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

S;xty-Eightll }'ear No.6 - Whole No. 810 ISSN 0012.23i8 MAY. 1977

Benjamin Britten's Choral Works Surveyed

Britten's Music for Britten's Short Choral Works Voices and Organ Without Organ Accompaniments by James McCray by Robert E. Snyder The significant musical contribution that Benjamin Britten made by his To fully examine and di ~ cuss all of compositions of all types can hardly he Britten's music for chorus and organ o\'crestimatcd. He was one of the would require more space than is giants of the twentieth century, and 3\'ailablc within the scope of this arti­ was recognizcd during his life not only clc. I-lis contribution in this genre is in England, but throughout the world. considerable, both in quantity and in for his achievements. Among his com­ quality. Several of his works will con­ positions for chorus there are a size­ tinue to be perfofmed 0:\5 part of the ahle number for performance unac­ choral heritage. companied or with piano. This article This SlIIVCY \\ ill attempt to show will discuss the sacred works from this the breadth of his writing and will body of choral literature. point out several consistent style /lymn 10 SI. Cecilia, Op. 27, writ­ characteristics. Britten's interest in mu­ ten at sea to a text by 'V.H. Auden, sic for \'oices and organ stimulated was completed on April 2, 1942. Com­ creativity throughout most of his com­ positions honoring the patron saint of positional life. 'Vhcrcas his interest in music (Britten was born 011 SI. solo organ music seems to be repre­ Cecilia's Day) seem to have a special hensible, it abounds when used in spirit about them, no matter who the combination with chorus. Britten asso­ composer may have been; Britten's is ciated the organ with the church no exception and has been perform~d rather than as an autonomous instru­ with regularity. Scored for SSATn ment, and he therefore returned to that soli, small SSATB chorus unaccom­ instrument as a sound source whcn p.mied, with divisi in the male sec­ writing music to be perfonned in tions on the last page, this stunning church. Not all of his choral music twelve-minute work can be effectively for the church employs organ, but its performed by five solo voices. usc in conjunction with music having a The te:Uure of this work demands sacred text is frequent. clear, transparent \'oices tlmt at times The works of Britten fall into two need to be dance~like, and at other general categories those with and moments, rich and opulent. A com­ those without opus number. This lack plete range of dynamics is required, of organized chronology was nO[ plus a full vocal range. The soprano peculiar to the early years, but con­ soloists soar to a high A and B flat tinued throughout his lifetime. and the work ends with the second The earliest example of music for basses on a Jow E for four and a voices and organ dates from 1935, half measures. Excellent intonation is when Britten was 22. The work, T c a necessity in the soft sections. Deum iu C A/ajor, was first performed 'Vith the exception of the second in January 1936 and was reviewed in section, "I cannot grow, I have no The Sunday Referee by Constant shadow to run away from", where Lambert, who was one of England's nrinen vividly depicts the text with an leading composers at the time. Lam­ Britten's Five Canticles ascending and descending scale that bert said, "1\'[r. Britten is, I admit, (>mploys imitation between the two rather a problem to me. One cannot by Louard E. Egbert soprano voices and later in the tenor hut admire his extremely mature and It is with solemn rcspect that this he wrotc with constant and subtle ref­ part, H,."w to St. Cecilia is fairly economical methods, yet the rather writcr examines some of the religious­ erences to expressive and structural homophonic. The voices consistently drab and penitential content of his dramatic works of Benjamin Britten. devices of the past in a way all his move rhythmically from chord to chord music leaves me quite unmO\'ed. At A general study Stich as this can hope own. Peter Pears' remark that "Brit­ at the same time. The women's voices the same time he is the most oUl'itand­ to illuminate only some of the more ten doesn't care for Counterpoint that in the opening section, and whenever ing t

2 THE DIAPASON would experience th ~ t a foreign builder words for some organ buildel'5 of his Letters to the Editor should install such an auspicious in· period. Personally, I think there is, and strument herc nearly cxactl), matched always has been, good and bad. mine. HoW'Cver, somehow , something As an example, I have run across, should sUII be saidl here in Western Pennsylvania, a little E. Power Biggs Perhaps some of us organists arc just Thr re can be no q uestioll th:)t stich tracker action church organ of 9 stops. worried about how old or young the an instrumcnt could have only come built about 1905 by Voteller &: Hettsch. April 5, 1977 music we play isl After all, it IS all from Europe a few }'cars ago, but by ke, of Cle\·eland. I ne\'er heard of the Tu the Editor: MUSIC, and we are ''''lSicitlrls (aren't now a handful of Amcrican bullders builder, and none of my books evcn These words of dedication to the wc?) , and what should be imporlallt in ha\'e not only learned "how" to build mention the name. The instmment, memory of the latc E. Power Biggs ap­ the choice of litcrature, if I am not organs, they do it decidedly better thun though, is a veritable jewel as small peared on the program played by Char­ mistaken, is the INTEGRITY o[ the any in Europe, both in tenus of tonal church organs go, and luckily, has been les Krigbaum on the new Flcntrop OT­ music which we play, is it not? and technical matters. Pcrhaps it was gh'en tcndcr loving care and is in mint gan at lJuke Chapel, March 27, 1977. Mind you, my congregation i.sn'i un· felt at the time that negotiations for condition, On the other hand, I have They were written by a person who, usually scholarly or culturally en· this instrument were begun th"t no pl ~ ycd some trackcrs in Massachusetts, like many others, was profoundly in­ lightencd; they strike me as being a ,S , builder had matured or arri\'cd built by the renowned Jesse Wood bar)" £lucnccd by !\.Ir. Bigg's life of unerring really rathcr typical bunch of Se\·cmh· cap:l ble of such a task, and pcrhap ~ and found them heavy and unresponsh'e dC\'otion to the organ mO\'cmenc "His Day Adventists. What is ironic, howe\'er. this is so. Howe\,er, it is very cas)' for in louch, thick and muddv in tone. I persunal interest in the Duke Unh'crsity is that the instrument on which they one's emotions to overtake one's in· would not, though, generalize from organ programs as well as his tireless hear aU this Musica Antiquo is a slow . tencct and for one to become very "ir­ these two cxpcriences and say that all crusade for integrity in organ building ly decomposing 2·8 Robcrt Morton ritated" that so much could be spcnt V&:H nacken werc grcal, all Wocd . have tell a legacy which will insure the theatre organ. Someday soon, I hope abroad, when 1I0W, a few U.S. buildcrs barys poor. lIurtllt'ancc of a musical renaissance." that we'll get some fine new mechanical. arc casily capable of cxceeding the job And by the same token, Mr. Douglass' In truth, without E. Power Biggs we action organ on which I can finally done by the Flenlrop firm (and I am example of the Skinner organ in Sever­ would still be bogged down in a morass play some FranchI or, who knows, e\'en sure it is a fine job). ance Hall can hardly be takcn as an of electrical cables. It was he who Purvis? . .. All will surely agree that the educa indictmcnt of all Skinners, or for that spread the word far and wide and he, Sincercly yours, tion of the American public abollt or· maUer, all electric action organs, or all lIIore than any other, who g:l\'C energy Timothy J. Tikker gan·matters is a v!!!l' difficult task, and eclectic organs. I can think of a fine and force to the tracker Te\'ival. May Jus Acting Organisl, the sooner the pubhc is made to rCil1ize clectric action instrumcnt, with the COli· mcssagc Ih'e wilh us as long as organ S.F. Central S.D.A. Church that, finally, the finest organs ill thc sole and pipes placcd in the very best music cndnn,'S. San Francisco, California world are built in America-as it sllould possible rclationship, across thc nave Sinccrely, be-the bctter·off the organ-world will from each othcr; it was built by Walter Fcnncr Douglass bel Holtkamp for General Theological Durham, N.C. Duke University Flentrop Sincerely, Jan Rowland Scminary, in Ncw York. ] think, as March 25, 19ii Vice President, eclectic type instruments go, the one in To the ';Editor: Visser· Rowland Associalcs Symphony Hall, Boston, is tonally ex· Chartcr·mcmbcr: cellent, and well suited to its function. ... Those of your readers intercstcd in American Institute of Organ builders more than mere speculation about the I am not, in short, ready to scuttlc Skinner Organ in Cleveland's Se\'erance Homton. Tcxas the cclectic instrument totally. as Mr. April 8, 1977 Hall (MarCh issue, page 5) will be dis· Douglass seems ready to do. I do not To the Editor: ... think that Donald Harrison was a total appointed to learn that it is complctely During the past month, the world bottled up behind a stcel·and.concrcte March 10, 1977 dunce, nor tone·dcaf either. I think has lost one or its greatcst pcrformers acoustical shell. For this rcason it has To the Editor: thcre are justifications fOJ electric ac· of organ music. I refer, of course to E. not bcen possible to obtain an accurate I do hate to tackle the rcdoubtable tion, and some of Holtkamp's instru· I'owcr Higgs. In October, 1976, Lilian impression of this instrument since the Fellncr Douglass 011 some matters in his mcnts prove that. Murtagh was takcn from our midst. I slimmer of 1958. when the shell was article, "A Historical Perspecth'c" but Thcre are still opportunitics for ad· realize that Mrs. Murtagh had a large constructed. thcre arc a few rather swccping stutc· \'anccment in the organ action: the amount of influence on the world of One of the \'ery few remaining Skin· mcnts in there which do need, if trackcr has always had a major weak the concert artist in the United States, ner concert organs preserved intact, the nothing clse, a bit of toning down. It point in the slidcr SlOp action. But an. and to a limited extent abroad. Mr. Scverance Hall organ occupies a loft is, of course, possible that the proper ingcnious organ builder, I think, might Biggs, on the other hand, pcrformcd immediately above the stage. An in· qualifications were in the original just be able to make a tracker opcraicci widely both hcre and abroad, produc­ genious lone·chule directs all sound article, from which yours was abrid!,rcd, chest based on Emest Skinner's "pit· ing authentic music, and has left us downwards towards the slage apron One must, for example, be exceeding· man" principlc, and thus get a simple, with a legacy, by recording, of the fin­ (certainly not towards the back rows of I)' cautious whcn using the "reductiu fast, reliable stop action. Another idea est music c\'cr writtcn, pcrfonued on the bakony) where it was the intcn· ad absurdum" type of argumcnt, to be might be to make a hybrid chest with some of the most beautiful instruments tion that the organ and orchcstra would sure that you are really reducing thc tracker pallets for the manual playing. evcr buill. Mr. Biggs did a great deal blcnd together and be heard in propor· situation in qtlestion to the desired plus direct elcctric \'alvcs in the same for thc cause of the organ, at a timc tion by conductor, organist, and audio absurdity. Mr. Duuglass, in his arg.l· channels, for the couplcrs. whcn every man with a tuning fork and ence aHke. ment against electric action, asks, with All this is fun to think about. But a lIew inno\'ation for the organ was an The organ was not "installed late in huge scorn, if one can imagine a violin while we are thinking, Jet liS not throw organ builder, and mass slaughtcr of the 1920's" for ground·breaking cere· with elcctric action, or a piano with the baby out with Ihe bath water. I the instrument was the topic of the day. monies for Se\'erance Hall did not take electric coupling between key and ham· rind it hard to belic\'e that one cannot It decply upsets me that he should be place until November, 1929. Opus 816 mer, and-soaring into c1oudcuckooland possibly build an organ that will play gh'en a pat on the back and sent into was inauguraled with the hall on Feb· -with the keyboard and pedals on stilge Uach and Reger, Fre!cobaldi and Hinde· the next lifc, espccially whcn Lilian ruary 5, 1931. As a matter of inlcrest, and thc rest of the instrumcnt Ollt of milh and Liszt and Franck. That it has Murtagh wcnt Ollt with a thR'C·quarter the blower for this organ ha, becn sight. Thc examplcs in question are in· not yet becn successfully done (accord· page fanfare. You have betrayed a trust located these past forty· six years in thc deed absurd, and nobody has eve!' sug· ing to Mr. Douglass, though othcrs which I pllt in you, and I am disap· loft with the pipes, not in the basement gested any such thing. But that has disagrcc) docs 1I0t mcan that it can pointcd. as erroneously stated. nothing to do with the organ. IIc\'cr bc done in the future. Very truly yours, Since the cause for historical accuracy The point is, of course, that the Sincerely, Luke :E. Falkenstein docs not stop with the year 1800, we piano and violin arc touch·responsive in· John S. Carroll Wcstminstcr, Md. should note that the in\'entor of the struments; the organ is nol. The amhor Emlellton, Pa. pneumatic levcr was Charles Spackman uses quite a proper tenn in his dcscrip' The editor replies: I apprec:ale your Barker. I'm not sure Mr. Barker would tion of the Harker Le\'cr-"pneumatic MI'. Douglass rcplies: As Mr. Carroll untiment but beg your patience; .se­ have answered to the name "Gcorge." motors, tripped by the playcr in depress· has ornamented mv name tvilh the ad· curing articles and material lakes time, Very sincerely, ing the keys, etc." In short, onCe actio jective "reriollbtabie," comparable per· no matter floUl worlhy ti,e subjt!Ct. I'OIl Joseph Dzcda \'aled, the Harker le\'cr is no longcr UIl· l,alH to 'he rlr),thmic accent 01 'he wUl lind more malerial on ti,e late Mr. New Haven, Conn. der the control of the playcr, and since pincc, I am ,,!Of/ed to reslJ01ftl, IIO/Je. Riggs ill this i.sme. Incidentally, that the clectro·pncumatic action is a simple 11111)' with characteristic trencllancy. " three·quarter page lanlare" lor Lilian Mr. Douglass replics: Thanks to Mr. outgrowth of the Barker Le\'cr, one is as Tire central issue is delined by Mr. Murtag/' aN,,~ared tile mo"tI, aftcr tile Dreda lor correcting the goal on Bark· legitimate as the other. Note. plcase that Carroll himsell i" Iris third paragraph obituary lor I,er. TillIS, aPIJl'eciatiorlS er's first name. only in last month's DIAPASON, there whe" he slates: "The point is, 01 course, 01 Mr. Biggs appear a,e monlll alter IIis As 10 the organ in Severa.nce Hall, it was :1 refercllce to the fact that Rudolf that the pia"o and violin arc t&llch· obituary, arId tI.ere will be more 10 wa.s an old and valued Iriend, the late \'on BcckeratJl considcred the Barker reslJotlSh,e imlruments, the organ is come. Walter H. Holtkamp, Sr., wllo told the Levcr quite legitimate. 1I0t." (emphasis til)' ow,,) Herein lies .story 0/ the dedication concert, when But, we have a group of persons who Jlle ultimate al,surdity. We are not de· "only the /Jeople ill the back row 01 lhe passionately believe that one enn control Imli"g on tile alleged "legitimacy" 01 Musical Integrity balcony could hear." Later, in the earl)' the speech of the pipes in fingering a the Barker leucr vs. electro·p"eumatic '50's, I played the Mgan with a group tracker organ, as there are pianists who key aelion, nor are we compari"g the March 30, 1977 lrom ti,e Cleveland Orchestra. As Mr. think they can control the tone of their merits of tlri.s or tlral Mgan buildt!f'. To the Editor: piano in the same way. It is strange, The question seems to IJe whether the 1 am intrigued by Randolph Blake· Duda sa)'s, ti,e "i"tention" may well have been to /Jrovide a Perlect ble,ul 01 indecd, that this discovery occurred 50 orga" is or is not a legitimate mwical man's lettcr in the January issue. I am reccntly - one would imagine that all in.strument. quite confident that his statements on organ arId orchestra lor tile audience lJ)' mea"s 01 "a" ingenious tone·chute." the old time writers on organ playing, W/,e" electrical cables and contacls the need for the consideration o[ prac­ who had only trackers at thcir dispusal, replaced tire traditional mee/.anical con· ticality in our business arc greatly ap· Pit)' that the idea wa.s a lailure. The irrstnm.cnt tL'as .seldom med arId more would have discoursed at length on ncctiollS in organs, the opportunity was preciated by all, or at least by most. how to control the speech of the pipcs open lor gross transmutation and abuse. However, I feel that I must take ex· .seldom heard. AcoilStical improveme"ls haue ;'Itervcnetl lor the hall. LUte Kinf!. by fingering. Yct, when we go to hnd The organ was no longer a "touch·re­ ccption to his implication that a church an)' stich, we usually run ill to some· .sporuive" instrument. Is there a place, congregation probably wouldn't cnjoy 1'ut'.s lomb, ti,e organ ;.{ "ow .sealerl and /Jrolected mltil some ria)' thir,)' thing like this (the quote is from Si!' Mr. Carroll, in tile world 01 mwic, for a "steady diet" of organ literature that John Stainer): "But the object of the a keylJoord i'lStrument that is NOT is at least two and a half centurics old. centuries hence, when a curious arclle· ologist may discover its Imlg·hidden player, when playing on either of thcse "louch·responsive1" Have ),ou not heard I keep the congregation of my hOllle two kinds (i.e. pure tracker or Barker IlOw much tile ancient li"gerings have church (where I am acting as organist) treasures - treasure lor the eye, /Jer' Imp,f, IHlt wlfat 01 tile earl Icver) remains the same, namely, to already taught liS alJo", "ow "o"e can on just such a diet. :For at least a ycar throw open the pallets in true responsc control ti,e SIJcccJ, 01 tire pipes'" Until all they've heard from me is .1.5. lIach to the Hngcr as regards time. and also, wc are iflS/Jired to revive the complete and his contemporaries, Swcelinck, Fl'cs, ... to throw them open so thoroughly and org(m works 01 Sir John Siainer~ let uS' cobaldi, and various carly Frcnch and March 14, 1977 rapidly, that the wind shall not, as it "ot use Iris word.s out 0/ context to Iberian composers. As far as I can To the Editor: were, snnk ino the pipes and spoil the argue a" irrelevant point. tell, my congregation is quite pleased As I was reading the article on the tone." "Sweeping" a.s my statements may ap­ with the results. (They just lm'c Tele· Duke Univel'5ity Flentrop, I was mental· Mr. Douglas implies rathcr broadly, /Jcar to you, no"e carl compare in devas· lIlannl And would you belie\'e that I ly composing a "Letter to thc Editor", that all the shoddy organ building arose lati&n with "our own wilen )'ou rule the once got a hcarty "Amenl" from the but as I nearcd the end of lhc articlc. after the introduction of !Tackcr action. organ out 01 tile realm 01 mwic·making. pastor after finishing a "Hymno a 3" I discovered your words about the in· Audsley, writing in the age of the Wlrere did you say tlris ~lace is tlrat of A. de Cabezon?!) evitable irritation American builders tracker, though, has pOSitively sulfurous you call "cloudcuchooland1'

