to her conven­ Florida representative for the Reuter Organ 114 West Roosevelt Street tion recital. Students will be encouraged to Company. Mr. Wlessinger studied at Ohio come wllh a piece to play and a composer Slate University with Gordon Wilson and or two may be available to comment on Wilbur Held. and he has been associated Phoenix, Arizona 85003 pieces Ms. Folts wlll play at King's Chapel. with the Reufer firm In Lawrence. KanSOI for Doniel Pinkham will present an Introdudlon over four years. Ho will reside In Clearwater~

10 THE DIAPASON New Organs

8asilica of Santa Marla de Guadalupe. Duldone B' 61 pipos Ma.ico City, Mexico. Und.r contract fa Unda maris S' (TC) ..9 pip.s PtulClpol 4' 61 pipes Casavant Fr~r., limite., St.Hyaclnth., Flute a chemin6e 4' 61 pipes Quebec, Cen.d •. The a.silica is Mexico's Doubletto 2' 61 pipes netionll shrine; existing building is now ~e . qulo1ter. II 122 pipes rend.red uns.f. by shifting found.tions, Fournilure IV 244 p.pe, will b. replaced by new structure designed Rallluelte 16 61 pipeS to accommodate 10,000 people, schad· COt IIn911111 B' 61 pipe, "I.d for compl.tion in October, 1976. Th. Chlliumeau a chemillie 4 61 piDOS naw o'gan is the I.rge,t 8va, built by Tremblant PEDAlE Casavant; 6 manual divislol\S, S-manuels Montre )2' )2 p,peS and pedal, electro-pnaumatic action. Na. Cofthe bourdon )2' 12 p.pe~ goH.tioM C4rri.d out by Paul Falcon and MOfthe 16' 1Z pipes Oanald COfb.tt of Casavant end the most Conlreblluc 16' J2 pipes Reverend Guillermo Schulenberg, Abbott Soubasse 16' 32 pipes of the a.silica, and Ala. Mendez, titular V'-o on 16' (Grond Dl'9ue) organist. Tona' design, scaling and voicing Quintaton 16' (Positif) Bourdon doulC 16' (Ridt) will b. by Gerh.ud Brunzema, Jeen.Claud. Flute conique 16' (Echol G"uthia, will meke visual design, and Octeyeb"ue 8' J2 pipes Jean·Pierre Lemieux will coordinat" pro. Flute ouyette 8' JZ pipes ducnon. I!ourdon B 1Z pipes Octeye 4· 12 pipes GRAND ORGUE Flute a cheminEe 4' ]2 pipel Violon 16' 61 pipes Flute 2' 12 pipe1 Bourdon 16' 61 pipes Fournituro VI 192 pipes Monlte 8' 61 pipes Cymbale IV 128 pipes Fluto hormollique 8' 61 pipes Contro 80mNrde ]2' 32 pipes Flulo 0 cheminie 8' l>1 pipel Bombarde 16' 32 pipes Viole B' l>1 pipes Bombarde 16' (Grond Or9ue) Gros IIlnord 5·1/J' l>1 pipes DQ u~aino 16' (Posilin Predont 4' 61 pipes BaSIon 16' (Ridt) Flute cOllique 4' 61 pipes Trompelie B' J2 pipes Grosse tierce J· I/5' 61 pipes Hautbois II' lZ pipos Na'/lird 2·2/J' 61 pipes Clairon 4' 3Z PipeS Doublefto Z' 61 pipe, Chelumeeu 4' 3Z pipeS await you at AGO Boston '76 OU/llrto de lIelOrd Z' 61 pipes Cla.roft 2· 12 p pel Tierce I.J/5 61 pipet next June 21-25. COtM' V (MC) 185 pipel Grouo foumitura VII 4V pipel Fournituro VI J46 pipel Cymblllio V 305 pipes 11 seminars" conducted in the manner of master classes by Bomberdo 16' 61 pipes recognized experts in: Trompetto B' 61 pipos Clllliron 4' 61 pipes • interpretation of 18th century French music Echo au Grand Orgue P051T1F • interpretalion of 18th century German music Quintoton 16' 61 pipes MQntro B' 61 pipes • interpretalion of 19th century French music Bourdon B' 61 pipes • interpretation of 19th century German music Salidonol B' 61 pipes Ptestont 4' 61 pIpes • contemporary organ repertoire Flute 0 fuseou 4' 61 p ~ pes • continuo playing NOlord 2·2/3' 61 pipes Doublotto 2' 61 pIpos • the art of improvisation Quorto de nosord 2' 61 pipes Tierco '.J/5' 61 pipes • pipe organ design lorigot ',Ill' 6f pipes • harpsichord maintenance Sifflot " 61 pipes Fovrniture VI J66 pipes Antony Garlick residence. Wayne, Ne. • Eurythmics Cymbal 'V 244 pipes brask •. Built by Lynn A. Dobson, L.k. City, • Renaissance dance DOtI~eilHt 16' 61 pipes Iowa, 2-manu.1 and pedal, 10 dops, 12 TtOII'Ipette B' 61 pipes ranks, mechanical action throughout, de. Clorinotta B' 61 pipal fached cOl\.oIe. 15 workshops (open to aU convention registrants) covering C,omorne B' 61 pipe, MAN UAL I Cleiron 4 '61 pipes Melel Ged. dt II' several of the abOve topics plus: Echo /111,1 POliti' Princ:;:pal 4' Tremblenl Midute III • youth choirs RECIT (Expressif) MANUAl II • electronic music Bourdon doull 16' 61 pipes Holzgededt 8' Principel "roil B' 61 pipes Koppeurate 4' • new music and lilurgies (four separate sessions with OItholic. Lutheran. Bourdon 8' 61 pipes Principel 2' Viole de gembe 8' 61 pipos Gemlhotn Quinto 1. 1/3' Episcopalian and inter-denominalional emphasis) Voi. dlelle B' 61 pipes PEDAL • the early American organ repertoire Fluto douce B' 61 pipes Ronkettl6' Fluto c6loste B' (TC) 49 pipes HobqedocU " • anthem readings oC new music (eight sessions) conducted by leading OctOYO 4' 61 pipes Choral B"" 4' publishers Flute odovianle ,.' 61 pipes Violino 4' 61 pipes • Choristers Guild presentation on youth choirs and handbell choirs Nuud 2.2!J' 61 pipes Berkeley Hills Lutheran Church, Pitts­ Odoyin 2' 61 pipes burgh, P.nnsylvania, Built by Schlicker • performance of Mozart keyboard works Tiorce '.3/5' 61 pipes Orgllln Company, Buffalo, New York. 2· Organ literature demonstrations will use instruments and acoustical Pome Comet (Te) III 147 pipes Plein jeu VII 417 pipet manual and pedal. 27 ranks, 25 stops, Can· environments appropriate to the period. Plan now to aHend. 8&lIon 16' 61 pipes sol. preplllrations for 6.stop choral organ Trompette B' 61 pipes division to b. ind.ned let.r in c.hoir loft Houlbois B' 61 pipet ar.a, Oadieated by Palll Menz in rec.ital BObltJN Voir humoina a' 61 pipel on Nov. 17, 1975, Organid of c.hurc.h, Cilliron 4' 61 pipe. David Archer. K.X) Ecbo 01,1 Rf,d, GREAT Tremblont p,.nc·pal B' 61 pipet '"Sclllln,lfS (:uRSlsl uf fuur nne hllur 5t.'MiIUUS; I~ntllmcnt IS lu"ill ~ 1. BOMIARDE Gedeckt a' 61 pipes tJontre a' 61 pipes Octeye 4 61 pipes Ptestant 4' 61 pipes Rohrfloete 4' 61 pipes Quinte 2.Z/3' 61 pipes Woldfloete 2' 61 pipes Doublolta 2' 61 pipes M·dure III .JV 232 pipes Comet V I(Me) 222 pipes Trompete a' 61 pipes Fourniture VIII 488 pipes Chimes ( Pre~red ) Bomblllrde.ono(;hamade 16' 61 pipes Zimbelstern Trompetto'en,chomade 8' 61 pipes SWEll Clairon·en·chamode 4' 61 pipes Rohrnoete 8' 61 pipes Eclrto a Ie Bomborde Solidonol " 61 pipes SOLO (Expressif) VoilC Celeste 8' 49 pipes Princip.1 S' 61 pipes Principal 4' (Prepored) Fluto oUYerte S' 61 pipes SpilzfToete 4' 61 pipes Violo d 'orchestre a' 61 pipes Nelet 2·2/3' 61 pipes Vi ole c61.,lo S' 61 pipes Pri nci pel 2' 61 pipes Octave .. ' 61 pipes Ten I·l/S' 49 pipes Flute 4' 61 pipes Miriure III Ilts pipes Doublelte 2' 61 pipes Dubian 16' (Prepoted) FI.. te Z' 61 pipes 5chelmei a' 61 pipes Foumlluro VI 366 pipes Tremolo DESIGNED FOR THE CHURCH SERVICE AND THE ORGAN UTERATURE Harmoniqua VIII 418 pipes PEDAL 8omborde Royele 16' 61 pipes Pti~ i pll l 16 12 pipes TlOIIIpeUo Royel. B' 61 pipes Subbau 16' J2 pipes SIMPLICITY Clairon Royel 4' 61 pipes Principal B' 32 piPfl Cloche. Mot.UgedKU a' (pr.p.1redl RELIABILITY Echo ou Solo Chotlllb,eu 4' J2 pipes ACCESSIBILITY ECHO (apressif et flottant) AunuQ 2' LEATHEItLESS ACTIONS Flute coniquo 16' 61 pipes Mjxture III 96 pipes Flute bouchie I' 61 pipes Fagott 16' IZ pipes Viola 8' 61 pipes Fogott 8' SINCE 1193 MfMlEIl APOIIA Viola d,late I' 61 pipes Fa90tt 4' HARTfORD, CONNICTlCUT 06101

FEBRUARY, 1976 11 Holy Ghost Catholic Church, Hammond, RohrgedecH 16' Principal S' 12 pipes louisiana. Built by W Zimmer and Sons, New Organs Bourdon S' 12 pipes Charlotte, North Carolina. l-manual and Rohrflote a' pedal unit organ; Great and Swell divi­ Chor.!!lb.!!sse '" 12 pipes slons on right and Positiv on left side of Rohrfl5te oI' chancel: setterboard combination adion. Midure II EA pipes Specification by Morris Spearman and ilasson 16' Franz. Zimmer in consultation with Thomas The Firsf Unifed Methodist Church. BiII­ Subbau 16' Bllsson a' Sharp, chair diredor of church. Dedicated in,s, Montana. Builf by Schanb: Organ Pommer 16' (Gt.) S.!!sson "'. Sepf. 28, 1975 in recifal by Ronald Broth. Octave S' Ca.. Orville. Ohio. 3-manual and pedal. Bourdon S' .... eledropneumafic adian. Org.n lacafed Pommer S' IGt,) in front of and behind screen at rear of Choral Bess 4' SUM~A II!Y ch~ncel f .... cing down nave, entire Greaf Bourdon "" William D. Mmlt, Inc.: Faith Lutheran GREAT and Pedal divisions elposed in front of Pommer "" (Gt.) Principal B' as pipes Flechflote 2' Church, lincaln. Nebraska. 2-manual and screen. Organ dedicated fa memory of pedal, " Eledro-magnetic adion," in rear Ged.!!cU,Koppelflote 8' 1) p.ip4tlo Clarence F. Wood. who donafed the or­ Mixture 11 Mixture III 1.1/3' 183 pipes gan to fhe church. Choir directors of the Pos.!!une 16' balcony with Great and Pedal exposed. Posllune 8' IExI. , SWEll ch'lrch are Arthur Brandvold and Rase. stop-tab console. Dedicated Sept. 22. Rohrfl ote· N.!!chthorn S' 13 p' pes Poseune 4' jEd., 1974, recital by Charles W. Ore • Salicio n.!!1 8' "'9 pipes ..,ary Fib:hugh, organist is Jeanette Varqo. Fagot S' (Ch. , Gemshorn '" 73 pipes ' nstrument was completed in August. 1975. StJ'almei 'f (Ch, l Sesquilllter II ITel 9B pip. s FlIgott·Trompette 16' 13 pipes GREAT GREAT Ge::lecH 8' 61 pipes POSITIV 'ommer 16' Spitzgedlldt 8' 85 pipes Quint.!!ton S' 61 pipes ',inclpal a' Gllmbll 8' 61 pipes Principal 2' 61 pipes Hob Geda' kt S' Sinh Reformed Church. North Haledon, Zimbel II 2/l 122 pipes Oct.!!ve "'. 61 pipes Od llve "" New Jersey. Built by Schanb: Organ Com­ Quint "" hic} 12 pipes PEDAL Soitzil5te 4' pany, Orrville. Ohio. 2-manual and pedal, l Subbllss 16' 12 pipes W.!! ldfloht 2' Koppelf 5te "" 61 pipes Oct.!!ve·Choral Bess S' """ pipes Fourniture IV 25 ranks, installed at bac~ wall of chan­ Flachfl5te 2' 61 pipes Trompele S' cel. Dedicated Sept. 28, 1975 in recital Mi.lure III IB] pipes GREAT TrQmpelie en Ch.!!mllde S by John Rose. Trumpel a' 61 pipes Pri ne.i pal 8' Chimes (Prepared) Clarion "" 12 pipes Ged.!!dt S SWEll GREAT Chimes Octaye 4' Vio!e de Gllmhe S' Pri ncipII I S' 61 pipes SWELL Koppelf.ote 4' V;oIe Celede a' Holzgededt S' 61 pipes Rohrhus 16' Superoctave 2' Rohrfl5te 8' Erzah ler S' 61 pipes (Enclosed' Rohrllolc a' 61 p~pes Mixture III Spiizprincip.!!1 4' Erz.!!h ler Celeste 8' (TC) 61 pipes (Enclosed) Salicion.!!1 8' 61 pipes SWEll Nllchthorn 4' Rohrflole S' (Swell) Voi. Celeste a' 49 pipes Rohrflote 8' Octllve 2' Oct.!!ve "" 61 pipes Geigen Oct.!!ve "" 61 pipes S.!! licionlll S' l llrigot 1. 1/3' (from Sf hllrf 111 1 N.!! chthorn 4' 61 pipes N.!!chlhorn "" 61 pipes Gemshorn "" S(.hllrf Itt Ouinte 2.2/3' 61 pipes Violinll "" 12 pipes N.!!chthorn "" FlIgot S' Oct.!!vin 2' 12 pipes N.!!:at 2·2/3' 61 pipes Blodfliite 2' 61 pipes Gemshorn '} ' FlIgot '" (Elt.) Fourniture IV 2""" pipes Sesquiilllter II Trompette en Chllm.!!de 16 ' CG t,] Chimes Ten 1·]/5' 61 pipes Trompele B' Trompette en Ch.!!m.!!de 8' (GI.) SWELL Mixture III (Wired' Tremolo Trompette en Ch.!!made '" (Gt., Rohrgedecld 16' 61 pipes Clarinet 8' POSITIV Tremulant Rohrflote B' 12 pipes Fagot a' 61 pipes Spitzgedllcld S' CHOIR Viol.!! a' 61 pipes Sh.!!lmei "" (sic' 61 pipes Spillflole 4' Erzahlor 8' Viol.!! Celesle S' (TC) 49 pipes Trumpet a' (Gro.!!t, PrinciplIl 2' EnaMor Celeste a' Princip.!!1 "" 61 pipes Tremulent (adiustllble) Nlls.!!t 1·1/3' Nasonflote S' Rohrflote "" 12 pipes PEDAL Octavlein I' Spillfiote "" Siodfiole 2' 61 pipes Resultllnt 32' Zimbel II N.!!sat 2·2/3' Cymbel III ISJ pipes Subban 16' ]2 pipes Tremolo Italilln PrinciplIl 2' Sasson 16' 61 pipes Rohrfl51e 16' PEDAL Tierce '·]/5' Trompette B' 61 pi pes Diap.!!son S' 32 pipes Suhbllss 16' Krummhom B' Basson a' 12 pipes SlIssfiole B' 12 pipes Oct.!!vbass 8' 5ch.!!lmei oI' CI.!!rion "" 12 pipes Quint 8' (sic) Gedllclct 8' Trompette en Chamade 8' (Gt,) Tremolo Viol 8' Chor.!!lbus "" Tremulant pEDAL Chor.!!lbass oI' n pipes Koppelf15te "" PEDAL Result.!!nt ]2' Midure II EA pipes Fegott 16' Resultllnt ]2' Princip.!!1 16' 12 p 'pe1 Posllune 16' 12 pipes Trompete oI' Principel 16' Sourdon 16' ]2 p:pu Schalmei oI'

Only one small part. • • • . . . but what would it be without it?

Just as a watch. or any other intricate mechanism depends on the quality and reliability of each separate part. so it is with pipe organs.

to anything from switches and magnets to complete consoles. the standard of quality for the industry is Reisner. No matter how large or how small the part, the Reisner name is your assurance of durability and dependability. With over 75 years' experience In prodUCing preCision electric magnets. a wide vartety of other mechanical parts. and consoles that are superb works of wood craftsmanship and beauty. Reisner has become the acknowledged leader in the field.

Yes. you could choose another that might look the same, but when ordering supplies for your pipe organ. just remember . THERE'S NO SUBSTITUTE fOR REISNER QUALITY!

P,O. BOX 71 . 240 N, PROSPECT ST.• HAGERSTOWN. MO 21740

12 THE DIAPASON It will certainly be a great surprJse example, the great reputation of J. F. (or most orgOlllisu to disco\'er that the Seeger in Pr.aguc, Conversely, Seeger theme or 83ch '5 belo\'cd organ fugue uscd fh'e themes from Bach', organ and in R-minar. 8WV 544. is an exact quo­ APossible Source for Bach's keyboard works for his own fugucs. It (::I lion from all East Slm'aki:m folksong. could be assumed (without certainty). "\nd, a special characteristic of this case that the (orgotten Slo\'akian master, Jan is that the answer of the fugue subject Organ Fugue in B Minor, BWV 544 FranciSti (1691-1758), who receh'cd a at the: firth is exactly like the continu­ \cry promincnt llace in Maltheson's ation of the folksong. Many Slovakian Ehrenpforte, coul ha\'c bccn a studcnt folksongs repeat the opening melody at of Bach. the inlcn'ai of the 4th or the 5th. and by Ferdinand Klinda A further possibility, whid. should i1lso frequently the text. 1I0t be o\'criookcd herc, and which hall often playcd a fatdul role in the histof')' of lllusiClI composition, ili that Bach might have acddcnlOllly heard the tulle (See example below) Fugue in C minor llfl a Theme 0/ I.e· I ith century and the entire 18th cen­ sung or played. For hundreds of yean. w ell:;, the fi\'e concerto transcriptions, tury, a growing number of musIcians and until lite OCginning of our prescm or the theme of the Pauflcaglia (rom A. from sla\'ic countries - hoth compose" century. the mcation of the wandering Imlced it would be most dinicult 10 Raison. It is g £e to sa )' that DOlCh also and illstrumcntalisu - bL-gan to appear craftsman was lo\'cd in Slavic rountrits. establish the source of Bach's inspira· loved folksongs, 35 is showII . for exam­ in European musiClI circles. These mu· chieny becausc of the opportunity It tion (or this (ugue, E\'en though the ple, by his use of a Dutch rolksong in sicians, whose presence in Europe has gave many to escape the centuries· long similarity o( the fugue subject to the the subject of the F IIgue ;11 G minor now been cstablished by reccnt rcsearch, oppression by fOTClgn poweR. Whether (olksong is really astounding. all COli­ (BWV 542) . or by his insertion o( the were mostly (rom Bohemia. Silcsia. and Bach might ha\'e chanced to hca.r a jeclures about the influence o( it on beloved Qllodfibet at the end o( the Poland. but there were also many (rom wandering Slovakian wire.pul1er, plumb· Bach can neverthelas onl)' establish a Goldberg I'ar;al;ons. V .. dolls mo\'ements Slo\'akia. Their origins and the conlinu­ er, mctal workcr, or glass worker, of certain degree o( probability or possi· from the suites and partitas have Ollt­ ing connection of these masters with which there wcre many in Germany at bility. spokcn dance characteristics. and the}' thcir nath'e folk music is wcll known, the time. rcmains a distinct possibility. First of all. nach's aHectioli fOl" the could also be thoroughly related to cer­ and it produced a worthwhile and spe­ In any case, thc \'cry fonn and char· usc o( good. foreign melodies is well tain areas o( sl:lvic (olklore. d al characu:r to their music. It is also acter of thc B minor fuguc subject, with known. In the organ works. (or exam· known that Bach had contact with old its quietly nowing 8th notes, IS unique pic. one need only remember thc Fugue Secondly, another fact should be Bohcmian music. lie had several stu­ among Bach's organ works. and it does In B minor 011 II Theme 0/ Carelli, thc weighed here. In the second half of the dents (rom the arC3, and he knew. for have a song·like character.

~A- I"" ::1 rc: 11" • • .J" "*~T+ +4 .... '- '; .: .. •. '+ , oj. -- ~ Tuz-L fleL~ /)~ ~v ~ ~ ~4. ?....:Q.~ ~c.~ n....Q..c/!..uc...

f) r, ~ "'-~ .. , e~ elt,oral

Wotff-GOOD CHRISTIAN MEN . REJOICE AND SING 98-2254 .40 CONFERENCE ON CHURCH ~C Set of Instrumental Parts (brass quartet) 98-2263 2.00 Handl/Simkins-IN THY RESURRECTtON-/n March 8 and 9, 1976 resurrectione tuo. Christe Double chorus or SATB with brass quartel 98·2258 .70 Parts for Choir \I 98-2259 4.75

HandllSimkins-THEE WE ADORE- Adoramus te Christe Double chorus or SATB with brass quartet 98-2256 .75 Parts for Choir \I 98-2257 3.75 XAVIER DARASSE

Weber-I AM CONTENT 98-2247 .40 Instrumental Part-Oboe (or violin. clarinet. Toulouse, France trumpet) 98·2262 1.15

Wapen-A CANTICLE OF EXULTATtON Lecturer and Recitalist A festival work for choir. organ. and brass quartet Score 97-5337 4.00 Choral Seore 97-5338 .70 Instrumental Parls 97-5339 4.75 Alice Millar Chapel Choir

~ University Concert Choir ,!!!~e

:tU

fEBRUARY, 1976 13 New Organs

William D. Miller. Inc.: First Christian Church, Columbus, Kans.s. 20manuel and pedal, 12 ranks. 27 stops, lome pipework from so.y •• r old Kilgen used,\ located b •• hind old cas., electric .ction. GREAT Principal S' 61 pipes HohlflCi'e B' 61 pipes Dolce 8' 61 pipes Octave 4' 12 pipes Blod:flofe 4' 61 pipe. Twelfth 2·2/3' 7 pipel Super Octave 2' 5 pipe. Mirlure II I (Wil'1!dl Chimes SWEll liovldon (TC) 16' Stoppedfl6te S' 6. pipes Gemba S' 61 pipes Vo ir Celeste ITC) S' 49 pipes Prestan' 4' 61 pipes NllIlard 2·2/3' 61 piplu The Reuter Organ Company Quint ' ·1/3' Piccolo 2' 61 pipes Flute " is pleased to announce the Ohoe 8' 61 pipet CI"rion 4' 12 pipes contract to design and construct Tremulant PEDA L the new Pipe Organ for· Resultant 32' Subbau t6' 32 pipes Principal a' Historic Makawao Union Church BaSI flote 8' Dolce 8' Makawao, Maui, Hawaii Choralball 4' First Unitarian Church, Ithaca, New Oboe 8' yo,l Built by Hellmuth Wolff IOpu. 161 Installation - Fall 1975 Clarion 4' of Montreal, Quebec. Canada. 2-manual and pedal, mechanical adion throughout, 2 Manual 19 Ranks free standing and encased on a newly­ created stage in church, replaces 1933 Christ United Methodist Church, Wau­ Moller organ. Design and finishing by Opus #1879 seon. Ohio. Built by Cannarsa Organ, Inc •• Hellmuth Wolff: Frank l Eldridge Jr, is HollidaY'burg. Pennsylyania. 2-manual and minister of music for church. Dedicated -- REUTER ORGAN COMPANY pedal. four diyisions. 23 ranks. casework Nay. 9, 1975 in recital by Mireille Lagaci )- ~[ and some pipeworlc: of old organ utilized. of Montreal. 56'note key compass, 30-note ~~~4I&AB Dedicated Sept, 21, 1975, pedal compass. MIV" . IIIOM LAWRENCE. KANSAS 66044 PHONE (913) MJ..H22 GREAT GRAND ORGUE ~ Principal S' 61 pipes Bourdon 16' Hohlfloete 8' 61 pipes Monlre 8' Dulciana S' 61 pipes Flute a cheminee II' Octave -t' 61 pipes Prestaot 4' Flute d'Amour 4' 61 pipes Flute Sylvestre 2' Super Octave 2' 61 pipes Foumiture IV Mirlure III·IV 20 pipes Trompette 8' Chimes SWELL RECIT EXPRESSIF GedecH 8' 61 pipes Bourdon 8' Salicional 8' 61 pipe. Flu te a eheminee 4' Celeste 8' 4' pipes Dou bletle 2' Floete 4' 61 pipes Nazard 2·7/3' (from Sesquialiera) Principal 4' 61 pipes Sesquialtera II Floete A Bee 2' 61 pipe' larigot I, I/l' ST. PETER'S BY THE SEA Zimbel II I' 122 pipes Cymbal!! 11 . 111 PRESBYTERIAN CHURCH Trumpet 8' 61 pipe. Cromorna B' Haut~ 4' 61 pipes Rossignol Trem ul ant Tremul"nt ANTIPHONAL Portuguese Bend, Rohr;ededt S' 61 pipe. PEDAlE California Princi pa l 4' 61 pipes Soubasse 16' Rohrfloete 4' 12 pipes Montre B' Odav 2' 12 pipes Flute a chemioee S' (Grand O rgue) PEDA L Prestant 4' Bourdon 16' 32 pipes Foumiture V lieblich Gededt 16' 12 pipes Bom b"rde 16' Odave 8' 32 pipes Trompette 8' (Grand Or; ue) GedeeH B' 12 pipes Choral Bass 4' 12 pipes Contra Trumpet 16' 12 pipes First United Methodist Church, lynch­ WICKS ORGAN COMPANY Highland, Illinois 62249 burg, Virginia. Under contract to Green­ Pipe Organ Craftsmen Since 1906 wood Organ Company, Charlotte, North Springfield Baptist Church, Greenyille, Carolina. 2-manual and pedal. replaces South Carolina, Under contract to Green­ 1928 Kilgen organ. Specification by Doro­ wood Organ Company, Charlotte, North thy Tucker. church organist, and Norman Carolina. 2 manuals and pedal divided on A. Greenwood; installation planned for CHESTER A. RAYMOND, INC. each side of choir loft, to replace former mid-1976. Greenwood organ destroyed by fire in PIPE ORGAN BUILDERS 1973. Installation planned for spring of GREAT 1976. Principal 8' 61 pipes GREAT Bourdon 8' 61 pipes Rebuilding, Maintenance and Additions Princip,,1 B' 61 pipes Dulei"na B' 61 pipes Bourdon B' 61 pipes Prestant 4' 61 pipes P.O. Box 55 Princeton, N.J. 08540 Presiant 4' 61 pipes Doublette 2' 61 pipes Doublette 2' 61 pipes Midure III (19-22-26) 183 pipes Midure III 18] pipes Chimes Phone: 609-924-0935 Chimes SWEll SWell GedecH 8' 85 pipes Rohrgededt B' 61 pipes S"licional 8' 61 pipes Salicional B' 61 pipes Vohe Celeste (TC) 8' 4' pipes Voix Celesle (TC) B' 49 pipes Geigen Principal 4' 61 pIpes Princip,,1 4' 61 pipes GedecU 4' STEINER Rohrflute 4' 12 pipes Nasard 2-2/3' FJageoiet 2' 12 pipes Flageolet 2' larigot 1- 1/3' Larigot I· Ill' ORGANS Krummhorn 8' 61 pipes Tf'O mpelte 8' 61 pi.,.s Tremolo Tremolo Incorponted PEDAL PEDAL Bourdon 16' 32 pOpes Bourdon 16' 32 pipes lieblich GedacU 16' (Swell) (Prepared) Liebl;Connecticut. STM·I in particular, that were produced by the E"erett Piano Company up to oro:an The origintll org"n in this lerge gothic about 1945, when they sold the patent church w"s built in 1929 by Austin. lind rights to the \\'urlitzer Company. Neither an entiphoMI division wes lidded to that of these companies has kept any of the in 1938. A rebuild of the entire organ was insiitute prints or mher data, and any to be plenned in 1954.56. and much new pipe· found will have to come from persons July 4 - July 18, 1976 work was lidded to the orglln at thllt time. or organizations fortunate enough to "long with revoicing , new console, end ha,'c them still in hand. preplIfllltions for further new pipework. I ha\'e some infonnation and some FAC ULTY: The pipework added in 1975 ht!ls finelly diagrams now, both electronic and me· completed the instrument in to a more up­ chanical, that I would lend to be copied FENNER DOUGLASS dated style. The "new" instrument wa s and returned. and would expect to Professor of Music and dediclIted in a service on the evening of cop)' and return any material loaned to October 19 . 1975, which included lire· me. If anyone can help, ] would be most University Organist, citol ployed by the church's orglln;st lind appreciative to have them write me. Duke University You~ with sincere thanks. choirmaster, Kenneth l. Axelson. Smith College. Northampton, MA: built by Andover Organ Co., Methuen, Maua. Sheldon H. Cushing • indico!!Ites 1954·56 pipework chusetts. 2·manual and pedal, mechanical 400 Brook Street HARALD VOGEL •• indicates 1975 pipewotk key and dop action, manual compass 56 Westbrook, Maine 04092 Director, North German notes, pedal compass 32 notes. Instrument The lollowitlg letter was lorwarded GREAT self.contained on movable platform for use to tiS by Dr. Roberta BUgoDd} president Organ Academy Quintalen 16' • in John M. Greene Hall. Pipe screening of the American Guild of OrganiJts. The Prindpal 8' • with gold letters removable. Dedicated Flute Hatmonique 8' May 4, 1975. Organist of the college: entire Idter is reprinted here in the Gemshorn 8' Vernon Gofwals. hope that some of our readers will be Outstanding facilities, Gemshorn Celeste able 10 answer the questions conlailled MAN UAL I including the 44-stop Octave '" • Bourdon II' therein, and which we are uplable to an­ Quintaten '" • swer. II anyone has information ahow Twelfth 2-2/3' • Principal 4' Flentrop (1974) in Fifteenth 2' • Mixture III the subject 01 ti,e letter. they are urged Foumiture IV • MANUAL II to write to Dr. Bitgood at First Congre. Warner Concert Hal1_ Trompetfe S" GedecU 8' gational Chure/., 145 Capital Avenue Rohrfl6te 4' Master classes, faculty Chimes N.E" Battle Creek, Michigan 49017. Principal 2' Harp - Ed. concerts, student recitals CelMta urigot 1-1/3' Tremulant PEDAL Sub Bass 16' Dcc. !O. 1975 and opportunity for Gedeckt Bass B' (ed. of 16' ) Dear Dr. Bitgood: private organ instruction. SWEll Choral Bus 4' (ed, of 16' ) Mr. Edgar C, Crowle. of Jackson GedecU t6' (M ich.) , has referred us to you. For further information, Principal B' •• \ Ve are "cry much interested in learn· Salidonal S' ing about the Guild of Former Pipe conlacl: Voix Celesle S' Organ Pumpers, When] worked for the Flaulo Oo k e S' Professor Garih Peacock Gedeckt B' Battle Creek Enquirer and ~ ews, and, Principal of' • later, for the Battle Creek Moon·Journal, Conservalory of Music Flauto Traverse 4' at least two men in Battle Creck were Nazard 2·2/3' members, It is my recollection that olle Oberlin, Ohio 44074 Flageolet 2' of them was Carl Montgomery, who Plein Jeu II I • managed the Post Tavern. Phone: (216) 775-8246 Contra Fagot 16' • Com­ Trompete S' • As a member of the Bicentennial mittee for J ackson's First Congregation­ Oboe 8' 10th Annual Vox Humana B' al Church. I IlCCarne interested upon Clairon of' learning that olle of ollr mcmbers, Mrs, GRAND MUSIC TOUR Tremulant Cecile Cooper, had pumped the organ therc - when shc was fivc )'cars old _ OF EUROPE for her fathcr. The Rc,'. E. L. Chamher· CHOIR Organ - Concerts - Operas - Principal S' lin, a musical e,'angelist. Music Festivals D", lciana B' Mr. Crowle pumped a dlUrcll organ July 10-August 2 and/or Unda Maris S' in PCJl zance, England, for his father, as Concert Flute S' a bOl', August 2-24, 1976 Flute Celeste S' Is . the Guild still in existence? ,Arc Visit WunlHlrCJ\ Rotheaburg Humberg, Wet· Rohrfl6te of' all former pump·organ pumpers auto­ molr, Erfun, Eisenach, Hall., leipzig: Wit· Piccolo 2' tenber9, aerlin, Dresden Freiberg, Prague, Terlian II • matically memhers? This is an extremely Budapest, Vienna, St. Fiorian Abbey. S.lt.· interesting subject. Thank you for any burg, Konig, ••, Munich, Ob.rammergau, Clarinet II ' WillS, Neuschwannein Breqlln., Inns bruck, Tremu lant information you ClII give us. Verona , Flolenc;., Milan, Vollley of Aod., Ka thryn E. Frank Chamonil, Slon, Mont'lIux\ Gstud, Int.,· J ackson Public Library 'aken\ lUcerne, Stein. a'ac Forest, ntlsH, POSITtV Jackson, Michigan AmolDach1 the OcIlln.aldJ.. Bad Krllvm.ch, Holtgedeckt S· •• .nd the Rnine on AUIJust