MAY,19n 3 Frescobaldi is SOlid to h,n'c p1:l}'w his became intcrC5tcd in Benjamin Frank­ first recital in St. Peter's gTc:lt church lin. perhaps because Franklin ill\'enlCd in Rome 10 30,000 peoplc. Viewed from the glass hannonica, an instmment for Ihe distance of almost 3iO lears the leg· which Mozart wrote some pieces, In end seellls to represent an cX3b,;eratioll. 1936, to celebrate Moz.a.rt's 200th birth­ One wonders how effective lhe limited ATribute to E. Power Biggs da)' and the 250th anni\'ersary of Frank· site of the organ of his time would lin's birth, Biggs organized a concert have bt.'Cn (or the crowd in the enor· at the Massachusetts Institute of Tech. mous II:I.\'C, and one is tempted to sperlt­ tlology in Cambridge in which the Moz­ late 011 whether that man)' people rcall), art pieces and a quartet composed by could h:1\c ocen sandwiched into a by Lawrence Moe FranLlil1 for open strings were pro. dmrch c\'cn as large as St. I'clcr's. Yet grnlluned. A gtass harmonica after ngUtl'S cstinl:lling lhe number of pen. Franklin's model was constructed for pic I'l'achctl by E .•'ower Higgs in his at the muscnm hegan to aUract atten· IIIl-chanical actions, of the value of en· the occasion. Unfortunately it did not CBS broadcast rccit:l)s arc more incredi. tion and by 19 .. 2 he had a contract to cased OI'galls and of cases that arc frcC: ' \\'ork "ery well but, with his usual iu· hie and certainl), wouM he suhjcn 10 pl:ly weekI" hal£·honr recitals ror the slanding, With articles In journals. reC· genuit)' and in a spirit of fun, Biggs slcpticlsm were it 1I0t for the testimollY cns nalion::.I network, recitals that. were onl jacket notes, and lele\'ision pro· played olle of the pieces 011 a hastily of the mall)' persons still living who heard in e\'er)' part of Ihe United States grams, he bt.'gan 10 espouse thcse callSe~, unprm ised instrument composed of a knew of their spectacular success, and Canada. E,'en now I am ilstoundcd to support builders who incorporated ~ c t uf crystal goblets. Higgs an-h'cd in America in 1930, a when I think of the "ast literature he such ideas in their modent organs, and I-"or those of WI fortunate enough to young mall of twentr·fonr ,Inned with cmered in sixteen rears of broadcasting, 10 encoumgc others to experiment. But ha,e him as a friend, he is remembered a British education and the zeal and Series of programs including the entire his great joy w:as always in d iscovering as a gemlcmall of integrity, a man of conricJelice of a pionccr St.'Cking his for· wnrk~ of nach, all the concertos h)' Ban· instruments with better sounds. In the contagious ('IllIIUsiaslll, puckish humor IUlle in the new world. H he had any del, ensemble and concerted lIIusic of early days, I rememher his infectious and ell't;:lIlt lasle. In rl'£ent yc:ars when donbt about the direction of his career, e\'ery kind iumh ing the organ. gn-at enthusiasm for the tonal experiments hl-allh problems plagued him, a charac. it WOIS di!ipelled quiCkly. He once men· swaths or solo literature from the sis· of Donald Harrison and later for the teristic that always 1U115t hilve becn tioned that during the depression whell teenth and se\enteenth centuries, works ,'oicing concepts or Herman Schlicker. pn.! ~ ent came to the fore, Ihat of an un· jobs were scarce he asked his friend G. b)' classic, romantic and cOlllempurary From the bcglOning he was an admirer daunted spirit. He was gencrous toward Donald Harrison for ad\'icc alld was composers werc heard wt."Ck after \\·t.'Ck. of the r.ionecr work of Walter Hoh· colleaguc..'S and particularly to organists told: " If rou want to play the organ, He cOl1llllis.~ioncd works from American kamp. "1 hen he began to support build· young in Iheir careers. Ucfore condlld· spt.'11.d all )'ollr time working at it." compo~ rs Waller Piston, Ror Barris, ers who look bolder steps in applying lilt; my remarks I want to express my Once uetcrmilled he seems l11:: \(.'r to have I-Iow.ml H:tmoll and Leo Sowerby, to lIlore of the great principles of the past deepest appl't'Ciaiion for the many man· wa\'cred, and he pos5Cssed the qualities name but a few, and he re,'h'ed interest to their instrullIents, He followed with ifc..'S1ations of his friendship :and those of - talclIl, tact, ,ision and pcrse\-crance ill countk'SS composers of the p:ast. He interest the organ brought to Clc,·cland his ",ire I'cgg)" for the lIIauy opportuni. - to guaralHcc snc((."Ss. It is nn exagger- playt.'tl c:ul), performances of Hinde. b)' l\ecl.erath in 1957 and he was reo til'J he pro\'ided ror performa.nces of ation to sa)' that he was ahle 10 popu­ lIlith's three sonatas and Kammcrmtuik sponsible for the first Flentrop thilt significancc, and ror advice and encour· larize (I lise the word ill lis hest sense) 1>1', ,16. 110 2, of Sowerby's Sympl,ony for came 10 r\merica, the one that replaced :lgemellt offered through the years, the organ and its litemtllre 10 0111 eX· Org(m. of l'oulenc's COIll:erlo. :and ma.n)' Harrison's instrument in the Busch· Ilurillg his lifetime. E. Power Biggs tent lIurh'aled in history. other COnh!mporary pieces. For ensemble Reisinger Muscum, He was tireless in unquestionably pla)'ed more organ re· It was in the lI1id ·1930s lhat niggs and concerted music, playeD from the his efforts to hclp churches, colleges ancl citals to larger audiences, pedontled on and G, Donald Harrison, thclI the tOIlOlI B01ton Symphony were emplo)'ed. Stand· ch'ic ccnters attain organs of the 'Cf)' the organ with more symphony orches· director for the ,\eolian·Skinller Organ ards of performance were "cry high and best quality and, in rcrent years, it tras, played a Inore extensive repertot)' Company, collcei\'ed Ute idea of creating his style was refreshing, Admirers on must ha\'e been the source of great satis' :and recorded more Ofl..r:ln music than a " baroqne" t)'pe instrument for the the west coast had to tunc in at 6: Iii factiou 10 know the 1IIm'ement he helped anyone else in history. llerhaps of great­ Gennanic (now the Dusch· Reisinger) :1.111, UII Sunday morning to hear thc shape had taken snch a strong hold in er and more lasting importance was his MU$Cum at Han'art! Unh'ersil),. The program played in Cambridge at 9:IS, America. He was quick to express en· influence on the IIlO\'Clnent to restore sh::tpc of the roolll anti Ihe splendid and his Wl-st coast ]isleners were legion. thusiasm for the \\orlo of Charll's J-'isk the or~an to some of Ihe grandeur it acoustics were ideal for the expel'iment 1':0 olle l'eall" knows how lIIall), peUOIIS and others of (he ne\\' generation or lOJ 'jo)'ed in thc 17th and 18th centuries. and in 193; Harrison installed an or· were reached by a single CBS red tal. huildcu in Hoston area and he was The late Ole RJ)h'aag named what has gan, construcled mainly from !lecol1d· Certainl), it was in the multiple. thou proud of the tTCmendolls strides taken become a very import:aut novel for our hand and reconditioned pariS, in Ihe sand, and at times in the hundred·thou­ by organ builders in this country, :Ige, "Giants in the Earth," a title he gallery mer the entrance wa)', It was a i\..1u d5. Q\'er the years he touched 11111 · One or Ihe louching aspects of his ~xtracted from a passage in the book re\'olutiouury instrument for the tn·cn. lions of music lovers. personality was h is de\'otion to hi~ of Gellcsis. As we view the life and ticth century. It was all low wind pres· But, if his exploration of the litera· adopted country. Uorn in England, he work of E. Power Diggs from the van· sure with a specification approximating ture WaS characterized by indefatigable immigrated to America and became a tage Imim of time. we can aU echo the that of Dach's organ in Wcullar. alill it enthusiasm. his approach to the illi' 11011uralized citizen in 1937. From the sclltiment of the \'ersc in Genesis: "Ami did not ha\'e a swcll box. UeC'.tllse u( pro\'cmcut of organs had the leal of a n~ ry bt'ginning hc was an a' id student there wel'~ . giants on the earlh in those the lad.: of fuuds, or pcrh3ps bt.'GlUSC missionary. One can easily trace lhe cw· uf l\merican hislol'Y and he had an in· tla)'s ... it was not thought nea:ssa.l")' al the IIlliulI uf his inlerest as his carcer un· terc.."St in ,\merican philosophers. Emer· lilllC', it did not ha"e a case either. The folded. It began with the inum'ilth'e con· son in particula ... He went out o( his action was an electric olle because Har· ccpts realized in the instrument in the way to find l'arly American music to Lawrence Aloe, formerly organist alltl rison was familiar with it antI famred it, nusch·Reisinger Museum and dC\'cloped play ami he fc rreted Ollt historical in­ choirmaster of St. Paul's EfJiscofml Cath . The ciJl;ht and two.foot flutes, patterued fUl ther as he toured Europe and Eng· strumenl.. for recording it. When the edral in Roston. ;s Professor 0/ Music after flutcs by Gottfried Silbermanll, land record ill'; literature of the past un music prm'ed to he nah'e. he still pla)'ccl mill Organist at 'he University of Ca"'· were particularly beautiful. In hindsight, apPI'OI)riate historic organs, r\S he it with good hUmor and affection. One fo,.,,;a III Berkeley. Itl the lale 1940's it is easy to say that it waS not a "cry )lla)'l':( great instrumellts b)' varions rel11elUher~ with glee his bicelllltennial allli lile carl)' 1950's, lit:, Mary Crowley good il1strument, but it sounded grand huilders in Germany, Holland, hall', pcrformancc..'1 of "The Rattlc of Tren· "i,liml mid Dall;el Pj"IrJurm, seroed as in the building and fur those fortunate FI'3IlCC, ,\lIstria, Spain, England, and 1011" and his trnnscl'iptiollS of the band substiluteJ lor E. Power Riggs on a enough to play :uul III:ar it, it was a the Scandina\'ian CDuntril-s:, he became lIIusic pla)ctJ by the British on their IIrwtl,er of the radio broadcasts fruln rc\'C~lation. Biggs' recitals and recordings condnced of the grealer sensiti\'ity of relreat from I.l'sington, At one lillie he Ihe Brl.Icll ·llf!ilj"gcr Mlueum.