K. BERNARD SCHADE, FOUNDER AND MUSICAL DIRECTOR St. Cross Episcopal Church, Hermosa Gemshorn 8' 61 pipe, aeach, CA: built by Wicks Organ Co., Gemsho,n Celeste 8' 61 pipes Highland, Illinois. 4.manual and pedal, Holzegedad:t S' 12 pipes Spillgambe 4' 61 pipes RAYMOND H. CHENAULT three manual and pedal dMsions of the Hol1gedodt i' 12 pipe, M. Mus. FCM Recitalist main organ acron from each other at sides H.rlen Prinzipol 2' 'I pip", Oflanlst - Choirmaster of chancel with Great and Jiortions of Cymbe II 122 pipell Padal expos.d, Antiphonal ivision en­ Cromorne S' " pipes All Saints Episcopal Church, Atlanta, Geoflla cased in gallery. Direct-Elactrlc action. ANTIPHONAL Design collaboration by organist of church, Holzprinzipo l B' " pipes Holz Viol one Celeste B' 61 pipe, GREAT Spildlate 8' " pipes WANT A PRACTICE ORGAN? HofzgedacH 16' 61 pipes Viola Pompasa 4' 61 pipes Prinl'pal S' 61 p'pes Rohrpommer i' " pipes Sourdon S' pipes lund your ow. - Un kit f.rm) 'I Tr.vlnflate 2' " pipes PEMBROKE PIPE ORGAN QUIllY .4' 61 pipes Minur III 183 pipet Send .tamp for Drocllur. Nachthorn -4' 61 pipes nertino II 122 pipes Weitprinzipal 2' 61 pipes Chorolbross 16' THE ORGAN LOFT Midur III 183 pipes FestiYlI1 Trompetle 8' 61 pipes EPSOM, N.H. 03234 Tel. 603.736-4716 Bombarde 17 pipes Chorolbross S' 61 pipes Remember: If it do•• NOT have pi",l. it i, NOT an organ Holz Violone Celeste S' (Antiphonal) Kopfre;al 8' " pipes Spitzfl5te 8' (Antiphonal) Choral bran 4' 12 pip" Rohrpommer 4' (AnliphcmaJ) peDAL Trayonflato 2" (Anliphonall Subbcus 32' SWEll Conlra Ged"cl:t 32' ATTENTION Ho!zgodocU 16' Prinzipal 16' 32 pipe, Rohrflat. 8' 61 pipes 8ourdon 16' 32 pipas G"mbe 8' 61 pipes Holzgedocl:t 16' EPISCOPALIANS! D G"mbe Celedo S' -4'1 pipes Prinzipol 8' 12 pipes Concerned about the Proyer Book? Flute Harmonique 4' 61 p'pel Bo"rdon B' 12 pipes E 1/\ Morgar" 4' &I pipes Gambe 8' Unhappy with the Trial Litur&!.. ? L Nldtt Qu'ftt 2.2/3' 'I pipes Gemdlofn S' Write to: Bloctflale 2' 61 pipes Choralbass -4 ' 31 pipes TIeree 1·3/S' &I pipes Bourdon 04' 12 pipes Th. Society for tho Pro•• rvotion A F- larigot I-I/l' 12 pipes Chorolbo,s 2' 12 pipe s of tho Book of Common Pray., W F ~ Septieme 1·ln· 61 pipes MixtUf IV 56 pipes Piffero II 122 pipes Contra Basson 32' 12 pipos (SPBCP) huon 16' 'I pi~s Bombardl 16' 32 pipes A OftSAN COMPANY, INC. Trompette S' 'I pipes BellOn 16' Box 12206, Acklen Station R TONAWANDA, New YOM H.rllD Regal 8' &I pipes Bambardl 8' J2 pipes Nashville, Tenn. 37212 1418. Schalmey 4' 61 pipes Crcmo rne 8' E CHOIR Bom b.rdo 04' 12 pipes W M.mb.r APOBA HoIz;edacJd 16' 61 pip. H.rfen Reval 04'

16 THE DIAPASON Donli id Man lno's Saterl Pious PiUtf Choral MDSi~ (E, C. Schirmer Music Company. Dos· Ion) are settings of the spiritual poetry ARTIST of Robert Hel'Tick. While Martino's setting will not satisfy the man relent. for the Bi~entennial lessly ll1Ia ntt:·ga rdt among us, his style RECITALS seems beautifully \'ocal, as it combines stringent, linearly.created dissonances. Reviewed by Vietor Weber with surprisingly lush resolutiOn! iOlO clear triadic chordal hannouie:s, The pieces are diUicult (optional piano ac­ "I he year 1776 h:lS never inspired tOne ,~ onders why. in this )'c:u of comp'lnimenu may alleviate SOllie of this much enthusiasm in the minds of mu· )cars. Hrollde Brothers has not included any American music in its excellent his· problem) - but they appear to be well sicians: if the dale were to 3ppcar on worth the trouble of care[ul rehearsal: :1 music history CX:1II1, most prospective toried series "Music or the Great Churches," which includes anthems from they will ha\'e an immediate, (onuulIni· scholars would be hard-pill to identify cath'c appeal, eVen to listeners whose its musical sigllific:mcc. However. none the repertories of St. Stephen's, Vienna: of us would be SO hard-put in this, the St. Mark's, Venice; Sama Maria Mag­ cars arc still not attuned to the twen· year of lhe bicentennial celebration of giore, Rome: St. Thomas', Leipzig: St. tieth century. 1776. From the desks of rectors, music I'aul's, London: ,,'estminstcr Abbe)': department (hairm~n, and bureancrat5 and St. Peter's, Rome. God forbid that concerned with the culture of politics in OUf two·hundred year history We ha\-e Daniel Moe's rour settings of lI'illiam (or the politics of culture). the decree produced no "great churches" or music Penn R e/lections. "The Clory of this h3S been issllcti: 19iG will be a year filled wonhy of comparison wilh that of the Day," "Whether Young or Old," "Lct wilh concerts of Amu;cnn music. One churches of Europe.) your Eye he to the Lord," and "A Man might spt.'culiuc tll3.l at 110 time in the of Integrity." (Augsburg Publishing history of western music will there ha\'c Also worthy or mention arc Herbert House, Minneapolis, Minnesota), will bc been more tcsting of 3. cultural heritage Colvin's editions of William Billings a strong addition to any choir's 1976 than the olle We ,Imlt all inDict on the (published by Elkan Vogel, Inc., Dryn repertory. His strongl)' rhythmic style tradition of J\mcrican mllsic this )car. ~lawr, Pennsylvania, 19010), and an in· and frequent use of canonic phrase be· There seems little doubt, if one i !li teresting collection (fort)'·two selections), ginnings will sound £amiliar (0 deVOlel.."5 properlr respectful of recent issues hy snappily titled Ye Oldt: New England of the art of American fuguing tunes; publishmg houses, that the music of PJal",·'runt:J: 1620-1820, published by but the hannonies he produces arc de. William lIi11in~s will be ampl)' heard Olivcr Ditson Compally (Theodore cisi,"cly "modern." this yen. Parucul::uly valuable are the Jl resser Co., Sole Representative, Bryn editions of Billings' works by Lconard ~Iawr. Penll5yl\'3uia) . "an Camp (the serics is packaged as Whcli all is said, it is clear that there "Sacred Choral Music from Colonial After plundering the musical archh'es could be worse fates lhan to he an Amer. Amcrica" and published by Concordia, of colonial and rC\'olulionary America, ican choml musician in 1976. And when 3558 SOlJth Jefferson A\'cnuc, Saint most o[ us will be ready for somc ad· all is sung, We can hope optimistically Louis, 6!H 18). Van Camp's dcvotion to \'enlures in the twentieth centllf)'. 'Vhile that both we, our choirs, and our tra­ Billings seems at limcs 10 be a bit in· repertory selectorlS won't be unlimited dition, will ha,"c withstood the tcst of ROBERTA DAVID discriminate: (rt:quit:scat Charles h 'cs) , some new the bicentennial. 1£ )'onr circulIlstanCl.."5 GARY McVEY considerations should be added. to our have madc } 'OU more pes.simistic, take (Billinp' ) .clUe of }Iumor :.nd his unrtaSlinl fisLs of works h)' Pinkham, Ho\'hane55, hearl froUl the ract that YOU are 11..'55 ~nlhUJia.sm aTe a pAri or the Oa\'Ot' of l,is d . dl. than a year's time away (1"0111 a happ)' sl"ntt'd mmicaJ orrerinp. Hi. undentandinl return to European nonnalc)" and that IIr the ,·oice ilnd of cborul tl;"chn j qu~ it EIl;.an-Vogel (Bryn Mawr, Pennsyl­ :!IUluin!!, lor hil time. Billinp' perceptive you will never Ihe through another grasp of the ilbilities nnd the musical taste vania, 19010) has recently published two ,\merican (cntcllllial celebr3t1on. ~ { :.mateun ilCCOunts for the eager accepl:!lncl: intriguing works by Wilham Albright. If his pieces by lingers today • • • "Father, We thank Thee," for unison choir, soloist, or congregation, with Out it is not necessary to buy Van piano or organ accompanimcnt, and op­ Camp's promotional effusions in order tional instruments (which can include to appreciate the thoroughncss of his harp, glockenspiel, celesta, \'ibraphone, ~JUND scholarly editing procedures and the haudhel)s, acoustic guitar, tuned gobleLs, very helpful "perCorm:mcc suggestions" electric piano, d e.) , is built :around a e~;m' e... winch arc included in almost all of the haunting melod)' (Iext from the Greek FINEST IN NATURAL PERCUSSION Concordia publica.tions. Diddclle in English translation), which is set into a typiedly Albrightian sound Equally noteworthy is the series titled texture of both tleten ninetl and/or Solid Tht: Wt:slt:m Wind Amt:rican Tu"t:· aleatoric nature. Albright's "An Alleluia Calhedral Chime. lIook. cd ired by Lawrence Bennett Super. Round" (for eight or more sing· (Broudc Brothers Limited, New York). ers and instrumenu) consists o[ twenty­ Eledric bcnnett's editorial procedures are as three short melodic fragments, which Actian. impressh'c as Van Camp's. And his se· arc to be perfomled according to tile AMPLIFIED TOWER CHIMES lection of matcrials scems more varied, composer's specific iustruclions in JC. less prctlictable. While he is ullable to quence. as a canon. He pro\'ides option31 amid tlle tempUition of that great New instrumental materials, also or a quasi· LAKEVILLE Englander, William Billings, he also canonic nature, for performance use as CONNECTICUT 06039 taps the Pennsylvania collection known well. The textural ))ossibilitil's of the as lI'yt:th's Repofitor), for some fascinat· piece arc at once OJhmulant and chal· ing two and three· part rolk hymns (oue lenging: the piece will SUCCCI..'l1 accord. with \'iolin obli~to) and the particu­ ing to the imagination and independ· larly beautiful set of "Songs of Tribula· ent thinking of each choral and instru­ ANDOVER ORGAN COMPANY, INC. tion." mental participant and thcir conductor. Box 36 Methuen, Massachusetts 0114. modem mechanical acttDn

Builden of Fine Tracker and Eleclro·Pneumatfc Pipe Organs BERKSHIRE ORGAN COMPANY INC. Inquiries QJ'e Cordially Invited 68 SO. BOULEVARD, WEST SPRINGFIELD, MASSACHUSE'ITS W. ZiIllIller & Sons Member: Intcm_uional Society of Organ Huilden INCOR,. O RA T ED + Member APOBA Mailing Address: P. O. Box 520. Pineville, N. C. 28134 NAnONS FORD ROAD · CHARLOTTE, N. C. McMANIS ORGANS PIANO TUNING Learn Plano tuning and repair with JOHN BROMBAUGH fS' CO. Incorporated easy to follow home study course. Tracker Organ Builder. 10th & Garfeld Wide open field with good earnings. Makes excellent "extro" lob. Write 791.0 Elk Creek Road KANSAS CITY, KANSAS American School Df PlanD Tuning Middletown, OH 45042 66104 17050 Toll" Dr .. 0..1.01 IIoqa Ifill, C~ !15037

WASHINGTON ROAD o R G A NCO M PAN Y, INC. PRINCETON. NEW .JERSEY 08540

FEBRUARY, 1976 17 Richard robert anderson CALENDAR ANDERSON SMD FAGO SautMm Methodls. U"wer,it" DHdliM 'or this calandar was January 10 a-.... Col'... ar...alNro, N. c. DaICa., ,."as 75275

5 FEBRU ARY ludwig Altmon. First Pretbyterian. Son CHARlonE AND WIUIAM Dana Robinson, Sf Thomas Church. N!w Anaelmo, CA 8 pm York, NY 12:10 pm Hans Kalafu$l, violin; Bach Festival 0,. HEINZ ARNOLD Vi rgil Fox. Florida Southern t ollege. Loke­ chestra. Lauris Jones, dlr; FitJt Congrega. FA.O.O. D.Mu •• ATKINSON land. FL 8; 15 pm tbnal, los Angeles, CA B pm Odile Pierre, Southwestern College. Win­ Ladd Thomas, Seventh.Day Adventist fiRST PRESBYTERIAN CHURCH STEPHENS COLLEGE field. KS Church, La Mesa, CA 2001 EI Camino Real COLUMBIA, MO. Charles Benbow, Minsk, USSR I like the Sound of America by flo Price, Ocean,kI., California 92054 tunior folk musical, La Jolla Presbyterian. 6 FEBRUARY La Jolla, CA 4 pm Antone Godding, Grace Epbcopol. Ponca Charles Benbow, Kiev, USSR City, OK 7;30 pm Thomas L. Bailey "Bock to Bock Bach:' organists William 9 FEBRUARY Peter Basch Beck, Marda Former. Dorothy Hester and Robert Carwlthen, George Markey. Eu· a.ri.t EpilCopal Chum. J. Koren McKlnneYJ First Congregational, Los gene Roan; organ works by Balcom, Buck Roanoke. v •. Angeles, CA 6-10 pm and Sowerby; Westminster Choir College, Wildwood Road Princelon, NJ 8 pm Recitals Peler Planyavsky, Schoenberg Hall, UCLA. Califon, New Jersey 07830 Los Angeles. CA 8,30 pm James Moeser, Plymouth Congregational, lawrence, "S 8 pm 7 FERUARY frederick Swonn. for Madison. Wt AGO 10 FEBRUARY Odlle Pierre, RlDS Auditorium, Independ. John Pagett, Flhh Avenue Prewyterian, ROBERTA BITGOOD CHARLES BOEHM ence, MO B pm New Yorlc, NY 12 noon TRINITY LUTHERAN CHURCH Antone Godding, worluhop, Groce Epis­ Coronation Anthems by Handel, 51 Thomas Church. New YOlk. NY 7,30 pm Fir.' Congregolional Church Hicksville, N.Y. copal. Ponca City, OK 9 om Paul Pisk, ledure, "80th In Our Time," Jon Gillock, all-Messiaen, Church of 'he SA TTLE CREEK, MICHIGAN NASSAU COMMUNITY COLLEGE First Congregational, Los Angeles. CA 10 Ascension, New York, NY 8 pm Garden Clly, N.Y. am; followed by Pree,hi de Silva, harpsl. Henry Cook, Tenth Presbyterian, Phllodel· chord, B pm phia, PA 12:05 pm Gillian Weir, St Alban's Abbey. England Cdile Pierre, 51 Mark's lutheran, Williams­ port, PA THOMAS BRANTIGAN JOHN BULLoUGH B FEBRU ARY Virgil Fox, Marina AudllOllum, Panama D.M.A. A.8. M.S.M. Ch.M. Peter Planyavsky, Old West Church, Bas.­ City, Fl 8 pm George Baker, Southern Oregon College. University of N.b,.ska at Omaha Farl_lah DI(klnson University I on, MA 3:30 pm Ashland, OR Dund.. p,•• byte,ian Church Teaneck, New Janey The Cambridge Quartet wlth atgan and Man in B minor by Bach, First Congre. Worbhopt in Organ and Choral Memorial M.,hodi.t Church orchestra, Christ Church. South Homllton, gational, los Angeles. CA 7:30 pm Technique., Psycho'olY and Music White Plain •• New Yorlc MA 5 pm Charles Krigbaum, portalive organ; string ensemble; Sprague HaU, Yale U, New 11 fEBRUARY 1 Grucrutcin A ward Sponsor Haven, CT 8:30 pm George Grice Jr, tenor, South Congrega­ ARTHUR CARKEEK • AUen Milb, Cathedral of AU Sainb, Al­ tional. New Britain, CT 12;05 pm CHICAGO M.S.M. A.A.O.O. • bany, NY 4;30 pm Music of Henry Purcell, S. Thomas Church, CLuB OP Elaine Marte Sheehan, wprono, Holy Trln· New York, NY 12:10 pm DePauw University Organist , W OMEN Ity lutheran, Buffalo, NY 5 pm lornalee Curtis, oll-Boeh, The Julllla,d Gobin Memorial Church John Weaver, Temple Emonu.EI. New School, New York, NY l ORGANISTS Clifford Thomson, baritone, St John's Epis­ GrrenClJtle, Indboa York, NY 3:30 pm Ellcn .Lolbcrg, President Chamber Musk Concert, Modisan Avenue copal, Washington, DC 12:10 pm • Presbyterian, New York, NY 4 pm Vernon Wokott, Trinity Church, Toledo, Alto Rhapsody, Song of Destiny by Brahms. OH 12:10 pm St Bartholomew's Church, New Yotk. NY 4 Timothy Zimmerman, First St Andrew's Bo6ert ClarA Harry E. Cooper pm United Church, London. Ontario 8130 pm William Whitehead, Calhedral of St John Gillian Weir, Liverpool Cathedral, England School of Music I he Divine, New York, NY 4:30 pm UniverSity of Michigan Mus. D., F.A.G.O. Cantata 97 by Bach; Frederick Grimes. 12 FEBRUARY orga n; HQly Trtnity lutheran, New York. Daniel Beckwith, St Thomas Church, New Ann Arbor RALEIGH, N. CAROLINA NY 5 pm York, NY 12:10 pm Gall Walton. St Thomas Church, New Cdlle Pierre, Douglass College Chapel, York, NY 5: 15 pm Rutgers U, New Brunswick, NJ Lornolee Curtis, all·Bach, St Mary's Ab· Rosa Rio, Kirk of Dunedin, Dunedin. fL MICHAEL CORZINE bey, Morristown, NJ 4 pm Douglas l Butler, American keyboard mu· WALLACE M. COURSEN, JR. Singing City Choir, Elaine Brown. dlr; sic, Oregon State U, Corvallis, OR School of Music F.A.O.O. Bryn Mawr PresbyteriQn, Bryn Mawr. PA 8 pm Florida State University CHRIST CHURCH 13 FEBRUARY lynne Maust Scott, clarinet, Karl HaNoney, Albert Williams, Church of Sf John tM Tallahassee BLOOMFiElD AND GLEN RIDGE. NJ. pla no; Trinity United Church of Christ. Han­ Evangelist, Baston, MA 8 pm PA over, 3;30 pm lenota McCroskey, Memorial Church. Har­ William Herring, 51 Winifred Churm. Mt vard U, Cambridge, MA 8,30 pm lebanon. Pitlsburgh, PA 3 pm Frederick Swann, First United M.thodlst, Festival of Hymns, James Evans, dlrl Mt l"bbcck, TJ( DAVIDSON DELBERT olSSELHoRST l ebanan United Presbyterian. Pittsburgh. George Baker. lewis and Clark Coll-ae, PA Portland, OR DMA Virginia Reinecke, piano, Cathedral of J.~F . SUUl. L Charles Benbaw, leningrad. USSR (0110 MSM, M 0 ClaM MSM. ChM UnJu,.lIy of Iowa Mary Our Queen, Baltimore, MD 5130 pm Feb 14) Harp.r Co,f'91 TM .,.. byt.ri •• Chard. Desmond Alston, violinist, Lutheran Church P.'atlnl, illinois ",.,IIt,lon, IIIlllois Iowa City Iowa of the Reformation, Washington, DC 3 pm Chain of Trinity, Concord and Our Ro­ U FEBRUARY d eemer Churches (Lexington, MA), Washing. Robert Parris, Senior Choir, Church of I on Cathedral, Washington, DC 10:30 am; the Ascension, Rochester. NY 1 pm KATHRYN ESKEY Choir of All Sainh Church (Worcester, MA, Virgil Fox, Municipal Theatre, Mobile, Al EUGENIA EARLE 3 :30 pm B pm Teach.r. C.II.... Columbia University The University of William McGowan, Coral Ridge Presby· I erion, Fort Lauderdale, FL 4:30 pm 15 fEBRUARY Harpsichord Recitals North Carolina Nona Eubanlu, Christ Church Cathedral. Nesta l Williams, St George" Church. Performance Practice Work5hops New Orleans. LA 4 pm Curham, NH 4:30 pm at G, •• nsbaro Karel Paukert, Museum of Art, Cleveland, Scott Cantrell, Cathedral of All Saints. IS w.st Mth S". _. New Yotlf, N.Y. 10014 OH 2:30 pm Albany. NY 4:30 pm Kenneth SO$.S, Central United Methodist. Roberta Bilgood, Hoty Trinity Lutheran. Detroit, MI 4 pm 8ulfa~o. NY 10130 am GEORGE ESTEVEZ lange Eor:y Musk Ensemble. First Can· Kathleen Thomerson, Trinity Eplscopol, aul· EARL EYRICH 9 regational. Grand Rapids, MI 4 pm 1010, NY 4 pm ,h.m. Church Music Workshop, School of Music. Robert Cane, Church of the Redeemer. 51. Stephen's Church I ndiana U. Bloomington, IN (Ihru Feb 11) Brooklyn, NY 4 pm Chic.,. Chamber Choir (Episcopal) Church of Our Saviour Dexter Bailey, organ; Donold Pecic, flute; Hora Novlssima by Parker, Sf Barthola­ Rhode Island College sI Matthew's LutherQn, Chicago. 1L 3130 pm mew's Church, New York, NY 4 pm Columbia Call... Providence George Balcer, St John's Lulheran, Un­ Chamber Music Concert, ModllOn Avenue co:nwood. IL 4 pm Presbyterian, New York, NY • pm Junior Choir Festival, Faith lu:heran, John Weaver, Cathedral of 5t John tht. Chari•• H. Ph, D•• F.A.G.D. G:en Ellyn, Il 4 pm Divine, New York, NY 4:30 pm Fred.!rick Swann, masterelass for Madison, Cantate. i3l by Bach; Fr.c:ferlck Grimes, GEORGE FAXON WI AGO organ; Holy Trinity Lutheran, New YOfIe, George Rilchie, Clavierubung III by Bach, NY 5 pm TRINITY CHURCH FINNEY Chairman, Divi.ion of MUllc & Art Concordia Teachers Callege, Seward. NB Alvin lunde, St Thomas Church, New B pm York, NY 5:15 pm BOSTON Houghton College, Houghton, N.Y. Houghton W.sl.yan Methodi.t Church Children's Chorale. Duone Wolfe. dirJ St West Side Madrigallsb. fin. Unitarian, J ohn's Cathedral, Oellver, CO 4 pm Brooklyn Heights, NY 7 pm