The death or E, IIUWCI' nigss was fu r hackel''' as he \\';J.:I all opponent of elec· rue a great Ios.~ both personall) ancl pm. tnUlics. n hid1 hc caJll'd "cheap imita. k'SSionaHy, for he hOld helped III)' own lions". career m()n ~ than all)' uther perrurming Favorite Memories of a He was cllormously lIuppouh'e of the lUusician. IUGI) organ·building scene 3nd it w a.~ I first met Mr. Biggs alrnust ·10 )eal's initiall) fwm him that I learned o( ago when I was an organ student at Great Organist Chark'S Fisk, who in lOG .. built the 01" l'hiIJip5 ,\cadtOJltr. DI'. Carl ttratteicher, gan for King's Chapel. Biggs WilS not tire head (If the music department :II 011 the official "orbtall colUmittce" but Audm'er and lit)' tcacher. included a few by Daniel Pinkham privatel), g;t\'e hi! im'ahrahle ad"ice. Of his pupils as guests at a !!upper part) When we were projecting :1 stop. list, I for the nritish born UI-ganiH following Reprinted wilh permission from the BOlilon Sunday Glohe irre\'creml), rem ;) r~ed that e\ cry 0 'b..-:llll a notable recital given ;tt thc "cadelll). Murch 20, 1977 should ha,'c a IIsc.'flil .slOp called " Pltlfit I fl'GIlI at the lime (indill~ nigt;i' Ilia)· C:ancel". Diggs quickly replied, "" hy iug rcmartabl,- unlike the Ic\'ercnd alul )'oung aUlI old , ... ho cumpoSL.'t1 'and sub· During lire I!HO 's 1 \\,;15 chiefl) knuwlI not just label it 'Rector Ejector'?", durrchy legato pla)'ing then cnmit1cred milled scort.'S for performance. Uest o[ as a harpsichordist. The £irst time I He had a great wit and delighted ill the decent wa)' 10 pIa)' the ut'~ ; IIl . the balch. I felt: was the PrelUde nllli A.I. played on his show we played the third recollnting the funny things that coultJ In 19·12 the CBS Netn'orl.. inaugurated legro by Walter Piston. Biggs and l:k'1 l· Soler Coucerto. \Ve could not ~et the a series of wt."Ckiy organ progr.nlls nrig­ ler also premiered In y own SG'Jlnt l1 Nu",· music ror this r,iece but Higgs had an h;tppcn Oil tOllr. Once he telephoned to ~"l) that he had played a wOlk of minc inaling in Cambridge froUt lIat1,':tnl's bt'r Oue for Or~m r ami St , i"gs ill Feb· nld 78 rpm I'a( It! recording which had III Gmce Cathedral in San Francisco. Gel1nanic Museum (now knowil :IS the ruary 19H, We :llso heard COllccnus b)' bc..'C1l made in I'aris just behne the war. Uuseh·Reisinger Museum) . These Roy l'larris, Quincy Porter, H(m',ut! Walter Iliston (ook one side down hy where there arc two oq,r:tns and twu broadcasts, which continued until 19:JR, I-Ianson 3.nd the American premiere (If dictation and 1 the other, and .Il:Il·S £unmles: Uoth organs can he played frum clther console. He had hardl), made the name of 1liCl,"5 a hou~h()ld the enduring Iloulcllc: Cmrccrl(l. hu\\' we arrhed !It our performing cdi­ word. Most of the ('()lIccrts werc de· Tire £ollo\\'ing rear 1 went to h:l\'c " tion. Uiggs pia) l'tl thc mgan alld I lx.-gUI1 whclI he SlOPllCd , got up and \·oted to solo org;m liter.lture hill nn few lessons with nigg!!, That was at the pla)'l'tl harpsrc1lonl. Many years later', adtlrt."SSed the autJiencc to inform them oCC:lsion , with the addition of a cham· longy School. He was a rinc leachel' when he: got Ihe mnsic from Spain, we that lhe composer's music was not as bel' orchestra usu:.II)' contlucled Ill' hut rcalizC'd it dis... ipated his energies. recorded all of the Sl-\: Soler Concertos t.liKonlant as It n'as sounding and if the ,\nhur Fiedler, we would hear norl.s lie d idn't enjoy Icaching all)' mUll.' th:1II ror Columbia on two organs. person pla)illg the other organ would Cor organ and orchestra, We he.ml, of he Iikl'll choir·training, winch he com · In later )cars 1 frequentl), performed wait for 3 minutes he would be happ)' course, all the 16 Handel Concertos and pared to "\\hipping a dead dog," hill on the bro:adcast while he was away to gh e equal time. thc 8 Bach cantata mo\elllenl.. nilh oh· he did gh'c me a s)stematic approach 011 tour and al\\'a)5 he encouraged me Perhaps his greatest legacy was that ligato. At that er3, howe,cr, there "'i1S to pedal tcchnique. He n:lS , 1II0re im· to include my OWII music. he restored the organ 10 a position of little contemporary literaturc for urgan po1'l :urtly. a gold mine of illfOl'lnation In the 1950's he lJCcOlme fascinated resllect among serious musicians so it and instruments, Biggs' prognrlll prmed nn rCJlCHoirc and was alna) !! gcnerolls with tmd:er'ac(ion ,lIul the resulting could once again reg::tin its former (0 be the inspir3tion Cor an extraordin· about lending his 0\\'11 IK'I'Mm :a 1 wpit'S IOnch control!i aHordt'tl the scnsiti\e or. place as " King of Instruments". Diggs ary number of American cUlnposcrs both of hard to [ind seores and parts. gani~. He was as passionate a "tracker- certainly polishcd up lhe crown, " THE DIAPASON Hail and Farewell: the Biggs Memorial Service by Barbara Owen "It ;s easy in ti,e world 10 live a/leT Canlat" No. 208. Of all the many works into two \'crscs of " Now Thank we all choir, and Lt nora McCroskey who ac­ tile world'of opinion; it is easy in soli­ performed by E. Power Biggs during his Ollr God," This \V3$ immediately fol · companied it. Old friends, like Sym­ tude to live alter our own; but the long and eveU((ul career, surely none is lowed by the orchestra's playing of the phony musicians Louis Speyer, Roger great mati is lit: who in the midst 0/ lUore ineradicably associated whit his sallie chorale (arranged by Biggs. as Voisin , and Atrred Zighera, who had the crowd kups with perfect sweet­ nallle Ihan lhis gentle pastorale. were all the other instrumental pieces) taken part in many a Diggs broadcast ness tilt ;rldependence of solitude." MUrTay Higgs, a Shakespeare scholar rrom Bach's Clwtlllil NO'. 79, ending and recital. Young friends. like the peo­ Ralph Waldo EmerJon, from and the organist's cousin, read eloquent­ the obsen anCe on the same note of re, ple from the Harvard·Radcliffe Organ Self· Reliance ly from three disparate but pertinent strained gladness with which it had Society and thc Fisk organ finn who It was a gnlhcring of friends and a sources - a passage 011 music (rom begun. ushered. The younq students in the cclchr:ation. " My Spirit be Joyful" from Shakespeare's M~rclumt 01 "~nic~, It was a br.1thering of friends who choir and the greytng "ringers" who Dach', CtlJltlJlIJ No. 146, played from Wordsworth's Character 01 Happy War­ Glme to share a final (arewell to a joined them, And behind lite scenes the rcar gallery of Harvard's Memorial rior, emd a paragraph (rom Ray Brad· friend. Old sludcllu who had studied Peggy Diggs, who OIlone was responsible Church by a small ordtestra, set the hUT)"s Fal,retilleit 451 in which a man with him back. when he taught at the for the well chosen sequence of music mood ror this bittersweet occasion. Bit­ as.scsscs the inOuence of :mother man', Longy School and young students to and readings which lOade up this mean· ler, because we moumed 3. friend ~ken life upon his own. These readings led whom he was already a legend. Cam· ingrul tribute to her husb:lIIld. too quicltly rrom us; swcct, beclU5C all naturally into the orchestra's perform· bridge neigh bon, fonner choir singers, It was a celebration. For more than present chcrlshec..l warm memories of 3 alice o[ Te)em:uln's Heroic Mlllic, with recording engineers from Columbia rorty years E. Power DiGgs loved us - valiant, enthusiastic, and girted artist. its appropriate subtitles: Honor, Chann, Records. organ-builders and organists, enlightening, scolding, entertaining. The congregation rose and sang with Bra\'eT)'; Quietness, Vigor, Love; Vigi· A.G,O. dignitaries rrom New York and teaching, anc.1 abovc all challenging us. con\'iction Vaughan William's "For All lance, Playfulness, Gentlencss; Gener­ associates from the Boston Chapter_ While he lived, he nc,'cr stopped grow­ the Saints," caught up and transported osity, Hope, Joy. kids from Ute Hafvard-Radclirre Organ ing, ne\'cr Slopped generating fresh and 011 the last vc nc: by a soaring descant A prayer that verged upon a remi· Society OInd players from the Boston wonderful and sometimcs startling ideas. from the choir, which followed the niscence was orrered by the Rev. Ed­ Symphony Orchestra, and plain people Now he is gone rrom us. On March 27 h}'rnn with the same composer's moving ward O. Miller of St. George's Church, who just liked to listen to his record. we gathercd to a[firm his vital spirit "Lord, Thou hast been our Refuge." New York City. In the same prayerful ings. They rllled the large church to and pay him homage, The organ in Scripture verses were read by Univer­ spirit the choir followed with Bach's overflowing and taxed lull organ in Memorial Church, used on this occasion, sity Preacher Peter Gomcs, well·remem­ flOal chorus rrom the St. Matthew Pas­ their hymll.sinping. as tr.ldition dictates, only (or accom­ bered for his cOl1\ocalion address at the s;on, sung from Appleton Chapel. RuIJe It was for fnends and also by friends: panhncnt. is but one o( the countless 1976 A,C.O. COIu'cntion. Theil all sat sanlt~, sari /ie Rul,' •.• Dan Pinkham who direc~d the arches· (angible reminders of his £ar.reaclting quietly as the orchestra played "Sheep Rc\·. Gom~ pronounced a brief bene. tra, Tom Dunn who played continuo innuence. LOllg may that influence con· lIIay safely graze" from Baclt's birthday diction, and the large con~cgation broke for it; John Ferris who directed the tinue.