18 THE DIAPASON Peter Planyovsky, United Methodist Churc:h, 20 FESRUARY Red Bank. NJ .. pm James Hlgbe. Christ Church. South Homi~ A MUST FOR EVERY ORGANIST Pocono Boy Singers, Mautoh lutheron. ton. MA 8:30 pm THE DIAPASON South Williamsport. PA 7 pm Clarence Wa"ers. Christ Church, Riverton, ($7.50 a yltar-$13.00 for two yean) Karl E Moyer. American organ music. NJ Millersville Stote College. Millersville. PA B Marilyn Keiser. St luke's EpISO)pal, Bir­ Do not Mnd cash pm mingham, Al koren Keene, Fint United Methodist. Erie, Gerre Hancock. workshop for AGO and Send THE DIAPASON for _____ yeans) 10 PA 4 pm University 01 Tennessee, knolCVllle, TN (also Paul Hoffmann, piono. Cothedral of MDry Feb 21) Enclosed Is $, ____ Our Queen, Baltimore. MD 5:30 pm Odile Pierre. Berea College, Berea, ICY Name Bach Society of Baltimore, American mu· Festival of the Arts, Fairmount Presbyter. sic. Goucher College. Baltimore. MO 8 pm ian, Cleveland Heights. OH Ithru Mar 3) Street THE DIAPASON Concert by musid ons from UniVfJrslty of todd Thomas. St John's EpiKOpol, Los Maryland, Watohlngton Cathedral. Washing­ Angeles. CA 434 Soulh Wabash Ave. ton. DC 4 pm City ______--=~-~_ Lowell lacy, Coral Ridge Presbyterkln. 21 FEBRUARY Chicago, III. 60605 Fort lauderdale, Fl 4:30 pm pocono Boy Singers, for lehigh Valley State Zip karel Paukert, Museum of Arl, C~velond . AGO. Redeemer lutheran. All entown, PA OH 2130 pm 8 pm John ChrisHan. lakewood United Meth­ Marilyn Keiser, workshop. St luke's Epl .. odist. lakewood, OH 8 pm copal, 8lrmingham. Al Robert Griffith, First Congregational, William Teague, Sf Mark's Eplscopol. Robert Finster HENRY FUSNER Columbus, OH 8 pm Shreveport. LA 8 pm DMA S.M.D .. A.A.G.O. Robert Glasgow. "Mosten of German Counterpoint," Firt.t United Methodist, Dear. St. John'. Cathedral First Presbyterlon Church 22 FEBRUARY born. MI 8 pm Musical Service, Slate Street Church. Port· Denver Nashvllla, Tennen.. 37220 Clyde Holloway. First Congregational. In­ land, ME 4 pm dianapolis, IN Music and the Silent MDvie Era, Thomas MCI$I in G by Vaughan Williams; Cantata Schmutzler. piano; Emanuel Congregational. 92, Concerto. in C and C minor for 2 harp­ Hanford. CT 4 pm sichords by Bach; louisville Bach Society, Colvin Hampton. Woolsey Hall, Yale U, Antone Godding LESTER GROOM Calvary Episcopal, louisville. ICY 8 pm New Hoven, CT 8:30 pm of School of Music Seattle Thomas G Harris. Choir of the Church Betty Valenta, Cathedrol of All Saints, the Atonement; at Ebenezer Lutheran, Chico­ AlbanV, NY 4:30 pm Ii_hop W. Angi. Smith Chapel Scuttle Pacific. Church oC the go, Il 4:30 pm George Ritchie, Clo'f'lerublMU III by Bach. Collego Aac.en8ion George Ritchie, Clovierilbung 111 by Boch : Oklahoma City University Sf Paul's Cathedral. Buffalo, NY 5 pm 98119 98199 First Plymouth Church. lincoln, N8 8 pm Chamber Music Concert, Madison Avenue Royal Jennings, American organ music. 0 Presbyterian. New York. NY 4 pm Central Park Christian, Topeka, KS 3 pm Samson by Handel. St Bartholomew'S Bicentennial Music, St Mark's Episcopal, Chu rc.h, New York.. NY .. pm E. LYLE HAGERT DAVID S. HARRIS Shreveport. LA 4 pm Cantata 18. lrondenburg Concerto VI by TX David Brittan. First Presbyterian, Tyler. Bach. Holy Trinity lutheran, New York, Church of Our Saviour 8 pm NY 5 pm GetbscmaDe Epbcapol Church George Baker. Walla-Walla College. Col· Akron, Ohio Robert Ampt. St Thomas Church, New JdlnncapoUs, Mlun.... ta 55404 lege Ploce, WA York, NY 5115 pm Organ DouglO$ l Butler. Amerkan music, First Cantatas 78 and 180 bV Both; first Pres­ Unltarlon. Portland, OR byterian in Germantown, Philadelphia, PA Victorian Evensang, Hora Noviuima bV 4:30 pm Porker; Choin of All Saints and the Neigh­ Pre·Lent "Pops" Concert. Emmanue l Church. WILL O. HEADLEE borhood Church; for Pasadena AGO at All Baltimore, MD 4:30 pm Yuko Hayashi Saints Church, Pasadeno, CA 7 pm Alvin lunde, Cathedral of Mary Our SCHOOL OF MUSIC Odlle Pierre, Christ Church Cathedral, new england conlervatory Queen, Boltimore, MD 5:30 pm Ottowa, Ontario U of Kentucky Chorale, Washington Calh­ old west church SYRACUSE UNIVERSITY dral, Watohlngtan, DC 10:30 am boston SYRACUSE, NEW YORK 13210 16 FEBRUARY Xavier Darasse, All Souls Unitarian, Wash­ Robert Schuneman. Trinity lutheran. WrH· ington. DC 4 pm cester. MA 8 pm Choral EV8MOng. Bethesda by the Seo Kathleen Thornersan. worluhop on mutoic EpiKOpaI. Palm Beoch. Fl4 pm SAMUEL HILL or langlois. State U, Fredonia , NY 4 pm Dione Bish, Coral Ridge Pretobyterian, VICTOR Hill Stephen Rumpf, harpsichord and virginal, Fort lauderdale, Fl 4:30 pm St. Paul'. Church Second Presbyterian. New York, NY 8 pm Karel Paukert. Museum of Art, Cleveland. Chic:ago, DUnois Horp.khord Judy and Gerre Hancock, duo organ re­ OH 2130 pm Canhag< CoUege dial. Covenant Presbyterian. Charlo"e. NC Richord Benedum. argon. JukJne Rodgers. William. Calles. 8 Kenosha, Wi5consln pm horpskhord, WiIlKJrn Stahl. horn; U of Doy­ Wiltiamstown. Ma ••• 01267 ton Bross Ensemble, R Clair Miller. dir, 17 fEBRUARY Seventh-Day Adventist Church, Kettering, OH Virgil Fa", New Hoven Svmphany, Woolsey 8 pm Hall, New Haven, CT 8:30 pm Music by Amerkan Composert.. Chrbt Harry H. Huber d. deane frederick Mooney, Cothedral of the Soc­ Church. Cincinnati, OH 5 pm M.Mu•. red Heart. Newark, NJ B:30 pm Gerra Hancock. Firt.f Wayne Street United Hora Novillima (e"cerpU) by Porker; The Methoditot, Fort Wayne. IN 7r30 pm Kansas Wesleyan University hutchison 'eacable Kingdom by Thompson; The Ora. Robert Rayfield, all-Sowerby. Cathedral University Methodist Church toria Cheir, Bristol Chapel, Westminster Chair of SI James. Chicogo. Il 3 pm SALINA, KANSAS portland, oregon College. Prlncelon, NJ 8 pm Roy SIIII. oboe; Morgan Simmons. organ; Jane Masorek. Tenth Pretobyterian .. Phila­ Fourth Pretobyterian, Chicago, Il 6:30 pm delphia. PA 12105 pm De"ter Bailey. organ; Donald Peck. flute, Paul Callaway. All Saints Church, Atlanta. St John's Cathedral, Milwaukee. WI 3:30 pm FRANK IACINO ELLEN KURTZ GA 8d5 pm Fairview H S Concen Choir. Ron Revier, Organ Virtuoso Cdile Plene. St Philip's Cathedral, At ­ dlr; Sf John's Cathedral, Denver, Co 4 pm lanta. GA 81\5 pm Annual "Che~nuts" Redial Church 01 the Recording Artist JACOBSON For recital bookings, writ. 101 Arthur Poister, masterdat.Hlto for Miami, Blessed Sacrament. Hollywood. CA 4 pm M.Mul. A.A.G.O. FL AGO Pomona College Glee Clubs. William Rus­ Frank Vincent George Bolter, Plymouth Congregational, .sell. dlr. SI Mark's Episcopal, Glendale, CA 161 Oakwood Ave•• Apt. 304 Concord, California Seattle, WA 8 pm 4pm Toronto, Ontario, Canacla Charles Benbow. Novosibirsk. USSR (also Charles 6enbow, Conservatory of Music, Feb IBI Mw. USSR KIM R. KASLING 18 FEBRUARY 23 FEBRUARY James Kibbie D.M.A. Sondra Denmead. soprano. South Congr. George Ritc:hie, Clavierubu"g III by Bach. Holy Family Church gallanol. New Britain. CT 12:05 pm Sf John's Episcopal, Young~own. OH Wnlem Mithlgan University Muslc of Sowerby. St ThomO$ Church, New Joyu Jones. Boylol- Symphony. WOeD. fir.t Congregational Church York, NY 12:10 pm TX (repeat performances thru Feb 26) Fort Worth, Texas Anthony Newman, all·Bac:h. Alice Tully Kalamazoo, Michigan Hall, New York. NY 8 pm 24 fURUARY Robert B Dobie, St John's Episcopal, Wash­ William Evan3. Tenth Presbyterian. Philo­ Ington, DC 12110 pm delphia, PA 12:05 pm GEORGE E. KLUMP Roben Toth. Trinity Church, Toledo, OH SHARON KLECKNER Gerra Hancock. Fint Presbyterian. laurel, House of Hope 12:10 pm MS DIVISION OF THE ARTS Gillian Weir. Royal Festival Hall. london. George Rilchie, ledure-demonstration, Presbyterian Church DALLAS BAPTIST COLUOB England Youngstown State U, OH St. Paul, MN 55105 Xavier Dora»e. St John's Abbey Church. Recitals DALLAS, TEXAS 75211 19 fEBRUARY eoHegeville, MN 8 pm Jeannie MDrris, SI Thoma. Church, New DovJd BriHon. Caruth Auditorium, South· York, NY 12:10 pm em Methodist U. Dallas, TX B: 15 pm John W Helzer, Groce Church. New York, NY 12:30 pm 25 FEBRUARY Virgil Fa", Recreation Center. Anderlon. Arthur laMirande HUW LEWIS lotry Allen. South Congregational, New SC Recitals Cdile Pierre. masterelou, Berea College. Britain, CT 12:05 pm Chorol Eucharist, music of Byrd. SI Thomas Church of the Holy Name of Jesus aerea, KY Church, New York, NY 12:10 pm Saint John's Church Gerre Hancock. Church Street United New York, N.Y. 10025 so East Fi,Ir." De,roit. Ml4820J Methodist. Kno"ville, TN {ConliftuecI, pa"e 20}

FEBRUARY, 1976 19 CALENDAR (ConI. lrom p. 19) Gillian Weir, harpsichord; Cambridge Players; concerto program, Cambridge, Eng· David Lowry land RICHARD W. L1TTERST Woodrow Wi"son Chamber Choir, Jean· School or MtI~ic net'e Wells, d r: St John's Epist:opal, Wash· M. S. M. ing:: n, DC 12=10 pm 1 MARCH SECOND CDNaEGATlDNAL CHURCH \'.,.'inlhrup ColIl'Hl' Ka el Faukert, harpsichord: Samuel Tim· Wolfgang Rubsam, Church of SI John lhe berlake, baritone; Cleveland Camerata; Mu· Evangelist, New York, NY 8 pm R()("k Hill. Soulh Carolina 297:n Marl:yn Keiser, Maryville College. Mary. ROCKFORD, ILUNOIS seum of Art, Cleveland, OH 8 130 pm lyle Hecklinger. Trinity Church. Tofeda. ville. TN OH 12LlO pm ERIC McDONALD, Han. RSCM •• Ch.M. Organ certificate - University Singers, Concert Choir, Cham 2 MARCH Organ Music Academy. Plstal •• lIaly ber Singers, Eostern Kentul;ky\ U, Richmond , Daniel Roth, Cathedral of the Sacred Organ SchOlar William MacGowan KY 7:30 pm Heart, Newa.k. NJ 8:30 pm Mr. McDonald Is one of the few erganLLtl Gerre Hancock, workshop. f irst Presby­ William Ril ey, Arch Street Presbyterian, 10 pioneer "rly church music and Is an Bethesda-by-the-Sea terian, Laurel, MS Philadeiphia, PA 12:05 pm expert of Its Interpretation and the Art of Improvisation as well as Composer. Gillian Weir, St Theresa's Church, Dublin, University Concert Choir, Western' Michi. gan U; at Holy Trinity Lutheran. Buffalo, SaIni Louts, Missouri 63115 Palm Beach, Florida Ireland NY 8 pm 26 fEBRUARY Robert S. lord, Heinz Memoria l Chapel, Stephen Kolarac. St Thomas Church, New Pittsburg h, PA 12 noon FREDERICK L. MARRIDTT York, NY 12110 pm Ciyde Hollaway, First Presbyterian. Fo rt JAMES R. METZLER Virgil fox, Wallace Hall. Gadsden, AL Wayne, IN 8 pm ORGANIST - CARIUONNEUR University of Iowa Organ Workshop. Iowa James Moeser. Fi rst Presbyterian, Tulsa, KIRK.IN.THE.HILLS TRINITY CHURCH City. fA (thru feb 28, O K 7:30 pm Missa Solemnis by Beethoven, Monlreal BLOOMFielD HILLS, MICH. 4B013 TOLEDO, OHIO 27 FEBRUARY Symphony Orchestra a nd Chorus, Fra nz·Paul Organist, Th. Detroit Symphony John Rose, Shrine of the Immaculate Con­ Decker, d ir; Montreal, Quebec {also Mar 3} ception, Washington, DC Gerre Hancock. Church of the Magdalene, 3 MARCH Wichita, KS Ash Wednesday Service, music of 8oirstow WILLIAM H. MURRAY CARLENE and Allegri. St Tho mas Churc h, New York, MUI.M FA.G,O. 2B FEBRUARY NY 12:10 pm NEIHART Augustana College ChOll, Donald Morri­ Requiem by Durufle, Princeton H 5 Chair. St. Andrew's EpiKopal Church son, dir; Groce Lutheran, Glen Ellyn, Il first Presbyterian in Germa ntow n, Philadel­ Chureh of the Mediator Meyer and Womall 7130 pm phia, PA 7 e30 pm Chicago, Ill. Kansas City, Missouri 64113 Gerre Hancock, workshop. Wich ita. KS 9 am " MARCH Anita Eggert Werling, St Thomas Church, 29 FEBRUARY Ne w Yo rk, NY 12110 pm JOHN KEN OGASAPIAN Plymouth State College 8rass Ensemble. frank a. novak St Luke's Cathedral, Portland, ME 4 pm S MARCH frank Novak and his friends, Holy Trinily HOLY TRINITY LUTHERAN Saint Anne's Church Douglas L Butler, Bicentennial program, lutheran, Buffalo, NY 5 pm Woolsey Hall, Yale U, New Hoven, CT 8:30 CHURCH MauachuleHI Stale College Geoffrey Smith, Cathedral of All Saints, pm 1080 Main lowell Albany, NY 4:30 pm Buffalo, N.Y. 14209 William Teogue, Mansfield Slate College, Robert Parris, first Lutheran, Lyons, NY Mansfield, PA 7 pm Church Music Workshop, Helen Kemp, Chamber Music Concert, Madison Avenue Wilma Jensen; Virginia Intermont College, Presbyterian, New York, NY 4 pm Brislal, VA (thru Mar 6) RICHARD M. PEEK FRANKLIN E. PERKINS Stabat Maler by Poulenc, St Bartholo­ Russell !iaunders, F~rida Slate U, Talla· Ph.D. mew's Church, New York, NY 4 pm hassee, FL Sac. MUI. Doc. Canlata 22, Concllrta for Harp'ichord in huw lewis, St John's EplKopal, Delroit, The Ladue Chapel A by 8ach; Harold Chaney, harpsichord; MI 12:15 pm Covenant Presbyterian Church The John Burroughl School Holy Trinity lutheran, New York, NY 5 pm Robert Reuter, Fourth Presbyterian, Chi­ 1000 E. Morehead CharloHe, N. c. St. Louis, Missouri Harold Stover, St Thomas Church. New cago, IL 12:10 pm York, NY 5: 15 pm Jay Peterson, MacMurray College, Jock· Recital by former Memorial Church organ. sonville, IL 8:15 pm ists, First Memorial Presbyterian, Dover, NJ Gillian Weir, Hindley Parish Church, Hind. ARTHUR A. PHILLIPS George H. Pro 3;30 pm ley, England Welsh Music Festival, Pocono Boy Singers, MGO ChoM. F.T.C.L D.M.A. East Stroudsburg State College, East Strouds­ burg, PA 4 and 8 pm 6 MARCH St. Albans Congregational Church Cae College Handbell Festival, St Paul's Episcopal, Mt Clarence Wallers, workshop on music of Cedar Rapids, Iowa 52402 lebanon, Pittsburgh, PA Dupre, Irinity College, Hartford, CT 172-17 St. Albans, N.Y. 11434 Virgit fox, Shays tsuffalo Thealre, Buffa:a, Virgil fax, Indiana U of Pennsylvania, In· diana, PA 8 pm NY 8 pm Pre-Lent "Pops" Concert, Emmanuel Pocono Boy Singers, Mining and Mechani· Church, Baltimore, MD 4:30 pm col Institute Auditorium, Freeland PA Lloyd 8owers, harpsichord, Cathedral of Russell Saunders, mastercloss, florida State MYRTLE REGIER J!ee /0.Jf}wa';f Mary Our Queen, Baltimore, MD 5:30 pm U, lallahassee, fL James A Da:e, U S Naval Academy, An· Clyde Halloway, First Methodist, Houston, Mount Holyoke CoUeg. Trinity Episcopal Church napalis, MO 4 pm TX Topsfi.Ic:I, Massachusett. 01983 John Rose, St Ann's Church, Hagerstown, Gillian Weir, recital and BBC recording, South Hadler, Massachu.. tt. Recita', MD 7:30 pm Royal Northern COllege of Music, Manthesler, John Pagett, First Presbyterian, Hender­ t:ngland sonville, NC 4 pm Jeanne Rizzo, Coral Ridge Presbyterian, 7 MARCH K. BERNARD SCHADE Robert Shepfer fort Lauderdale, Fl 4:30 pm Russell field, Cathedral of All Saints, AI· S.M.M. Judas Maccabaeul by Handel, Central bany, NY Organist - Choirmolter Christian, Warren. OH 7 pm Chamber Music Concert, Madison Avenue STATE COLLEGE SECOND PRESBYTERIAN CHURCH EAST STROUDSBURG, PA. Karel Paukert, Museum of Art, Cleveland, Presbyterian, New York, NY 4 pm Indianapoli., Indiana 46260 OH 2 130 pm Requiem by Mozart, S, Bartholomew's Workshops CInd lectur•• Eli jah by Mendelssohn, Fairmount Presby. Church, New York, NY 4 pm The Kodaly Choral Method Recilols terian, Cleveland Heights, OH 4:30 pm Judith Hancock, SI Thomas Church, New William Kuhlman, Grace lutheran, A'bert York, NY 5:15 pm lea, MN R.. quiem by Verdi, Church of the Ascen­ Earl American Moravia n Music, Westmins­ sion, New York, NY 8 pm L. ROBERT SLUSSER ler Presbyter,an, lincoln, NB 4 pm "16th Century Worship and Music at St MUS. M., A.A.G.O. Ca .• ta,a 73 by Bach, First United Metho· Mark's Basilica, Venice; First Presbyterian, ROLLIN SMITH dist, San,'a Barbara, CA 9:30 and II am Orange, NJ 5 pm LA JOUA PRESBYTERIAN CHURCH Chamber Music Concert, Immanuel Presby. Barbara English Maris, piano, Cathedral erion, Las Angeles, CA LA JOUA, CALIFORNIA RECITALS of Mary Our Queen, Baltimore, MD 5:30 pm 1150 Forty-first Stref"I, Brooldyu, NY 11218