There will be an org:an conccrt In memory of E. Power Biggs at the Methu· en Memorial Music Hall on Sunday, May 15, 1977 at 01:00 pm: the hall is 10' cated at 192 Broadway (Route 28) in Methuen. Massachusetts. Fi\'c organists. all of whom are mem­ bers of the Music Hall's Board of Trus­ Here & There tces, ha\'e contributed the following progtilm for the concert. Ivar SjQs.­ trom: Royal Fireworks Music by Gcorge Fridcr!c Handel (arranged by E. Power Biggs); John Skelton: Sonata No.5 in F·Sharp Major by Josef Rheinbergcr; Lorenc Banta: Clloral No.3 in A 11I;'lOr winners of tJle biennial organ playing by Cesar Franck: Jack Fisher: R~quies­ competition of the American Guild of cat in Pace by Leo Sowerby: and Max organists. Miller: Fantasia and Fugue in G minor by Johann Sebastian Bach. In honor of the 75th birthday of Sir In announcing the concert. Music WiIIiOlm Wallon, one of Britain's rore­ I-Iall pn,'Sidcnt Edward J, Sampson Jr. most composers, Chicago's William Fer­ said: "Mr. niW' enthusiasm for the ris Chor.lle will present an aJI·Waiton King of Instruments, through roncert COllcert Thursday, May 19, at St. James perfonn:mCL'S, broadcasts and feconJings. CatJledral. Huron SUett and Wabash cre31cd a renaissance of interest in or· A\'enue. Special guest anists for the 8 gan music. His association with Ihe p.m, program will be the Chicago Sym· Methuen Memorial Music Hall included phony String Quartet, gUitarist David numerous conccrt appearances, broad· I'erry. tenor John Vorrasi and organist casts m'er the CBS Radio Network and Elizabeth Paul Chalupka. recordings. A member of the Music The 40·member chorale will perform Hall's Ad"isory Council, he had most the }Ilbilate Deo for chorus and organ, recently prc.'Scnted a lecture on historic plus the unaccompanied pieces, A Lit­ orgallS of Europe and Amcrica with tape· any~ Alissa Brevis, Wllere Dot:s tile Ut­ rccorded examples as part of ollr Variety tered Music Go, Set Ale As If. Seal Upon Series last fait. The Board of Trustees, TiJille Heart, and The Twelve, an an­ in presenting this memorial organ con· them with text by \V. H. Auden. Also cert, joins music·lovers e\'erywhere in on the program are the String Quartet hOllonng the life and accomplishments in If. minor (1947), Five Bagatelles for of E. l)ower Biggs." Guitar, and Ano". in Love, for tenor and guitar. On March II (our arlisu of thc late Sfr William Walton. born March 29, Lilian Murtagh paid tribute to their 1902, has pro\'ed one of the most ver­ former manager III a concert al First satile of British musical OIrtists, Largely Pn-sbytcriall Chun:h in Dallas, Texas. self· taught, the composer has produced The first half of the all,Romantic II variety of worb for instrumental and program Ix:g:m with Willan's Introduc' vocal combinations. In 1953, his Corp· nation Te Deurn was sung ror the coro­ t;o" PnsUJ.("tJgtia QfHI FJlg ue. pla)'cd IJ)' Willi:lnl Tl""Jglle. organistjchoirmaslcr of nation of Queen Elizabeth 11. SI . Mark's Episcopal Church in Shreve­ porl where he also serves as head of the The Organ Historical Soci ety's first organ department of Centenary College. midwestern convention in twelve years Charles Benbow, head or the organ de­ has been schct1uled for June 28. 29, and partment of the University of Oklahoma 30, at Detroit, Michigan. The location at Norman followed with Tierces from of this con\'ention, away from the East· the Six Elud~l, Op. 5 of Demcssiellx ern Seaboard, makes possiblc a whole aud the Franck Clloral in A minor. new range of performen. organs, and The second part of the Lilian Murtagh organbuildcn. Memorial reCItal began with the Cor· The convention will be headquart­ t~~e ~t Lifanie, Opus 19 of Dupre, the ered at ule Detroit·Cadillac Hotel, and Schumann Canon in B Major and the will bc held in conjunction with the Lislt Prelude and Fugue on DA CH, all Regional Convention being sponsored played by Wilma Jensen. Ms. Jensen is by the DC/roit Chapter of the AGO. a mcmber of the organ faculty at Okla· This arrangement ollen those attend­ hOllla City University. ing the OHS convention the op~rtuni­ Concluding lhe concert. Robert An· ty to participate in AGO actmties 011 derson, prof~r of organ at Southern Sunday the 26th and Monday the 27th. An organ to be featured at the forthcoming OHS Convention is the 1973 prior to the opening of tJle OHS COli ' Methodist University and organist of Worden In.trument. In a ca.e built by Wilhelm Mayer 01 J.H. & C.S Odell'. thc Unil'ersity Chapel in Dallas. p! a~'C d \'cntion. A good number of AGO mem, the Reger Chortt/~ Fantaia. Opw 52, bers arc likewise cx~tt.'tl to participale opus 121. The location is St. Joseph's Roman COlholic Church in Detroit, Number 3 (Halleluja! Golt w loben, in the Thursday acu\·ities of OHS. aller where Thomas M. Kuras will present a recital. Other organists featured at the bldbe meine See/en/rend!) the regional is officially o\·er. convention will be Kim Kasling, Huw Lewis, Kent McDonald, Anne Parks, and Proceeds from the reCital were do· For further infonnation, please write nated to the Lilian Murtagh Memorial William M. Worden, OHS Convention, Carol Teti. A performance of Rheinberger's Great Mass in C will 01.0 be Prizc. which is to be awarded to future 1427 Bums A\'enue. Detroit, 1.1148214. heard.

MAY, 1977 \5 Felix-Alexandre Guilmant by Calvert Johnson

It is ironic that the late nineteenth­ music and information concerning pcr~ greatest thing he did for us w;as to (Cnlllry champion o( Baroque and Ren­ fonnance practices first became widely draw our attention to the study and aissance music has been virtually (or­ a\'ailable to organiSts. He played as rational use of the different timbres, gotten by most organists who became much "old music" as possible, especial­ He was a "colorist" of the fint Water. ad,'ocalcs of his c:l1l5C to revive old mu­ ly Hach 's; the St. Louis series (/orty re­ He knew with Infallible certainty the sic. If remembered at all, Felix-Alexan, citals) included pieces from all periods properties of each Itop in the organ dre Guilm:uu is gin:" credit only for and countries without any repetition. and the resulting sound of their com· scholarly editions of compositions by Some of the music he played in the binations. I accompanied him often, classic French organis~. HoW'c\'cr, the Trocadcro recitals wcre edited and pub. after a class, to the Gare Montpar. mall who revived nach's music in France lished as Repertoire des Concerts du na$.1e, where he took his train for was important in his own right as a com· -Froctltiero (1892·1897). Hili other antho· Meudon, and on these trips to the poser influential in the: development of logics are L'Ecole c1a.uique de "orgue station he discoursed endles.sly on the lhe French organ symphony, As (ar as (1893-190!), COllcert ilistoriqlle d'orgue all absorbing question of color,' It has been possible 10 ascertain, there (1892), and the monumental edition Vicrne's assessment of Guilmant as a has nc\'cr been a thorough study of Archive des maitres de l'orgut (1892- teacher is verified by Albert SchweItzer eithel' Cuilmaltt or his works. Other 1910) • who regarded him as one of the leading than the l)pic;l.lIy brier remarks in mu· Guihnant also produced materials re­ musicians of the time, the most uni· sic encyclopedias and biographical dic­ lated to perrormance practices in his \'ersal leacher with an oUlStanding tionaries, there ,ne II few magazine arti. article "La Musiquc d'Orguc" for pedagogical talent and music historical ck'S in the past rifty ).cars dcmled t.o Lavi~nac's Erlcyclopidie de fa musique C~IItUrc. E\'en German critics empha­ Guilm:mt, most of willch are supcrh­ et d,cticruanire du conuroaloire_ Quo­ SIzed how much German organ music cial. tations and summaries from "arious could ocnefit from Guilmant's sense of felix ,\Icxandre Guillnant was born Renaissance and Baroque trcatiso can· form and construction.' March 12, 1837, at noulogne,suNner, ceruing ornamentation, diminution, Guilmant's students included Augus­ France, His parents were Jean,Baptislc rhythmic alteration, registration, etc" arc tin Barie. Joscph Bonnct, Nadia Boul· Guilmant (1793.1890), organist of St· included, with numeroliS musical ex· anger. Alexandre Cellier, Marcel Dupre, Nicolas of Boulognc and occasional o.r· amples. Alphonsc Schmitt, Louis Vieme, Wil­ gan builder, and Marie-Therese (Ionlam As a teachcr. Guilmant was highly in­ liam C. Carl, Clarence Dickimon, Clar­ (1798-1867). Music study began early fluential, especially in France and the ance Eddy, Charles Galloway, Han'e)' with his falher, and his progress was United States, III fact, his l\mericall re­ such that he was able to subtitute for B. Gaul, Albcrt Riemenschneider, James felix-Alexandr. Gunman' citals turned the flood of Ametican stu­ H. Rogers, Frederick B. Sth'en, and his falher at St-Nicolas at the age of dents to Paris aud away frolll Leipzig, E,'erett E. TrueUe, twelve. At the same age GuHmant ell' InduSlrial Palace), Italy (Pope Leon Munich, and Berlin. His basic premise NINETEENTH CENTURY tered the collige Marielle of Boulogne was to extend the "Bach tradition," of where Gusta\'e Carulli taught him har­ XIII made him COlllmander of the Or­ FRENCH ORGAN CULTURE der of 51. Gregory), Russia (dedicatory which the most important tenets; were The re\'Olution of 1789-1792 was dis­ mony, counterpoint and rugue: In ~ddi. maintaining a perfect legato. on both tion to the organ, he also studlcd plano, recital in Riga, Latvia), Spain, and astrous for French organs and organ Sweden (on the occasion of hil admis­ pedals and manuals, and an ad\'anced music. Decause of the collusion between \'iolin, and viola. pedal techniquc. siull tn Ihe Ro)'al Academy) • church and monarchy. it was natural The organ incl'C3singly attracted Guil· Anyone who has ever w3tched Alex­ mant's attention. He helped with the ,\necdoles or his playing ability that both should be targets of the peo­ abound, At a IhooklYIl concert on his andrc Guilmant. the master who at­ ple, whose interest was dcstroying the last known organ built by his father taincd the most perfect legato wc in 1850: a four·rank instrument which first American tour, there was a cipher old ordcr, inc1uding many fine organs. early in the program: he improvised ha\'e known in organ playing, could Most survh'ing instruments were prc· Guihnant used as a studio teaching or· not fail to be struck by the manner m 'el' ouc hOllr, nealing this pedal point scf\'cd hc:cause of their appliCltion to gan later in Ilaris, In 18M, he became ill which his hands st."eUll'tl to creep organist of St Joseph in Doulogue. And in e\'cry possible way for a capacity secular, patriotic. popular purposes, The audiencc. He olten improvised double m'cr the ke),s, as it were, wca"ing in Mnrseillaise and 9a ira were fa\'orite or­ in 1857, he sllcceeded his father as or­ and ollt. The roregoing principlcs were fugucs for postludes at La Trinite. as ~an pieces of re\'olutionat)' citizens, At ganist of St·Nicolas, In the same year the secret of that wonderful legato, he began to teach at tlte Boulogne Con­ his studcnts eagerly awaited their chance Rouen Cathedral, Charles Broc.he (1752. to assist with registration or turn pages. which he maintained with unremit· 1803) was praised by the authorities for servatoire, and 10 conduct choral con­ ting care. Olher pla)'(.·rs there were certs of the Boulogne Societe Orp/lco­ ,\t the rehearsal for the Scottish per­ his patriotic zeal expressed In such formance of his First Symphony the con­ who were at times his equal in this works as Invocation d la LibuU. The­ flique. A turning point in his career regard and who might be even more came during a trip 10 Paris in 1.860, ductor embraccd Guihnant, exclaiming alncal effects pro\'oked public admira. "You are the fiTSt organist able to play brilliant ill inspired moments, sweep­ tion as the abbey organist of Marmou. when he heard an organ concert gn'cn ing the listener along with tllem with by Jacques Nicol:u Lemmens, the Bel­ with our orchestra, for ),ou play on the tier set orf a firecracker at the peak of beat! Ne\'cr before have I heard such irresistible power, yer, when they a crescendo during a "storm" improVised gian virtuoso and self-proclaimed guar­ were indisposed and "didl\'t feel like dian of the "Bach tradition:tt As a rcsult absolute rhythm, accent, nuance and for the Gloria Patri of the MagnJficaL color as you have demonstrated. It is it" tlleir technique suffcred a lapse Music of such questionable quality of Lemmens' impressive playing, Guil­ and thcr playing was of comparatively mant went to the Brussels Conservatoire colossaU'>:I; was perpetuated wcll inlo the nine­ Concerts were only one :upccl of Guil­ little interest; but so unfaihngly had teentl. century. Emotion. cxpre:ssion, to improvc his own playing and reo Guilmant obscn'ed all these points of turned after a few months of practicing mant's busy musical career. In addition and striking imagery were the goab. to performing, he also lallght, composed techniquc, ne\'er permitting himself The widely used Ecole d'orgue of Jean­ eiJ?;ht to ten hours daily as all accom· an instant's carelessncss, that thcy had pllshed virtuoso and hllerprctcr of prolifically, and ediled ilnd published Ilaul Schwarzcndorf included a ReJur­ organ works by early composers from become sccond nature to him. so that reclioll by Justin-Heinrich Knecht. Un­ Bach's music, and also as an excellent e\'en when hc was indispoSt..'t.I or un· improviser. all countries, Hc founded the SchoJa der such an innuenee, Conserv:uoire The relOm to France initiated a ca· Can,orum with Charles Bordes and Vin­ inspin'd-3s e\'ery human artist must students could only execl at mediocrity. reer of conccrts amI dedic.uofY recitals. cent d'lndy. In 1896. hc succ:ceded Widor be at times-he ne\'er faill'tl to main­ T)'pical of indiscriminale public· pleasing lain intcrest by the rc\'(~lation of Included all10ng these dedications were as organ profc.."SSOr at the Paris Con· cornpo5CB was Louis'James-i\lfl'ed Lef­ ,\rras Cathedral. St·Sulpice, Notre·Dame­ scnatoire while retaining his post as perfect technique, and, In numbers ebure·Wely (1817·1869). whose Seen. in which it was demanded, that ex· dc-Paris, and St-Vivien of Rauen. In orbran professor at the Schola. In 1899 p~utor~le avec orage pour une inaugura· quisite legato which was the admira­ 18i1. Guilmant became organist of Ste­ he occame President of the new Guil­ 11011 d argue (Pastoral scene with storm Trinitc in I'aris, a post he would hold mant Organ School in New York City. tion of all! for an organ dedication) could 31s0 be for thirty years, but his duties did not founded by some of his American pu­ Guilmant abhorred cxcessh'e move­ played for a midnight mass. This was prevent further concerts and tours. He pils. In addition, he always had private ment and unnecessary gesturcs. His ideal not a French phenomenon-Geo~e Sand played for the Paris Exhibition (1872) slndcnts. was a simple playing style without recounts a similar stormy rendition at and for the £x/lOJitiou Uuiverselle at Upon return from his second United artifices, an approach in which all de­ Fribourg, Switzerland in a letter of pos­ the Trocadero )'alace (1878). where he States tour, Guilmant disco\'crcd that the tails wcrc determincd and in which the sibly Septembcl, 18!5.· later gave a series of historical recitals. Merklin firm had altered the Ca\'ai1Jb rhythm was maintained inflexibly. Lefcbure.'Vely's music was intended Foreign concen tours became an im­ Coll organ of La Arinite upon orders These attributes, in addition to an im­ for Parisian churches. but it is more portant aspect of Cuihnant's career at of the priest, wilhout tlle consent or peccable technique, full of clarity, arc like salon music. His music is melodic this time. ~ngl:llld was one of the m~st knowledge of Guilmant. The results ill\'ariably included in dt'Scriptions of (in order to speak to the heart), not often \'isited countries because Gull· were so bad and the situation 50 un­ Guilmant's own playing by his studcnts polyphonic (pedantic). He preferred mant played a recital every year at the acccptable that he resigned immediately. and admirers, Among tcchnical advances romances, valses, and taranteUes. Sim· Sheffield Albert Hall, after he dedicated Through the efforts of his pupil and in organ playing, to Guilmant are at· iln picccs which were pianistic:ally or its CavaiHc-Coli organ. Olhcr English former assist.tnt, Louis Vierne. Notre­ tributed tlmmbing·down from one key­ orchl'Strally inspired appear among the recitals included tlle Crystal I'alace, Dame·de-Paris clected Guilmant as hon­ board to another and the consequent compositions of the greater French or· Manchester Unh'ersity. and a concert orary organist in 1902. USl'S of many themes on di{fcrent key· gan symphonists <,Vidor. Guilmant, and with the Scottish Orcill..-stra playing his ]n 1909. Guilmanl's wife died, leaving boards at tlle same time (AllegTeUo ilJ Vieme)_ Even Franck. wrote early works First Symphony, op. 42 (actually an or­ him a son :tnd three dOlughten, Finally. b aUtI Cmrtilene Paslorale). :lOd the usc of this genre, dedicated to Lefebure­ gan cOllccrto) • He also pt!rformoo before Felix·Alcxandre Guilm:mt died of the of double pedalling in the Romanlic Wei)' and othen. Transcriptions of sym· Qucen Victoria at St. George's Chapel, "grippe" on March 29, 1911. period (Futlertd Marcil mid Hymn 01 phonic and operatic works, such a3 Ed· Windsor Castle. He made three concert Among the posts and honon he reo the Seraphs. 1868). In addition, he had ward Batiste's transcriptions of Beetha­ tours of tlte United States in 1893, ISCJ8, ceh'ed are: Chevalier of the Legion of an instinct for registrations that met \CIl s)'lllphonics, were also popular, and 190,1, The fint tOllr includcd the Honor (189!), Commander of the Order die composer's intentions and prO\'ided In opposition to the popular trend Chicago World's I,'air and scveral New of SL Gregory, Knight of the Order of clarity of ;a tt voices, That many of hh was Alexalldre · Pierre-Fran~is Boely York recitals. The second was largely St. Syh'estre, professor of organ at the pupils bcnefiled from their study may (1785-1858), a composer in the French in the East, while the tltird cantered all Paris Conscn'aloire and the Schola Can­ be obsened by the large number of his Classic tradition. whose music was char­ a series of fort)' different recitals for the torum, organist of the Trocadero Palace students who were fint prize winners at acterized by an academic and liturgical St, LOllis Exposition, as well as twenty­ and La Trinitc, president of the Guil­ the Consenatoire. Louis Vieme wrote approach_ Later, strong forces de\'elopcd foUl' other l'ccita1s, including Yale's mant Organ School, honorary Doctor of this description: for the return to French Classic and Woolsey Hall, the Guihnant Organ MUSic (University of Manchester), for­ Good old Guilmant w:u indeed a German Baroque organ music and School in New York, and Doston Sym­ eign mcmber of the Royal Swedish Acad· teacher in the true scnse of the word; ideals; among the earliest was Louis phony HaU (an aU-Cuilmant program), emy, and outside examiner of the Royal integrity, conscience, lo\'e of a finished Niedermeyer (1802-1861), who founded which was his final American perform­ College of Music (1890-9-1 ). job- he had thesc waster qualities the Ecole de nlusique religiewe et classi­ ance_ The scope of Guilmant's influcnce which make a (fue pedagogue, to­ que, dcdicated to Ihe revival of sacred He playcd other concerts in Belgium (for can scarcely be appreciated today_ It is gether with an unquestionable de,'a­ music. He also collected a large Ii· Ihe King), Canada, Holland (dedication largely due to his efforts 35 performer, tion to his profession and a deep brary of c1assical organ music 3J early of the Cavaillc·ColI in the Amsterdam editor, and teacher that much early a{fcction for his pupils. Certainly the as 1830,

6 THE DIAPASON A potent influence in the restoration Widor claborated on the effect of Ca· istic of GuHmant's music (except the FOOTNOTES of cxccllcnt quality organ playing came \"aille-Coll upon the ncw stylc of organ usc of cyclic thcmes), Franck was less 1 The French I<:hool claims to maintain the from Jacques Nicholas Lcmmcns (IS23· composition: interested in form than in the usc of co·rect manner of playing Bach's mwic b, the form as a co\"cr for a musical idea {"the following succession: Bach, Killel (1732·1809), IS81), tcacher of both Guilm:mt and It is he [Ca\'3UJe.CoIl] who imagined Rinck (l77(}"I&I6), Hesse (1809·1863), Lem· Widor. Lemmens claimed to pass on a variety of wind pressures, dh'ided soul of music").ll This is unlike Guil· mens (1823-1881). thc Bach tradition of organ playing mant, whosc forms are fairly strict and windchcsts, pedal systcms. and com· I Wi liam C. Carl, "1\lcxandre Cuilmant; Noted from his teacher Hessc. His Ecole d'&rgue bination pistons. It was he who aP'" ncarly pt.'

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MAY, 1977 7 Th e New Baroque TrIo (Penelope Cr.ow­ ford, harpsichord ond fortepieno) ployed this progr.om lOt St. Mory's College, Notre Dame. on AprilS: Soneta in 0 (violin, Yictor Hill pl"yed the followi ng pro· Peggie Sampson, vlol.o da 9.ombo , .o nd viola do g.ombo, continuo). Lecl.oir: Son gram on Ihe 1975 Oowd (Tas~in copy) at Richa.rd Birney Smith, ha rpsichord, played ata in G, S 1027 Igomba lind herpsi. Amherst College in Januery: Toccata 12, this program for t he Hamilton (Ontario) chord). Bech; Sonilltos K. 208, 209. 119, Suite 12, Tombaau/Blancrochor , Froberg· Chember Music Society on Me rch 19: 120, Scerlotti; Son.otll in E minor, K. 304 (violin and fortepi.ono). MOlart: Trio in E. ar: Suita in G, Jacquet de Ie Guarra; Sone • .o in 0 for gamba .ond continuo, BulC' flet. op. I no. I Iviolin, ceno, fortepiono). Prelude, Fugue and Postlude, Bohm; Toc· tshuda: Follies en couplets for 9.ombe cota 2.. , Pavana Loch,;meo. Toccata 20, lind continuo, Morais; Sonatas in C. K. Beethovln. Harp\ichord by William Oowd. Fentasie 10, "Est·ce Milrs?", 5weelind; 132 , 133, Sce rl"W; Sonet" in 0 (or gem· 1970: fortepi.ono by Thomas McCobb, Adogio in G 15.96B)' Prelude a nd Fugue boO .o nd continuo. C. P. E. BlIch : l oth to Grond Ropids. Miehig.on, 1976. in E IWTC-2), Toccoto in 0 , Bech. He depart, G iles F"rnaby; Pav.on ond Galliord February and March were busy months pleved the some Frobe rger on his 19b8 for 9amba solo, Ta bies Hume: 50nota in in London. Among the concerts heord : Schulze (Oulden copy) i1t W illiems Col­ G for gambe end obligato herpsichord. Kenneth Van Barthold', recitel on three logo in Morch. along with: Proludes and Bach. The harpsichord was by William fortepienos lOt Queen El ilabeth H.o ll. Feb. Fugues in Ft; minor (WTC.I) end A minor Post Ross. 1969. 3 (works of MOl.ort. Beethoven. Field , Cho. 15.89"), Boch; Suite 2, Purcell: Ordre pin, lind Schumann): Christopher Herrick's II , Couperin. For his February concerts Frederick Bur90master, St. P.oul's Cath­ herpsichord progrem in the Purcell Room. at Williams, Mr. Hi ll p