NORMA STEVLlNGSON George Norman Tucker Staplin Mus. Bach. Carl D.M.A. FREDERICK SWANN Ph.D., A.A.G.O. The Riverside Church ST. LUKE'S CHORISTERS Drake University Univ.rsity of Wisconsin-SuperIor Pilgrim Lutheran Church Kalamazoo University Christian Church SUp.tiOl, Wisconsin 54850 New York City DES MOINES, IOWA BOY CHOIRS

Mus. Doc., F.A.G.O. JOHN TUTTLE, FAGO ADOLPH STEUTERMAN Saint Paul's Anglican Church WA-Ll-RO solly s/ot/e womer l.a.g.o. ch.m. Southwestern at Memphll 227 Bloor Street East BOY CHOIR Toronto, Ontario CHURCH OF Calvary Episcopal Church M4W lC8 WARREN C. MILLER - DIRECTOR ST. JOHN THE EVANGELIST Memphis, Tennesse. recitals instruction Christ Church, Shaker Heights 22, Ohio Belcon Hill Badon

20 THE DIAPASON Vcusor College Ch ok'. Washington Coth. Gillian WeIr, Emmanuel Episcopal. Seattle. drol, Washington, DC 6 pm WA Music from Merrie Olde Eng land, Covenant Presbyterian, Charlotte, NC 4:30 pm S .JOHN HOLTZ 13 MARCH I David lennox Sm ith, Bethesda by the Sea Faculty: HARn COLLEGE, University of Hartford Episcopa l, Palm Beach , FL 4 pm Arthur Polste r. masterclasses for Norfolk, l Morgaret McAllister, Coral Ridge Pres­ VA AGO ~ Organist: CENTER CONGREGATIONAL CHURCH, Hartford byterian, fort lauderdale, fl 4:30 pm David CraIghead. workshop. First United J Marcus Ritdde, Market Square Pruby­ Methodist. Fort louderdale. Fl terlon, Harrisburg, PA TrI-Chapter Conclave sponsored by los German Requiem by Brah"". Centrol Angeles AGOJ Royce Hall. UC LA. los An­ United Methodist. lansing. MI .. pm geles, CA 1 pm MARIL YN MASON Meutah (Easter portion) by Handel: chain CHAIRMAN. DEPARTMENT OF ORGAN from six churches. at flnt UnTted Methodist. 14 MARCH UNIVERSITY OF MICHIGAN Dearborn. MI B pm Sates College Choir, Morlon Anderson. ANN AUoa Tulane U Choit, John M Kuypen, din d in St luke's Cathedral. Portland. ME 4 Christ Cl\urch Cathedral. New Orleans. LA pm "Mit. MtrHtI playacl wit" avllerJty ond leMtVe, tlemoftlftflflnf ttMW 4 pm Choral Eve nsong. Christ Church. South It., e.. fJaortl1nary fadl"rty ••• ,. Oat Mol .... R,,"If, Oct..., 5, 1964 U of Northe,n Colonxlo Concert Choir. Hamilton, #tIIA 5 pm Howard Skinner. dlrl SI John's Cathedral. H Wellington Stewart, Cothedral of All Oenvet, CO 4 pm Sainls. Albany, NY 4t30 pm Pottorale Ma .... by Dlabelb. Chorat Fan­ Chamber Music Concert. Madison Avenue THE TIM.LE todo by Holst, St Bede's Episcopal. Menlo Presbyterian. New York. NY 4 pm Park. CA 8 pm Mau (excerpts), Chichester Paalms by LARRY PALMER C...... Oh .. 44106 Inte,denomlnatlonal Junior Choir Festival. Bernstein. Sf Bartholomew's Church. New Riviera United Methodist, Redondo Beach. York. NY -4 pm Harpslckortl - Organ CA 3130 pm Randall Mullin. St Thomas Church. New DAVID Interdenominational Junior Choir Festival. York, NY 5115 pm Southern Methodist University Glendal. Presbyterian, Glendale, CA 3130 John PageH, ledurMemonstration on pm music of Oupr'. for Staten Island Chapter GOODING Jelll Romano, St Mark's Episcopal. Glln­ AGO. NY Or,aalstaCholrmaster dole, CA Larnolee Curtis, all-Bach. St Mary's Ab­ THE CLEVELAND ORCHESTRA bey, Morristown. NJ .. pm Saint Luke's Episcopal Ck.rcll a MARCH Requiem by Verdi, choir of FIrst Presby­ MUSICAL HERITAGI SOCIETY Donald McDonaki and Eugene Raon. 0"'" Dallal, Texas terian In G.rmantown, Robert Carwlthen. RECORDINGS gan worles by I .... s. Perskhetti ond SowerbYI dir; Ocean Grove, NJ Westminster Choir College, Princeton, NJ 8 Deborah l Wallace. All Saints Church, pm Prif1Clllton. NJ 4130 pm) fol~d by Choral Evensong, 5 pm , MAIICH PlOlm 1'3 by Uszt. Tenth Presbyterian. Organ Builders, Inc. Uonel Ragg. O\urch of the AJcenslon. New PhUod.lphlo. PA 5 pm York, NY 8 pm Festiyol of Slngklg Children. Helen Kemp. Either Wideman. Arch Street Presbyterian. dlr. Bryn Mawr Presbyterlan. Bryn Mawr, MARTHA FOLTS Philadelphia, PA 12:05 pm PA 4 pm G. F. ADAMS Paul Callawoy. Westmlmter Presbyterian, Jeffrey Uhlig. plano. Trinity United Church Traditional Uncoln. NB 8 pm of Christ, Hanover, PA 3~30 pm Clyde Holloway. Fint Methodist, Hounon. Cherry Rhodes. Trinity lutheran, Camp TX HIli. PA 8 pm Recitals: 204 West Houston Street Eileen Morris Guenther, Cathedral of 10 MAIICH tw\ory Our Queen, Bahlmare. MO 5:30 pm Mu.1e of S 5 Wesley, St Thomas Church, Herman Berllnsl". UCC Auditorium. Baltl. Avant-garde New York, New York 10014 New York. NY 12t 10 pm more. MO 7:30 pm Lomalee Curtis. alt..8ach, The Jullllord John McCarthy. Coral Ridge Presbyterian. 6337 Jack,.n St,.et School. New York. NY Fort lauderdale. Fl 4130 pm Telephone. OR .... UliIO Xavier Dorasse. Seventh-Day Adventbt Barbie Houser. plana. Christ Church Cath. Pi".bur,h, Po. 15206 Church, KeHerlng. oH 8 pm edral. New Orleans. LA 4 pm Russell Saunden. Central PresbyterIan. Roberto Gory. First Congregationol. Co­ Oes Moines, IA lumbus. OH 8 pm Gillian WeIr. Cathedral Church of the Henry lowe. Christ Church. Cincinnati. C. GORDON Redeemer, Calgary. Alberta OH 5 pm CLARENCE WATTERS JHchard Heschke. Flnt Baptist, Peotkl. Il RECITALS 11 MAlICH 3130 pm WEDERTZ Harold Pysher, St Thomas Church. New Interdenominational Jun50r Choir festival. St. John's Church 2534 w... Jlath St. All Solnt, Eplscopol. Pasadena. CA 3:30 pm York, NY 12tl0 pm W. Hortford, Connecticut ClDCAGO 606!1!1 lion.1 Rogg, Douglas College. Rutgers .eioie. in the Lomb. Tu ., Petnn, Te Deum U. New Brunswick, NJ by Brlnen, Blessed Souament Church. Holly· Terry Charles, Kirk of the Ounedln, Fl wood. CA 4 pm John Barry. St Marlc's Episcopal. Glen­ DAVID A. dale, CA 12 MAIICH HARRY ARTHUR WELLS Douglas l Butler. Benefit Concert for or­ Trlnhy Luther ... Chlmh gan at Memorial Auditorium, Worcester, 15 MARCH Frederick 0 Grimes III. organ; Harald WEHR Washl,...... Stat. UlIlvenity #tIIA 8 pm Chaney, harpsichord; St Ignatius Church. Eastern Kentucky Unlnnlty , Pullman 99163 David Cralghaad. First United Methodist. Rldunond, Kentucky Fort lauderdale. Fl New York. NY 8 pm Huw lewis. St John's Episcopal, Detroit. Todd WlI.on. St John's lutheron. Forest MI 12:15 pm Park, Il 8 pm Morgan Sirrunans, Fourth Presbyterian, Uonel Ragg, Christ Church Cathedrol, St Chicago, Il 12110 pm louis. MO HARRY WILKINSON DONALD WILLING Virgil Fox, First Plymouth Church. lincoln. Daniel Roth, Trinity Presbyterian. St louis. Ph.D•• F.A.G.O. N8 MO faculty ST. MARTIN·IN.1HE.FIELDS Narth le)l;a, Slat. University Chennut Hill. Philadelphia Den',," LAWRENCE Vernon tie Till' WEST CHESTER STATE COLLEGE. PA. f.A .G.O., Mus. Doc., S.M.D. ROBINSON Church of the Ascension Fifth Avenue at Tlnlh Street DONALD W. WILLIAMS New York, N.Y. 10011 D."'.A. RONALD WYATT VIRGINIA COMMONWEALTH UNIVE15rrY The Juilliard School Zion Lutheran Church TrIol,y Cbwdl RICHMOND, VIRGINIA Recitals Organ and Choral Workshops Ann Arbor, MI Calvalon.

ALEXANDER BOGGS Recitals and Moster Claues Gary Zwicky Recordings: Organ Consultation DMA FAGO AEollan·Sklnner (S326) Ea,t.,.. IOlnoll Uni.... rsIty RYAN Cathedral Church of Christ the King • Aural Press C_ CONCERT ARTIST Kalamazoo, MI

Organ Builders • Rebuilding * FRANK J. SAUTER and SONS Inc. * • Repairing phones: 388·3355 • ContracturalSenncing 4232 West 124th Place PO 7-1203 Alsip, illinois 60658 For Unexcelled Service

FEBRUARY, 1976 ~! CSaulfled adverthlng rates.: p.r word, $.20; minimum char•• , $2.50; box number. addklonal tll.oa. CLASSIFIED ADVERTISEMENTS Replle. to Itox numbers ,hould 1M ••n. c/o Th. Diapalon. 434 5. Wabash Avenue, Chicago, In. 60605.