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8 THE DIAPASON Texe l Woman's University, W orkshop for Summer Activities Church MUlicians, Denton, Texas, June 18. This will be the seventh annulil presontolltion UNITED STATES of tho one·dllY event. Further informl:liion New England Conservatory of Music, is available from Dr. Thomas K. Brown , Organ Workshops, Boston, Massachusetts, Department of Music, T.xas Woman's Uni­ conduct ., July 11·22. Fritz NOi!ld will versity, Denton, Teus 76204. pacific union college workshop on "Clossic Organ Technology end Oosign," discuning 811 technical es­ Southwest State University, Church Mu. pects of tr.dur o rg"O$ of various por­ sic Workshop, Marshall, Minnesota, June iods. Robert Schunemon's "Semin"r in the 1l.17. Thomes J e nretto and Chllrlos Kolluff­ ~E~BOA~D WO~~SHOP 19th Centu ry O rgan Music" will survey man win present sessions on music for dructure end style of the 19th century organ, choir and congregetion. Informetion orqan, performance practices, the relo­ will be aVllilable about orgenizations end tionship of piano technique to orglln ploy­ periodicols devoted to church music. For ing. ond various approaches to tempo ru· further information, writo Prof. Charles june 12-1'1 1S" beta. Eoch worhhop will meet three hours Kauffma n, Department of Music, South· per dov. but scheduling will permit lit· west State Univenity, Marshall, Minnesota tendonee .t both. For further information, 56258. write Bob Annis, New England Conserva. Endless Mountains Organ Camp, June Rutb SleaClIoska tory, 290 Huntington Ave., Boston, MA 27 - July 3; Workshop for C hurch MU5i· PIANO 02 11 5. ciani, June 27 - July I. The first of these JIIII" &Jm Bastieo sessions held in northern Pennsylvania is Chor.1 Associates, Chor.1 Workshops; for high school studenls: Ihe second is for JDbo Hlmilluo HARPSICIORO University of South Florida, Tampa. ond church musicians and will fel!lture Dillie University of Tucson. Arizono. June 26· Wood as guest clinician. For further in· July I: University of N.brosko. lincoln, formation, write to Dr. Kent Hill, Music Mlrilln .Iim ORGAN and University of Washington. Tocoma, De partment, Mansfield State College, July 24-29. Clinicians will include Norman Mansfield. Po. I 69ll. Luboff. Paul Salomunovich. Wolter Ehret. Ad'lanced Keyboard Musicianship and Pacific Union College, a 5 year liberal arts ond others: study will include chorol and Orga n. Pittsburgh, Pe •• June 13 - 30. college lully accredited by NASItf, Is 'ocated rehearsal tachniques, literature, reoding Donald WiI~ins will lead se5sions on sol. In a delightful rural setting In the lamed Napa senions. and other topics. Further infor· f'go ond dieiofion. keybol!lrd hermony. motion on all four workshops may be ob. &lalloy, 70 miles from San Franc1xo. Music continuo and figured bl!l5s. score rellding, Department lacllHies Include 50 pianosl organs tained from Chorol Associates, 17 West improvisation, ond orgen mastercll!lsses. 60th Strut, New York, NY 10023. Housinq ond practice facilitie.s. will be by Casallan', Phelps, " Bosch; &: harpsichords by Snyder, Hubbllrd, &: Burton. University of Kentucky, Lexington, Ken­ oVl!lilllbie. For information. write Donald tucky: Keyboard Institute, Jun. 12-30; Wil~ins . Music Department. Carnegie-Mel­ Chor.l Institut•• July 5ot. Offered to out­ lon Univenity. Schenley Park. Pittsburgh. standing high.school students. the key­ Po. 152 13. board sessions will feature guest artist CANADA and EUROPE Dovid Craighead. together with Arnold Ont.rio Ladies' Coflege, Summer tnlti. Bladbum. The choral inditute is open to fut. of Churc.h Musk. Whitby, Ontario, high.school and college students, 05 well July 3-9. Poul MeMI will teach orqlln ond SII2 rBB FOR FUTHER INFORMATION 05 to tcachers lind choristers: Robert De­ service playing, and Real St. Germllin BOOa'" BOIBD WRITE TO' Cormier. Sarl~ Holroyd. Eva Moe Struck· will playa recital: work in hormony. hym­ KEYBOARO WORKSHOP meyer, and The Western Wind will be nology, and choirs will also be aV l!li lablo. OBADOATB '" UIDBBOBADUATB MUSIC DEPARTMENT featured. Further informotion may be re­ For further informlltion. write Kenneth W CRIDIT AVAI~LB PACIFIC UNION COLLEGE quested from Office of Fine Arts Exten­ Inkster, dir.ctor. 110 Wellington Sf. W., lion, School of Music, University of Ken. Alliston, Ont., Canada LOM lAO. ANGWIN CA 945D8 tucky. Lexington, Kentucky <40506. International Course for Organish, Ro· Univenity of Arizona, Young Voice mainmoter. Switzerland. July 17-3 1. Guy Worhhop, Tuclon, AriJ:ona, June 19-24. Bove. and Uo nel Rogg will tel!lch again Clinicians will be Jeffrey Haskell, Douglas this yoer for the seventh annual presenta­ Neslund. and Frederid Swanson; resident tion of Ihis sludy course. Selected worh choir will be the Tucson Boys Chorus. of Bach. Aloin. Cebelon. Caban illes, Cler· ambault. I!Ind Frescobeldi will be studied Writo Young Voice Workshop. Confer­ ence, and Institutes. 1717 E. Speedway ond performed. The events ere sponsored Ir------.. by the Association des Amis de Romain· ' Blvd., University of Arizona, Tucson, Ari. motier. For further information. Write Iona 85719 for further information. Cours d'inferpretation de Romainmotier, Wittenberg Uni'lersity, "Experience '77," LaMois(ln du Prieur, IHfl Romainmotier. FLENTROP Springfield, Ohio, June 26·Juty 1. W ork· Switz.rland. shops ..... ill deol with organ music. hym. Zurich International Master Classes in nolog y, soc red d ance. lind choral music; Music, Zurich, Switzerland. May 23..}uly CHAMBER ORGAN Roberto G ery and Donald Ruse ro..... will 23 . Zuzl!lna RUl idova will teach harpsi. bo orgen dinicions. Further informetion chord. and J ean Guillou a nd Jiri Rein. Completed Instruments and Kits is availeblo by writing W illiam K. Miller, berger will fo och organ. Further informo· Director of Music, First Presbyterian tion is ovai/oble from Stiftung fur Interna. Church. 201 Wick Avenue, Youngstown, tional. Meisterkune fur Musik, P.O. Box Ohio +450J. 647, 8022 Zurich, Switzerland.