POmlONS WANrED WANTED - MISCELlANEOUS MISCEllANEOUS PIANOS EXPERIENCED OIGAHIST.CH01Rt.4A5TEI, WHITECHAPEl HAHPlEll SET. t.4IHIt.4U ... CUSTOM MADE SLIDER CHESTS, MECHAN. AUTHENTIC FORTEPIANO REPLICAS: Stein Mesfer of Church Music deorae. lIIab active two octo..,.,. Send prIce. cotlditla.. Add,... ical coDsole cheni •• beUOwt. wood ~ipel. wood Wolter. SilbermlM, Ctistorori, Schmidt pedll Protestant church. Avail.bl_ nowl Rlply M." M-4. THE DIAPASON. aqu.,,", coM·work. Quality maleriah, wor1cmu· piano. ~ n ·seale two.k.., earl.,. piano ACTION THE DIAPASON. .hip. I.G, 68 Wash'nglon St .. lowell. MA MODElS fa, demonstration and da.. "'e. Philip HAVE IROKEN SET OF DEAQAN SAUCER 01851 . (617) -4 5]+40)3. B.I., Fortepiono Mo.er, loll 96, laHlo GrculKf. POSITIONS AVAllAllE bells, need replacemenh. Also w.nt Kimb.1I Indiane 47920. orcheltral oboe and sar.phone. Bill Pilger. ELECTRlC ACTIO N UNIT CHESTS, MAIN VIENNESE FORTEPIANOS: OCTAVES, ORGANIST.CHOll DIRECTOR, FULLYIME. mayt!r. 241 5 Old 40 Foot Rd ., H.rle)"ville, Pe. or offsel. Can '"pp'.,. some used ~ i pes. Ched 5 LAn Prevo expo end wide .nawledgl of chor.1 mu­ 19438. our prices and quality. Ol"9an Components, IBlh century; 6'12 octaves, early 19th century. sic expected. Comprehensive music prOCjram. P.O . Box -421 . Cicero. Ind. 46lD4. Can (117) Thomas McCobb, 2037 South Divilion Avenue, Foundry Un ited Melhod id Church, 1500 IMh 984·1515 ed. 44. Grand Rapids, Michigan .wsa7. St. NW, Wlshi ngton, DC 2CC36. LOW C II' MITERED RESONATOR FOR KIM· ball high preuura Metel Tub • • 10 HP IS" pres· FORTEPIANO!-COPIES OF THE 1m 5.. 1" . URGENTlY HEEDED. YOUNG, RAPIDLY sure Spencer Ot1iloblo. Aho need, for largo PNEUMAtiCS AND POUCHIOARDS OF ANY Kits assembled. Reasonable pricel. William F. '.ucwing strongly qUlli ty oriented firm engaged scale, 7112" pressure, 'pOtted metal Kimball make recovered with Polyu rethane PI. dic. Write Dowling, Waldoboro, Maine 045n. (207) 1l2· exclusively tn mechanical action work hal im· Var., G No. 12. C No. -49. C.sharp No. 50 for quotation. Church Orgon Co.. II Welton 4510. and D·sharp No. 52. Need Kimball triple VIII .... mediate need for shop faremen. Must have St., Edison , N.J. DBB17. regulatol'l and t",mutants. WJla. else do you "'OCI;. well rounded beclu~round in .n phlls •• HARPSICHORDS of operation, with lupervilory experience. Prefer have hi9h pressura Kim b.lI ? DavId Krall , 4118 ORGAN SERVICEMEN : WE WII.l RECOVER .ltder chert experience. bu' will consider candi· Torrenca A... enue. Hammond. Indl.na "&327. Casavant and S1cinnar pouch boordl, prIm. ,., HARPSICHORD, FRENCH DOUBLE IV RILL dotes otherwise well qu.lifled. AM·I refer· end offset actions. Wri te Burness AJlocia'.I, Elder based on plans of Bill Hymen and Zucle. ences required. Send resume end s.l.ry require. ".MANUAl AND PEDAL DRA WKNOI CON· 1907 Susquehanna Rd., Abin9'on, Po. 19m1 . ermann materials, 8 x I x -4, buff, FF to 9"', menh. Replies confidential 11 requested. Stuert sole. Ad... ise specifICation, age, state if switcha. revetse keyboards to Frenc h scole, painted Orqan Company. 59 Kaveney St.. Chico~ ... are within console, Pl'ice, etc. Goof'Qe R. ler· QUALITY ALL EL!CTlIC CHESTS Io4ADE TO soundboard iIInd beautiful decoration. Worle. Ma ... 01020, Of ("11) 53].51711. tram. 4CKH Comanche Road N.W .• Calgary. manshi p by established builder. Ree10ftable af· pttone order. vood delivtfy. Aaen Auociale., Bolf Hl. Alberta, Canada T2l ONS. l,ooUyn, PA lBBll. fers considared. Also Vir9inals end smeller karp. OaGAN TECHNICIAN FOa PACIFIC sichords by commission. Phone eveninqs (XII) NOttftwett to operate own pipe orqon MlVtc. SUCTION IlOWU. FOR TWO t.4AHUAl. 7lO·n64. bvtilMlSs iI. eKlusive pro ttcted territory in •• Ie. pedel reed ol"gen; alto B' Clarlftet. Bruce. "I QUALJTY REED ORGAN IEPAlltlNG, IE­ aatOCieHon witb major builder. acellent prowa Nipomo, San lui. Obilpo, Calil. 91401. buildinv and tuning. David McCeil'l, 1529 Wast CONCERT DOUILE AVAILAILE NOW. UN· opPOtfunity for qu.lifled. elperieftCed orvan Touhy, Chice90, 111.60626. (311) 764-&108. compro mised elfcell.nce in both construction petlOn cepable of fiMI\Cin9 own operation while USED SPOnEO METAL AND OLD SPOTnD .nd musical lonority. 2 .. B', I x 4', Buff. Seel. becoming established. Address M·S, THE DIA. metal pipes. 70 cenls per pound. Contact Trtva ing from edant Rucleers instrument. Modest PASON. Company Incorpor.ted, Manufacture" of Qual. REED OltGAN TUNING AND IEPAIRING. cost fo r this superfative instrument from ou, Edgar A. Rodeau, .t01 Alwny Avo .• Weshnoftt, shop. Ja ne. Harpsichords, 1722 MedilOn Ave., ity Reed Pipe., 1011' 101 . H.Qerstcw", Mery1ud NJ 08108. PERSON WHO CAN TUNE QUICKLY AND 11740. Evansville, Indiana -41714. (812) -479·7838. well, diegnose end solve mechanical problems quickly, and deal dipiom.tlcaU.,. with custom· MUSIC ItOLLS FOR AlOUAN.DUO·ART, USED INSTRUMENTS. SOUND. DEPENDABLE, THE NEW 7·0CTAVE PETERSON CHROMA. elegant. Single: I x 8', I x -4' buff, five oc· ers to devolop our maintanance businest. Some Welte, and Skinner Automatic: Pipe OtQan tic Tuner model 320, i. now av.lI.ble from .hop work, primaril.,. tr.der but electro·pneu. Players. J. Y. Ma c:artney.

LOUIS F. MOHR & COMPANY QUALITY - COMPLETE S. G. PRICE ORGAN PIP E ORGAN SUPPLIES MAINTENANCE NEW ORGANS 2899 Valmt1ne An. REBUILDING New York 58, N. Y. DURST ORGAN SUPPLY CO., INC. Tdepbone: SEdgwick iJ.!Ml28 TRI·STATE SERVICE EmersCDCY Service Yearly CDnlracU P.O. Box 1165 Erie, Pennsylvania Harps _ Chima - Blowe" 1·2 PHONE. Expert OvcrbeuUns 16512 TEKONSHA COlDWATER MICH. 49092 SI7·271-4/101 tfA. 0,.,.. Pr.,m, M .., __" M#fIU BdlnMtuk"

CIllATlVE ORGAN BUIlDING FOR ARTIstiC MUSICAL RESULTS "PRAISE YE THE LORD WITH ORGANS" Greenwood Organ Company. GUELPH PIPE ORGAN BUILDERS, Ltd. CHARLom. NORTH CAROLINA 2HOS "fllllEE GENEIlAT/ONS Of O/IGAN IUIIDING" SO CrImea Stn<. (519) IU-U80 Guelpb, Ontario NIH·2Y6

AU ElECTRIC CHESlS ORGAN LEATHERS ElECTRO PNWMATIC /'fOAL CHEstS "OuaJity wi" AIKEN ASSOCIA TES EconDmy" WHITE, SON COMPANY "'143 ....klyn, P•• 11113 717.. 219-t132 !592 East PInt Stn

ORGAN SERVICE -J. E. Lee, Jr. Slider sea Is for slider chesls. You, per.nol wi.he. Verschueren B.V. ore In gfKKI banel. KNOXVILLE. TlNNESSEl379D1 lox 2061 Pipe Organ Builders fa. Jacq. Srin"n. . ZEist Tuning· MainlenDnc. • Rebuilding Heythuysen (l.l o.wan plpo ...hn B.V. Holland ConlUitanb The Netherlands

22 THE DIAPASON Clauifled Hvllffhinll'Cltfl; p.r word, $.20; mftllmum charge, $2.5Oi Itox Aum"" HdltioftoI $1.00. CLASSIFIED ADVERTISEMENTS l.pU.. t. box Mmbe,. .houWII. HIlt c/o n.. Diapason, 434 S. Waba.h Av ..." •• Chkoao, In. 6060S.