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MAY, 1977 9 Britten's Music for Voices and when the text is about the church that 'Vhen George Malcolm retired as or· The organ part in Voices lor Today, the organ performs. The most extensive ganist of 'Vestminister Cathedral in Op. 75 is ad libitum and is to be used Organ lise of the org-dn is in the fifth move­ 1959, Britten wrote a Missa Brevis, Op. when the resonance of the building is (CotJliruu:d from p. I) ment, which concerns the choosing of 63, as a parting gift. The Credo is inadequate, There are two choruses: Britten did not return to this genre Nicolas as the Bishop of Myra. Here omitted, reflecting the thinking of the the main chorus of men and women is until 19'}3, when he wrote Rejoice in and in the other brief appearances, the late medie"al period in England when complemented by a smaller chorus of tile Lamb, 01', 30, commissioned to org:lI1 mllsic is quite simple and is em· incomplete mass settings were common. boys placed separately (if possible in a celebrate the 50th annivcrsOll1' of the ployed more for the association of the Although only ten minutes in length, gallery), with its own conductor. The consecration of St. ?o.btthcw's Church, instrument with the church than as an the work is tightly conceived and uses choruses sing at different metronomic Northampton. Britten created here a integral contribution to the musical con­ pJainchant as its basis. The organ is speeds but are instructed to COincide reslh'al cantata for SATB chorus, tcnt. Although the cantata is of about once again used as an equal partner at points where a long barJine extends -10 minutes duration, the organ is em· with the treble chorus. There are some across both parts. Britten uses a curlew SATB soli, and organ, with text by the played in only 4 minutes of it, and brief \'Dcal soli in each of the move­ sign (;::::) over a note or rest and the 17\h-century poet Christopher Smart. lUuch of that is to accompany the ments; the Bcnedictus is for soloists conductor must wait at that point lO The poetry was written while its hymns sung by the congregation and throughout. There is a directness about adjust the material. 'Vritten for the author was an inmate in an <1sylum, choir. this work which imparts an un[orget. 20th anniversary of the United Na­ but Britten's choice of text reveals A lI'eddi"g AnOle1li (..1",0 Ergo table and haunting quality, particularly tions in 1965, tlle work is ten minutes in a literary and visionary acumen. Sum) , Op. 46, was written in 19,m for when the listener has heard the clarity duration. The texts vary. from Virgil The work is in ten sections and £01- mixed chorus, soprano and tenor soli, of boys' voices. and Tennyson to Jesus Christ and lows a three-part structure, with the and organ. The text by Ronald Duncan Jubilate Deo for mixed chorus and Sophocles. and are 10 Latin and En­ ChOfUS mm'cmcnlS framing the middle is macaronic and employs frequent uni­ organ has no opus number. Written at glish. The organ music is a condensa· solo sections. The textual selling is bril­ son choruses; thc organ is treated as a the request of H.R.H. The Duke o[ tion of the choral parts. and is extreme­ liant and shows th:ll the composer was solo instnnncnt. Although not as dif. Edinburgh, for St. George"s Chapel ly difficult and highly contrapuntal. already assuming a position of leader. [ieult rh}thmically as Rejoice ;" the Windsor, it often employs the chorus ir: With this work Britten came full circle ship whh regard to the setting of texts 1.a mb, there arc certain compositional an antiphonal fashion. The lively tempo In his use of the organ, in that he re­ in English. lraits which m'erlap. Often the charac­ and joyous thematic {deas create an tllmed. 10 using the organ to support The o~n is treatcd as an equal ter of the organ material is reminiscent ~ttractive choral gem. The organ music the vOIces. partner \\'Ith the chorus and soloists, a of that fOllnd in solo movements of the IS taxing but not unnecessarily difficult; Even though this has been only a characteristic of milch o[ his music for earlic:r cantata. The sustained chords the chorus also has interesting yet surface examination of Britten's works ,'oices and organ. The organ docs not which pennit new hannonies 10 evolve easily singable music. This anthem for chorus and organ. certain some· merely accompany [he choms, but re­ while holding cOUlman tones and slowly serves well for both dmrch and concert what consistent characteristics may be tains its own identity and at times has substituting other tones abo,'e a pedal hall performances. described. Although not all of these an improvisatory spirit. Particularly ef· line may be secn as a process whidl Perhaps Britten's most profound style traits have been discussed, the fective are the vocal solos. with busy will be uscd in later works. Rarely per. choral work is the War Requiem, Op. following list is a compilation based runs, ornamentations and accelerated formed today. this work is worthy of 66. So lUuch could be written ahout thl5 on the works described above, rhythmic motives which free the static more frequent hearings. The level of large· scale composition that it alone difficulty is more taxing [or the or· deserves a separate article. The brief 1. The organ is usually treated as a Oow of meter. solo instrument and an equal Sophisticated rhythmic involvements ~a nist than for chorus or soloists, and comments included here arc not meant clearly shows Britten's organ style. to reflect iu equality with the other partner with the chorus. are developed in the changing melers 2. The organ is associated with mu­ of the vigorous "Nimrod" section. Here In 1955, a£ter a lapse of six years, choral contributions discussed in this Hrillen returned to the organ in his article. sic for the church. the chorus moves in unison above a 3. In extended works involving driving, syncopated accompanimental II""", to Sa;rJt Peter, based on words The organ is used with the boys' from the gradual for the Feast of St. "oices and while it has certain solo other instruments. the organ is pulse. A successful perfonnance of this trealed more as accompaniment section is achieved only if the conduc­ I'eler and St. Paul. Although not indi­ qualities in it, the function is more caled in the early editions, this work is as an orchestral color. and as a link than solo. tor, organist and singers arc able to 4. Generally. few indications for the maintain rhythmic stability and preci­ known as Op. 56a, and stands as one 10 the church. The blending of secular o[ his easier works for chorus and poems by 'Vilfred Owen describing organ registration are supplied by sion. This stands as a testy challenge for the composer. any aspiring conductor. organ. Here there is frequent doubling the agony of war with the liturgical of the choral parts by the organ, and texts of the Latin Requiem Mass re­ 5, Great portions of the choral ma­ Opus 32, Festival Te Deum~ moves terial are in unison. rhythmic con£igurations e\'en further, [he keyboard material is more accom­ sulted in a creation of uncommon panimental than solo. beauty and poignant grief. 6. Choral textures oflen begin in uni. by simultaneously combining different son, tben move to contrapuntal meters in the organ and chorus. The Or. 56b, written in 1956 to words of The first performance took place in Georp;e Herbert, is called A,llipllori. In Coventry Cathedral as part of a special material that has a jagged rhyth. organ mm'es in a consistent 3/-1, with mic motive and e"entually evolve regular chord patterns, whi1e the chorns addition to the choir and organ, there arts festival held when the newly·con­ arc optional solo passages which should structed church was dedicated. The into homophony" proceeds in varying meters of continual­ 7. Both Latin and English texts are ly changing palterns, such as 5/8, 7/8, he sung by three separate trebles in a cathedral was originally built in the gallery apart from the choir. This work Middle Ages, but was totally destroyed employed and certain works we 2/4, etc., which accomllJodate Ihe word· them together (macaronic)" stresses. The independence of the two is more dissonant and difficult than hy bombs in World War II and then Op. 56a; even though the chorus has built anew. Britten's work thus sug· 8. Some works do not have an opus provides a unique problem for the con· number. by design. ductor: docs one conduct a strict 3/4 unison material, the rhythmic and me· gests to future generations the futility of lodic elements demand more advanced war. It has come to be one of his most 9. Certain gestures are used through­ pattern and mold the choral lines lO it. out his organ/choral music and or docs one follow the cbanging metric performers. AnlipllOn is not a composi­ popular works. even though it requires tion that will be immediately accepted, enonnous forces for perfonnance. The include: patterns of the chorus and adapt the a. sustained chords with contrast­ organ to it? This interest in rhythmic hut is one on a dif£erent le\'el from Wdr Requiem received immediate much of Brillen's other sacred music. acknowledgement as a work of quality ing repetitive rhythms on the inventiveness attracted many to Brit· pedals or secondary manual: ten's works. The composer',J dramatic flair is in and the original Decca recording sold .... l'idence and cach fragment of the text O\'er 200,000 sets in the nrst nve months b. running passages which often Although there is only a nine.year repeat material exactly or sc· difference hetween the two Te Deums, is trealcd with its own tempo and ma­ o[ its availability. terial. The work strikes one as overly qtrentlally; the contrast in writing skill is striking. c. harmonic rhythm which is The second setting is a man'elous work sectional on first reading, but latcr one If Hymn III Saint Columba (Regis realizes that many events ha,'e been regwn rectissim,) was written in 1962 often static and frequently uses which had been commissioned for the pedal lOnes; cenlenary festival of St. Marks in Swin­ condenscd into a short amount of time. and has no opus number. Composed to and that tbere is balance. Similarities mark the fourteenth centenary of St. d. frequent ornamentation; don. It was sllccessfully performed there e. harmony which often expands by a rather unsophisticated yet earnest to the Festival Te Deum with regard Columba's missionary journey from Ire· to structure and thematic ideas arc hid­ Jand to Iona. it is based on words at­ progressively into more dis. church choir, which further points out sonance from a static conson­ Britten's ability 10 wrile complicated, den, since Ihe hannonic palelle had been tributed to the saint and is scored for greatly enlarged in the intervening mixed chorus and organ. The current ance; and yct easily performable music. f. antiphonal elements between In 19,17, acting on a commission from years. edition of Boosey and Hawkes does not The use of the organ in Noye" include a translation of the Latin text the chorus and organ. and in­ the same church that had commissioned ternally between factions of the Rejoice in tile I..amb, Urillen composed Fludde. 0/1. 59, is similar to that in which would be helpful. The orgar: Sai"t Nicolas. Here, in this 1957 drama­ part is repetitive and will need an or. chorus alone or organ alone. an organ work, which was destined to 10. There are detailed articulation be his only cOlilribution in this genre. tic work for church perfonnance based g;mist with a penchant for pedal en­ The Prelude amI Fugue on a 'J'heme 01 on he episode of Norc's Ark takcn durance. As with many of Britten's and expression marks in both J'illoria is also Britten's only work in· from the Chester Cycle. the organ mu­ works, the chorus begins in unison chorus and organ. sic is treated as part of the orchestra moves to imitative counterpoint and 11. There is generally a full but not ,'oh'ing organ without mices. excessive range for the voices" or as an accompaniment for the singing develops some of the material in har~ The next year Uritten premiered his 12. Vocal soloists are often used. camata Sai,U Nicolas, which did employ congregation. Performance of this work mony. This fonnat is coupled with yet the organ. Here the, organ was treated involves at least 156 actors and instru­ another of his traits. that of ending a 13. The music often shows rhythmic as a strictly accompanimental instru­ mentalists, plus audience. There is mu· work quietly, with a feeling of disap­ complexity on paper. but is simple ment, rather than as an equal partner: sic for beginners or inexperienced young pearance. Moments of this motet are to actually pedorm. and sounds it is used sparingly, as a small nart of musicians, and for professionals; the de. very chromatic. Although not as diffi. uncomplicated. the total timbre palette. The relation· light[ul joining of children and adults cult as the Antiphon~ tllerc is a stylistic James McCray is professor 0/ mwic ship of organ and church is further de­ blends masterfully into this theatre similarity to it and the Wedding and chairman 0/ the department at fined in this cantata, for it is usually piece for the churdl. Anthem. 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10 THE DIAPASON Britten's Five Canticles tides show a subtle handling of thematic Thc following section (recitative), in cithcr melodic or rh}"thmic. The final fragments to thc extent that, as he fast declamation and in contrast to the (Continued from p. 1) mcasures of this section consist still of moved away from a pre\'iously stated previous, consists of an arpeggiated rna· Icaps of sixths, yet they are set in aug· a preference for and peculiar use of osu­ theme or moth'e, he piled up fragments jor 6/4 chord which is transposcd from mcntation to prepare for the more set· nalo figures, canonic devices used most from that themc around the new one. G to A major. This section concludes tled lenlo which follows. Set in 4/4, thc C\'cry conceivable way, and a capacity It is ,,11 ,'ery crfecti\'e and usually in· with more frequcncy, higher leaps of a accompaniment throb, in Lombardic for comhining themes and fragments in jected wilh a rhythmic life of stich lean sixth and meshes into the middle presto choral rhylhms which, as in Canticle fI, a logical, compact, yet often complex­ proportions that the tc:"t is seldom mud· section wilh a modality unusual for hi)' down a suslaincd chord over which sounding texture. Uses of such devices died. It should also be noted that Brit­ BriUclI. Flanked on both sidcs by slow Ihe \"Dice mo\"cs. This final section con· as augmentation, diminution. retrograde, tcu's rhylhmic fragmellts seldom remain mo\'cments, the following presto is built eludcs with a beautiful, expansh'e mclo­ and irl\'crsion. however, did not dcny within thc confines of thc barlinc. This on and contains thc most obvious and die line full of unfulfilled skips. which him real metod)'; often these devices lends 10 thc cntirc tcxture a mobility frequcnt usc of thc characteristic sixth; not only utilizes the sixth again, but also scn'cd more as lUotivic sources of cnctb'1' and rhythmic freedom that adds dra­ ai If to direct aUcntion to that intcr­ makcs reference to the opcning lcft hand rather than prescription for predictable matic power. And, a cursory glancc will val, Brittcn crcated dT3l11atic movement passage. Tonally the work tra,'els from turns of phrase, thus allowing him the show that Urincn felt no obligation and excitement by building the section G minor to D minor (presto) and comes pursuit of dnuna inherent within the whatsoc\"cr to sct any tcxt in a natural on a rhythmic dux whose comes is an­ 10 rest in G major. The entire work is text. He was able to write fairly long or correctly acccntuated way. The ur­ swered in that same voice. The text - quile vocal and is cast in a cordial passages in one central key or tonalit), gent}' and sensc of cxcitement of the "Nor time, 1I0r place, 1I0r chance, nor twenticth century idiom; declamatory without loss of expression from frag­ 6/8 section of "Abraham and Isaac," for death can bow my lcast desires" - is set scttings never become overly bus),. ami mentation. c:"amplc. contain ob\'iously misaccentu­ in continued leaps of sixths or scalar rc\"eal nriUcn's ability to make melody ated syllables and words. And, like many passages. While the voice line is sug· of almost anything. Of those elements Even in later works. including the of his bettcr known choral compositions canticles, a slight encroachment 01 serio gestive of a canonic imitation of the most elusivc in describing Britten's mel· and songs, the canticles hold 10 no tra­ right hand accompanimental line, the ody and hannony (which tcnd to idcn· ality only enriched melody chromatic. ditional structural patterns. The sclcc­ ally. Cadences are always recognizable left hand plays an inversion of the other tify his style but make it most dHficult tivity of style and degree of thematic two. It is remarkable how with such 10 imitate). perhaps attention should and most often approached melodically. manipulation seem to protect him from In spitc of thc tendency toward general limited. }et obviously potcnt material, bc drawn to the quite unprcdictable pursuing a particular \'cin past the point each Iinc call retain such individuality. way hc introduced thc rising or fading disguise of elements that highlights his fl"Om, sa)" logical thematic or dramatic \'Dcal works (such as rhythmic displace. The accompaniment tends to resemble half.step illlo chord mcmbers of fairly consllmmalion to any sort of tired dia­ thc character of that in one of his folk dist::lIlt harmonies. The rcsult is a dis­ ment and hannonic distension) , melo­ tonic anticipation. songs (of British Isles), The Asil Grove. dies emerge from the over·all structure guised kcy or modc. strong enough to Thc sctting of Cantidt! I is not too I lere again, it would bc arbitrary to de· gain immediatc aural :Ippeal. as real and singablc, as if singers had fine the function of this motive as writtcn them. In that respect, Brittcn lengthy; becausc neither tcxt nor music (Continued, page 12) was typically English in his Im'c and is o\'cdy comprcssed, the work still does Example 1_ skill in writing for voices. His songs not stiner from its own scctionalization. allow an even greater freedom of linear The first scction begins with a bacarollc " , Andant. alia barearol • •J •• •• ) and textual expression than his choral movement (Andantt! alia barCdrolal in works, and a more subtle inlegration of the left hand abrninst a highly f orid VOICE thematic and textual expression of right hand passage (EX. I). The voice It! voice and piano appears. These arc asserts itself with rcpcated, almost pedal. works worthy of study and per(onnance. like notes. Later at the tcxt, "Ev'n so wc joincd," thc voice assumcs the ear­ .1LL ~ ..-... Britten's Cnrrticit! I set for high voice lier right hand passage in a controllcd and piano (01' 40). is 'Wed "My Be· }et mdismatic and moving line. Each loved's Mine and I am His." The work It! of the tlnce lincs is thcmatic in its own p was first perfonned by Peter Pears and right; Brittcn corroborated this by reo PIANO -= the composer in 1947 for the Dick Shep· fusing to dilutc thcm. BC£ore ending the .,.. .,.. herd Memorial Concert. Britten fash · first section. the ,'oice returns to its reo ioned four loosely knit sections which, peated nole moth'e. The work is clever­ each having its own characteristic melo­ ly built 011 the pcn-ading interval of a dic interest and rhythmiC figurations, sixth; oncc dcfined melodically, the in­ Copyright 1949 by Boosey & Co. Ltd.-- -- are concluded (except for the third) ------terval is hwcrted while its melodic Used by permission. with the coda-like phrn.se, "So my best rhythm bccomes subjcct to variations beloved's am; so he is mine." In con­ versity of III;no;s, and llis DMA. from trast to the employmcnt of more ob­ of augmentation and diminution. Are· Louard E. Egbert. directM of choral tilt! University of Kentucky. Dr. Egbert vious canonic dcvices used in, say, "This turn of incipit piano material rounds activities at Virg;raia Intermont College, lnugllt !Jrcvious[y at tilt! Ur,;vers;ty of Littlc Babc" (from A. Ct!rmony of Car­ off the section in a clear tripartite or· received his liME degree from Murrnl Kt!nlucky and at Let!s Collt!ge. A. tenor, ols) or "Death Be not Proud," his can- ganization. Slnle UrJivt!Tsity, llis MA from the Unt- I,e has rccordt!d for Plt!indes Ruords.