HARf>SICHORDS fOR SAlE - PIPE ORGANS fOR SAlE - MISC. JEREMY ADA~S, HARPSICHORD BUILDER, WURlITZER 2.MANUAL HORSESHOE CON. 2·MANUAL HORSESHOE CONSOLE SHELL. Chrom"tlc Tuna,. i. now IDle and reloys. Good condition. White and Antique construction, uncompro milinQ q illaliiy, "elp you with your tunino requirl' Dark walnut, with monuolt, pedelbcard, bench, lolid wood peintlld COUiI_, peor-wood jed., 90ld, bench. (Z16) 381·1408. ment.. For more Informofion writo Paterson mUlic rtlck. 011 underhy contods. JCimbell BeSi hendmade hyboords. Brochu re IIvaiiable. W,ite Drum with action. Mony high, lew prelSure EIfl;tro· Muliul Produds, Dept. 20, Worth. III . USED PIPe ORGAN. 'I-RANJC. AVAILABLE Jeremy AdamI, '2A Putnam Court, Dannn. 60482. pillel, chests, mis c. Write needs with SASE. Ma"., (119'23. tl fler Morch lD. Excellent price. St. John Luther. B. F. Comstock, 1010 New Ytlrk Avenue. Mani. on Church, 11 04 E. Th ird, Menill, Whconsin towoc, Wis. 54220. HARPSICHORDS, CLAVICHORDS AND VIR· fOR SALE-PIPE ORGANS 5«52. qino ls. Authen tic classic.,1 destgnJ for hom. 2·MANUAL/PEDAL TRACt(ER, liS, I... : NEW 4M a·YEAR OLD ANTIQUE WHITE WITH wtllnut all electric stop tab console. G 20 con1ttuc;lion by the amateur builder, W,lt. for pipewOfk, winding, cue. It67 McManis rebuild fOR SAlE - EIECfRONIC ORGANS fr.e broc..... re. 2uckeun&lIn HlItp'icMrd. Inc., of Er ben/ROCMeVe U/FrtldlnbuRJ hCMHe orqan. stops, S 11, C 11, Po. 8, Solo 04, antiphonal 04, 12 Gruel Street, P.O. Bot 121, StoniAqton. Suitable for sm.!lll church, studio, home. Impec.. HAYGREN ELECTRONIC CUSTOM - ). Ped 20. Si. d iv. pistons, II QenoraIJ ond cancel. Conn. 06378. coble conditio .. . Buyer to ~e from midweJl manual, colTlplete with Jette, board, immKU' " revll"ibles. Fifly cell" (SOc) 1M pollroids. location. Available immediately. Add,....1 A.7, lot. conlOle, e..t. r.. 1 speake,., inc: ludes echo Price negotiable. Call (601 ) 89bo3t)). Of' (601) FLEMISH HARPSICHORDS HANDCRAFTED THE OIAPASON . Of9an speo.er. SIS,om orioinally in 19SJ. Re· 861-6581 . by Donald ROQ Ilf'1. Hidorical copies of inlfN· built in 1970. Located at Trinity Lu"heran mllnll mad. by the Ruc kel'S family. Continuo J.toCANUAL II'I JOHNSON ORGAN, OPUS Church, Hammond, IMI. Will aacrifice for AEOLIAN AUTO PIPE ORGAN 2/M PLAYEa model and walnut case end hand painted flora l 112, 43 ranks, rebuil t by JOlmlOn 18136, electri. $S,(XX) or best offer. Available ofter April, 1976. console. Needs some work, lound c.ond. M.ke .ound board from $1250. Rogers Harpsichords, 28 fi ed using Organ Supply drawknob can· Contoct Bill Poehrino, '2911 Norman St., High· offer. Henr,. Hennes, 4B Wiltshire Dr.. Com­ 1961 mad:, N.Y. Iins. Perk AVfl •• Amityville, N.Y. 11701 . IO le, stop moton and pu lldown.. Best offer land, Indiano 461ZZ. 1219) 838-1149. over $5.000. Conttld: JtlcIt Klaubert, t1 Meadow HARPSICHORD5-FRENCH FLEMISH, AND PILCHER 2·M CONSOLE. II' IOURDON OR Stree:t, Westfield, MA OU185. (<4 ll ) 568.2884. WURLITZER 452:D SPeciAL l·MANUAL AND Gedtlckt w Qr wl o che ..., a' VOIC Humana. Write Itelien: lingle end double menuel. leled Oft pedal th.otre orgen. Baautlful walnut fi nish. Box 2061 Knoxvilla, TN 3nal. rec09nited prototypes. Solid wood consiruc' 2I).5TOP HUTCHINGS TRACKER. DISMAN. Immacultlte condition. Powered by two (2) 202 tion. William F. Dowling, W"ldoboro, Ma' ne t:ed, ca,e miuin9, conlOle poor, everythinll Leslia tone cabine" and by 5 sets of Conn 1266 NOLTE SLIDER SEALS (TELESKOP. 04572. (201) 832--4510, elle orillintl l ond in unusually fine condition. Electric Pipes. Prie-. i. negotiable. Will se ll all Hu lsen). Size/diome'er (mm) / number of piec": Call The Noad. Orlltln Co., Inc. (611 ) 352. or in Ila rt. Fre. delivery anywhere. Contact 1/28/52; 2/2411"; JI'l1J/IS; ./Iam; 5/16197, SAeATHIL HARPSICHORDS. PEDAL HAftP· 626&. J immy Blue, T•• arkena, rexo. (214) 792-6641 6/1'/212; 7/11/21.; a19/I"; '/611<8; 10/'/92. .ichotdl and Clavichords : most reliable and t..1onday through Satufd.y 9 am.S pm. The lot, $300 podpeid. Unvoiced German pipes: beautifully ,oundino from SI ,I'15.00, Brochu,. 3·MAN. EL~ROPNEUMATIC PIPE ORGAN, "'. Recorder (81ockflole), 41 pipes, 040%, 12 $1.00. Stereo l P $5 from Oe pt. D, 1084 Homer, presently pltlyinO. IS stolls (2 rub missing), stopped, rest Vl toper, S440 unc:reted. I' Fla9' Vancouver, B.C., Canada. WURLlTZtiR CONCERT MODEL o47OG. EXCEL· Several ranks are Hack tlnd Hestings (7). 1'159 lent condition, AGO 'Ilecifictltions. $4,500.00. eolet, 56 pip.. , 040%, $Iea postpaid. M. A. tl lI·electric. conlol. with '21 stop ttlbs end 24 Ch, u qa. (31 2) 649-C1469. loris, Trader O""on., MFO 2, 8.ne, Vermont HARPSICHORDS AND VIRGINALS. CHOOSE cO\l pleni. 1968 bltlwer. Alstl erlrtl pedalboerd, 05641. from .ill instruments by Zuckarmonn. Kits Or blower motor, 2 shtlde eng ines, and re mote com plated to sllecification. Guaranteed Pfofes. GULBRANSEN RIALrO ORGAN, FULL PED. comb. mac:hine. Aytl ilobte sprino 1916, whole .ii\innll:"; ,UIIA ,.. I' .... ElZAHLER ". .ionol work by e.perienc:ed crafhmen. Carl 01, full keyw, extra Les lie, Rhythm tlv.ilable, ol'9 o!111 0( INIrts. Best tlUer. We reserve refusal Phone Il13) 659·8055 evenin'iJ1. Bourdon 16', Open mopa.an 8'. MilCl 8-dop 10- Miller. Scribner Plac.e, Crofton, Md. 2111]. ri9ht. Contact S. Smith. St. Saviour's Church, ttlnk and 40renk froder chuts with eledro­ SPUIHAJCE HARPSICHORDS AND CLAVI. Bo r Horbor, M. ina 04609. (2CJ7) 2J8.42tS. CONN SPECIAL I·MANUAL FULL A60 pneumltic. Icllo lt. kurdo" 16', UebHchgedeckt 16' .nd player 1'0111 Jar Welte·Mlo,," pine chords. b u ll ent, dependabla, beautiful. Robert J.MANUAL., n·IANt( , CASAVANT PIPE OR. pedalbotlrd. &f.rMlI Leslil cab ~ lI8t . Suiteble S. Taylor, 8110 Garfield St., 8elhnd.. Mo,.,. for home, stvdlo or c.hllrch. S),IXX). Buyar mov ... and Wilcol tlnd \Vb it. reed Of9an. Phone 751. gall Opus SOl built 19 12, pipe work ha mint S169 or wr ite Jed Salehwell, 2497 Hlrold Read, Io nd 20014. rendition. chesh and leather in original condi. Dougherty, 1]6 BrooUield Ave., NutllY, N.J. 01110. (201) 661-4650. B~tavia , Ohio "SIOl. HARPSICHORDS, CLAVICHORDS, MOZART tion. Aveil eble immediately as is for S75m.IX). PianOl by Neupert, sale Qr rental . Finoncin9 Contact Ken A. Hodglon, Box 61m Sta. "0", SEVERAL RANKS OF USED METAL AND Va ncouver. B.C., Canada VSW lVI. (604) 121· BUILD THAT ELECTRONIC OR6AN YOU wood pipes. low to med. wind. Trumplt. 2 ovoU.ble. Write or c"lI W"Uy Pollee, 1955 West alwoYI wanted et a prica you can aflard. John Beers, Road, Stevensville, . Michigan 49121. 2571. Clarinets, 1&' Bourdon ond others. For list lend Third edition of "argon Builder', Guide." pic. stamped en¥Glope to Or90n Componlnts, P.O. TWO MANUAL AND PEDAL MO LL ER PIPE tured product ki t II n~, Qrcuib, bloc:k diaoraml, Box 042 1. Cicero, Ind. 4603". FINE HARPSICHORDS AND CLAVICHORDS design ratio nale us in9 IC divider end inde. modo to individual requirements. Write, phone. organ for , ele, installed 1935, regulerly .er· viced by M. P. Moller Co., excellent condition, p~ndent generators, with diode keying, l2' end REEDLESS SAXAPHONE I', MIXTURE II. vi.it ,hop. E. O. Witt, Rl, Three Rivers, Michi· 16' electronic pedtll gonerators for pipe O"1an •• g"n 4909l. (616) 244·5 128. spfl;ificaf(ons upon request, S1OOO.00 including Melodi. 8', many off.. t cheats, reservoirs, top amplificotion system. Odd Fellows' Cemetery S3.00 postpaid. Devtronix Organ Products. Dept. note artlnsions, manual .Iid .., Reisner OVAl HARPSICHORDS BY JCN IGHT VERNON. AU· Co., 1111 We .. lehillh Ave., Philadelphia, Pti . 0, S812 Amapola Dr •• San Jo,e, CA 951 29. no. I, write for lid. Johnson Orvan., lox 1228, 'hentic replic., of historic instrum ents, cere· 19112. Fa rgo, NO 58101. fully made end elegtlntly decorated, S2S Whit. fOR SAlE - MISC. piCJeon Street, Consttl ntine, Michigan 049042. 1m R. M. TURNER PIPE ORGAN, 2M/lOR/ AUSTIN MATERIAL: 7" WP. 1ST DIAPASON. lZ .top, un ified, d auic vojcino. Aveilable now, NEW O.GAN PIPES, EXCELLENT WOII(. French Hotn, Tube, Che$t fer Vall Humana. HARPSICHORDS, PEDAL HARPSICHORDS. buyer remove. May btl Il l o~d . Asking $lOG, manship end e .. pertly vo iced. Formerly SU ller' Hump. Orllan Compony, ••D . I. aichmtlnd, Clo!IVic:hotds, culiom made. Jan. H. Albarda, U nego tiabl e. Sllees, on request. Reply: Orvanist, visor of Aeolion.S.Unner Ilipahop, Hut Rother, Ohio, 0439.... . ("") 165-04835. Princ:eSl Street, Eltlra, Onl., Canida NOI ISO 2]0 S. L09an. Ttenttlll, N.J. 08629. German On;ren Pipt!cr.n, 14 Stand.rd St., Mattapan, Ma ... 02I26. SET OF , WURLITZEIt SWEll SHADES HARPSICHORDS, CLAVICHORDS IV NEU­ HALL 2n DUPLEXED W/FULL COUPLERS, mounted ift 30" • 80-1/4" door. Kinetic 3 HP pert. world's fi ned, oldest maker. Catalog, on .tc:. Complete I... '·12 Diap8&Oft ond 1·12 FOR SALE AT HALF PRICE: t.4ENOnl'S lingle·phose Of9ln blower &!ill CFM at 12" reques t. Maane mvlic, Sh erotl, COM. 060&9. Dukiana, no cal8. AyoUable Mtlrch 1976. ~r· Oeath of the 8 i lho~ of lri!'ldisi lup to 15 cop­ stotic. Spencer 1 HP ].ph... 10" static I~ dlu.r to .emoYfl . a.lt offer OVI' um.oo. ies} ; Sh"w's TIM! Redeeft'lOf' (49) ; J . C. Bac.h'. prolimately IOOOCFM . Fo, infClffftatio" writ. PAllUNS OF ANTIQUE HARPSICHORDS. Addre.lS A-4, THE DIAPASON . Childhood of Christ (47) ; Gounad'. Redemp. Theodore C. Wood, RD 2, Sa lem. N.Y. 12865. Full sile drawings of historic harpsic.hords from tion (It); Heydn's Seven last Words (13) ; 151.) ""'189. US in poper, other media prices on request. HINNERS TlACKER CHURCH ORGAN - 1 Thimen's Three Ships (12); MoulSO rgSky', Joshua , Send $1 for iIIuatrtlted brochure to Department re9iJfen, 14 stops, 10 eo upleni (5 manuel, 5 (23): Th omPfCn', p.,.ceabre Kingdom (I). Write SPENCER STEEL ORGOILO MANUFACTURED D, R. K. Lee, 353 School Street, Wot.rtown, pedol, I cre.cendo pedal. 2'oclave pedal board). John Roborh, 2108 Collingwood Blvd., Toledo, by Spencer Turbine Co., powered by Century Manechusatt, 02172. 704 londtlu Avenue, Joliet, IIlinoi. 60432. (B IS) Ohio 43620. I H.P. motor, develops 1750 r.p.m. SI25.CO plu, 722·3SB6. Prici open. crating and ,hipping or b.at offer. First Prel' FLOWER YOUR HARPSICHORD SOUND. byterian Church, St.t. Street, L.cwville. New boord with euthentic. Ruc.ke" birds, bees, flow. II.RANK HINNERS ELECTROPNEUMATIC WAREHOUSE CLEARANCE - COMPACT Yor k 13367. en. Full·sira lo yout, instruction mtlnutll. SlS. Ot'9 t1n . rebuil t 1941. BUYllr to remove. Chicago home pipe orgons, Artisan erectronics and Shirley Mothew., P.O. Box 16204, Btl ltimore, areo. leicht. (lIZ) 181·0964 ellenings, (3 12) Sotl· reed or9ans. Pi pe add·on units and kits. Con. JUST ARRIVED: A NUMaER OF BlAND NEW Md. 21210. 3660 da'(1. lOlliS, pipes and attachments. Write for list. in stock quiet imported blowers in 1'12, '2 .nd Newport Orvan., IS]! Monrovia Avenue, Suite 1 h.p. in both three and . in9le phose. Wic.ks " THE HARPSICHORD," INTERNATIONAL WURLITZER MAHOGANY 2·MANUAL HORSe.. 1, Newport Beoch, CA 92663. Organ Company, Dept. AL, Hiohltlnd, Illinois Quarterly for lovers of early keyboard instru· s'loa 22 dops pl us Tfe multlnt. Excellent condi· 62249. (618) 6S.f·2191. me nts and musIc. Articles, interviews, photo- tion. Completely re finished. JO.note Pedtll. AUSTIN CONSOLE NEWLY REBUILT IY AUS­ 9fophs and illustrations by today's formost Som. chestWOl' k tl lso available. Was used in tjn. App. Z6 R, l ·muuel .nd pedal. like new ESTEY REED ORGAN, 1M/lOR AND PEDAL, artists. Per annum : SID (domestic), $11 {non · home indall tltion. Make oHer. R. D. Gelb, cond·tion. Alia eny or .11 parts of lame organ w. blower. Fine condilion. oak, $95(1.00. Barry US) . " The Harpsichord," Box "121 0, Denver, 214 Fair Avenue N.E., New Philadelphia, Ohio - lIarious good ronh. Address e.l , THE DIA· H"lIens, 201 Kno ll Dr., Roche lle, III. 61D68. (815) ColQ. 80204. 44661. Call (216) lll .. 4210, eyening. only. PASON. Sb2-44S2 or 1S6-1461. WENDHACK CANNARSA QUALITY PIPE ORGAN Shawhan Pipe ORGANS organs INC. RESERVOIRS Organs 1365 So. Detralt Ave. REBUn,DING - SERVICE NEW 5EL EClIVE -NEW ORGANS- ORGA NS R£! UllOING Toledo, OhIo 43614 2000 South Patrick Drive 1901lluwell Slreel Indian Harbour Beach, Florida 32937 419·3B2·6761 FOri Wayne, Ind. 46808 Telephone, (305) 773-1225 219422-8863

FOR SALE: Usec:I organ pam. Many of )NSTALLATION REBUILDING DO IT YOURSEII' PIPE ORGAN KITS antique value. Send $1.00 for complete MULLER PIPE ORGAN CO. and SERVICE Custom ,p.dflc.tle", for chWch or 'i ••• 1365 $0. Detroit Ave. ~~ rlddlnc.. complet. at pam. full I... , Thomes H, Fe"ee structlon. by .stablhhed erG". bWld.,.• Wklr.. Orsan Campany • Toleda, Ohia 43614 ~ ~ Hishland, IIl1nai. 62249 COlKIT MFG. CO. P.O. lOX 112 419-312.6761 ORGAN COMPANY (611) 654-2191 ~RR 1 • BOX ,'A • .... OWN!aUJlG .IN ""'2 Hiler Siallan, luffalo. N.Y. 14223 I (317) '3"·7300

fiNEST PIPE ORGAN RUD cunn EVER. JULIAN E BULLEY lndud'ng feal",., n ..flr be,.,. offend. PU/;p ...4. ~ot.rl.ton Felix Schoenstein New Organ. - Rebuilding Have """lUal cia, laol hr openl•• ancl Pipe Organ Service &Sons PI!!! Organ Builders Service clo.inS class an pipe argon ma.n.... Tunln9-ltebulldino--Clunlng-Additlan, SINCE 1906 THEODORE C. WOOD 76o'D SlrawbetTY Lak. RNd RD 2 Salem, New York 12165 Whltmtlf. Llkl, Mk h.48la, SAN FRANCISCO, CALIF. 1376 H.... n! Blvd.-Daytan, Ohl. 4S406 (.1.) 227·><34 513-216-2481 (SII) 154-3119

FEBRUARY, 1976 23 LILIAN MUR'TAGH BOX 272 CANAAN CONNECTICUT 06018 203-824-7877 I- 2 w Robert Ananon Charles Benbow David Craighead Ray Ferguson :E w

CJ Jerold Hamilton Gerre Hancock Clyde Holloway Wilma Jensen Joan Lippincott « z

« Marilyn Mason Donald McDonald James Moeser

:E EUROPEAN ARTISTS AVAILABLE 1976-77

Marie-Claire Alain Sept. 26-Nov. 21

Kamlel D'Hooghe Oct. IS-Nov. IS Frederick Swann Donald Sutherland I- Peter Hurford Oct. IS-Nov. 10 ~ Gillian Weir 0: ~~ti. JI '. \: Late Nov.-Early Dec. ••7 _.. . '1 .• --:. ~ , . .:; " I ',,'- . , ~"I' W Rentl Saorgln jot' ~ •• Jan. IS-Feb. IS ~t£.) 'z William Teague U Heinz Wunderlich LaddThomas March

David Lumsden Z March 13-April 13 Guy Bovet o April tJ John Weaver