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MAY, 1977 11 Britten's Five Canticles IS eVident here. as dramatic intensity is depiction of the \'oice of God become Britten has again used a pervading (Continued from p. 11) increased by the usc of jagged fourths and sound functional. Inner thematic characteristic interval. It is Important to sct Abraham's agony and conflict organization abounds in both subtle to recall the basic shape of the original 'Vhcre Canticle 1 is primarily of a within himself, The accompaniment, sct and obvious strands in Canticle JI~ but theme stated by the horn: ascending, lyric nature although not devoid of in thundering arpeggios, consists of de­ is not overdone. Perhaps more impor­ descending, and combination fragments. dramatic expression, Canticle 11, (Op. scending chords. In a return of the­ tant than Britten's structural genius is In variations I. n, III, V. and VI. that 51), by contrast, is a powerfully dramatic matic fragments from both the recita· the singability of both vocal lines. They basic shape is retained; only the inter­ work. The story of Abraham and Isaac, th'e and 6/8 theme. Isaac queries Abra­ arc not merely synthetic derivatives: val is changed, from seconds to thirds, it was composed in 1952. set for tenor, ham's dark mood. each is imbued with a dramatic power fourths. half·steps. and fifths. The basic alia, and piano. The text is taken (rom The middle section, set in D minor, of simple passages that nevertheless are number of notes used in each phrase the Chester Mimc1e Play and was £irst 2/4. consists of Isaac's resignation to fulfilling to sing, The work is only (six in the first and four in the second) pcrfonncd by Kathleen Ferrier. Peter sacrifice, J\braham's blessing upon medium difficult. \ is retained. Variations I (Gently mov­ Pears, and the composer. Britten set the Isaac. the farewells of Abraham and Canlicle 111, Opus 55, for tenor, horn ing) , HI (Lively) and IV (Quick and work in three broad sections,l based pri~ Isaac 10 one another, and Isaac's re­ and piano, was written in 1954 and per­ agitated) arc for piano and hom: Vari· marily on the dramatic events of the quest that the deed be done hurriedly fanned in 1955 by Peter Pears, Dennis ations II (Moderately quick) and VI story: (1) God commands Abraham's without telling his mother. Isaac and Brain, and Ucnjamin Britten for a memo (Slowly as at the start, for voice). hom sacririce of his son, Isaac; (2) Abra­ Abraham sing related themes built on orial concert gh'en at Wigmore Hall. and piano. ham's hesitancy but £inal obedience, and the fourth; the themes are both tuneful The poem, "Still Falls the Rain" (Tire Verse I has a melismatic voice part; Isaac's innocence, fear, and, finally. duti­ and strong. Beneath it the accompani­ Uaids, 1940; "Night and Dawn"), by Variation I, constructed on the third, ful resignation to God's will: (3) God', ment is fast'mm'ing, with scalar pas. Edith Sitwell. contrasts with the more retains the basic thematic shape. Set in intervention. The series of dramatic sages in contrary motion which gh'e a comfortable "Abraham and Isaac." The 6/8, its accompaniment contains per­ c\'cnts inherent in the story of Abraham frantic character to the entire section. use of the horn gives a prophetic, some­ cllssh'e chords. The vocal part of Verse and Isaac produced a quite sectional­ With the descending, syncopated what forbidding quality to the setting. II is remarkably similar to that of Verse ized setting by Britten; hut for all the rhythms of Isaac who stutters, "l"or I The poem itself is bleak. making com· I: the accompaniment retains a pedal scctionalization, his usc of recurring alii but a child," the section settles and mentary upon the world of man with point. Verse III stays in n·f)at; Varia­ themes and the text's natural three· part gains controlled drive from the Ilalf· dark and open remorse; the meter is tion III has the basic theme shape al· structure make it quite compact. To notes of a stern Abraham. The entire irregular. making its setting problema­ tered somewhat. It is interesting that the label this canticle as being merely of section possesses a rugged and straight­ tic. Britten grouped the text into seven accompaniment moves in imitation of a nonnal three· part structure would forward quality which cenlers on the "erses and scven variations. The hom the horn, transposed up one half·step. ignore Britten's ingenuity in organiza­ characters and their conflicts. figures prominently in the musical vo· Verse IV changes to 6/8 and remains tion and his solution 10 what might Laid upon the altar. Isaac sings sweet· cabulary as it introduces a typical Brit­ melismatic: over dissonant chords in the have been a technical problem: too many ly in falling thirds, answered by Abra· ten device: the usc of only the first piano. the horn plays five· note figures sections. In relating the three sections ham. Isaac implores Abraham (very slow ten tones in a tone row, As Brown for Variation IV. Verse V (free redta­ by either thematic or inlen'allic means, and solemn) to perfonn the sacrifice nOled,~ the initial phrase shapes of the th'e) carries much of the text ("The he avoided the monothematic sectional (quickly, to an accompaniment of horn are significant to phrase deriva· blind and weeping bearl") in similar structure of the first canticle. thirds). Quick dotted rhythms increase tions which follow. Phrase shapes of fh'e- and six· note series and has a yearn­ The first eVents consist of God's com­ the excitement; both ,'oices leap agio the initial theme consist of seconds. The ing quality. Variation V is set in dou­ mandment that Abraham sacrifice Isaac, latedly in octaves, God's inten·ention. first fi\'e notcs of the row appear in as­ ble·dotted rhythms for both horn and ,\braham's resolution to not defy God, in the combined ,'oices of Abraham and cending notes (6-10). then follow in a piano. The basic interval is that of a the preparation to ascend the hill for Isaac. is signaled by a return of original transposed im'erted vcrsion; the last fifth, the largest used thus far in a the sacrifice (which Isaac does not read­ material, now characterized by a de· phrase consists of tonal derivations of structural way. Verse VI return to lJ.. ily comprehend). Abraham's wail of scending passage in thirds, in contrast the first two phrases in a highly com- flat, where the ,'oice repeats the initial mourning (or the task he must perform, to the former ascending commandment rcsscd manner. The hom begins a long meJisma. A spoken, declamatory passage and Isaac's slow realization that Abra­ (or sacrifice. A corresponding. thematic­ r.leld B-nat and ends with the lame resembles the previous variation, Varia· ham's drawn sword is not intended for all)' related section in 6/8 rcturns, but long·held notc; it thus establishes the tion VI is set 10 quarter·notes Cor both any beast, In this first section, two dra­ the accompaniment now forgives in sim­ tonality for the following Verse I, in horn and voice, without an initial piano matic and musical ideas appear. To ple yet poignant dominant· tonic chords. which the voice vasdUatcs between E­ part. The horn repeats the theme. to open the work, Britten ingeniously Il is amazing how deviccs such as the nat and F, against a solid hannony. which the ,"oice sings in contrary mo­ solved the problem of depicting the Examplo 2.A. tion. A unison B·fJat is reached at the voice of God by setting both the \'oices conclusion. of Abraham and Isaac in a compelling, SloW' noltatlve Canticle IV, "Journey of the Magi," recitath'e-like announcement (Ex, 2. A) • ALTO (Opus 86), is set for countertenor, ten­ The inten'al of the third permeates the or. baritone, and piano: the poem is entire Canticle 11 and, in the fashion A _ bra-baml.. • My servaut A-bra·hl!.m, pp t:\_ ...... ::::= -•.t=).. by T. S. Eliot. Canticle H' was first per­ of Canticle 1, provides the interval for formed at the Maitings. Snape, in 1971 structural unity, Set in ascending thirds, "NOR ~·lI~§~~~~~~~~~~~~~~~~~~~~m by James nowman, Peter Pears, John the text "Upon that hill there besides ~_A. bra-b.ml.... ~rservaul A·bra·bam, Shirley-QUirk, and the composer, at the thee," brings Abraham's task into sharp Copyright 195; by Boosey & Co. Ltd. 24th Aldeburgh Festival. Although focus and establishes the importance of Used by Permission. Eliot·s poem is cast in three general sec­ the third. Desperate, Abraham dares tions. Britten's design does not coincide not refuse God and sings, "Thy bidding Example 2.8. with these divisions; it is a musiC411 done shan be;" beneath this, the ac· rather than poetic design. For the most companiment is relatively static with part, the three voices sing in either thirds - E nat and G. The theme is homophonic textures. obviously imita­ set in 6/8 meter, but contains intention­ thoc ones. or in a broken homophonic aUy uneasy textual misacccntuations texture which is more hannonic than which suggest Abraham's agonizing de­ thematic in function, The opening ception. Here the accompaniment lends chord by the Magi is prepared by the to the feeling of instability by under­ same right hand accompaniment, over mining the easy 6/8 with its own 2/ 4 an energetic ostinato figure in the left setting. The theme, repeated by Isaac, hand, Because of an added·note chord is interrupted by' Abraham's recitative, and its resistance to diatonic mO\"Cment, "01 My heart wlll break in three" (Ex. Copyright 195' by 8oo8ey • Co. Ltd. no olle \'Oice of the Magi is subservient 2. B). Real melodic power of Britten Us4d by Permiseion. to a sound·or tone· ideal: the Magi rep­ resent a unity of purpose, yet each car­ ries his own individuality and strength. That the}' are unified in their search We specialize in custom-made keyboards for all keyboard instruments, especially for is depicted hy frequent crossing of Jines and changing inversions. The accompa­ organs and harpsichords. niment does not detract from the strength of the Magi. but adds har­ monic derivatives of the added·note There is a wide range of materials such as chonl, and a rather fast yet transparent narrow-grained pine for the naturals, red left·hand mo\'ement. Although Britten beech or oak for the frames, ivory, "Ivora" responded to various poetic suggestions plastic, ebony, grenadil, rosewood, padouk or (the Magi's hard times, journey by cam­ el. cold winter, tra\'el by night, dawn, I box as overlays and other precious woods for and arrh'al) , it is the intertwining, imi­ the sharps. tath·e. and croSS ing of \'oeal parts that draws attention to the Magi. Their lines \ \\\ seldom lapse into the hannonic frame­ ~ Why not have a special keyboard made to work of the accompaniment, but present I I suit and embellish your instrument? Extras, a formidable block of sound that is such as arcades ·in the front or bone overlay, powerful and irresistible. The "oices can be considered. Owing to our long experi­ often sound stacked upon the accompa­ nilnent because of an internal pedal, ence we know the best way to meet your spe­ which creates a static effect. After pre­ cia I wishes. senting the sound·ideal in the added­ note chord. imitath'e passages are created by breaking up chordal formations, By Your inquiries together with section drawings are invited. Sale only to organ builders. his chromaticizing of pseudo· whole tone and other similarly constructed scalar passages. Britten made a primarily static AUG. LAUKHUFF hannony mobile. The opening thematic material con· The world's largest Suppliers tained in both accompaniment and voices returns twice in rondo fashion. for all pipe organ parts no doubt because of the need for or­ ganizing a fairly lengthy text. But more D 6998 Weikersheim, than lengthy. Eliot's text is de\'oid of ob\'ious seams. requiring a superimposed West Germany organization. The setting is brilliant because, in spite of textual repetition through imitative and repeated chord

12 THE DIAPASON means, there is little poly text. A clear ambiguous, Slow-moving yet driving, texture is thus 3.chie\·cd, 'Vhile the this section's vocal line i! much more \'Oices interchange to the extent th,n stepwise in character than the opening. they appear to interrere with each other Beneath thi! vocal line is an ostinato tonally. the inherent quality of cadi written ef{ectively in Lombard rhythm. Northwestern University helps retain linear indiViduality. Seldom Throbbing chords continue, suggesting Evanston, Illinois docs the piano interfere wilh the ,'oices Narcissus' self·awareness until, after a because of the wide spacing between passage in triplets, he become! account­ accompaniment and l'oices. Midway in able as a "dancer before God." Fre­ the lint scction. Briuen freed the M3gi quent meter changes accommodate the from their rather stalic hannonic stance irregular narrative of text, presenting by lhe introduction DC two consecutive little real dimculty to the singer. The onc-measure twelve-note rows. The middle section contains four subsections. charncter of the difficult journey by which refer to the metamorphoses of camel is humorously suggested (in imi. Narcissus. The ripples of the pool reo lation) by the scalar use of the opening necting his transfonnations are depicted chord, with added whole tone.!. JWt by accompanimental figures which, slow­ before the return of lhe final Tempo I. moving and deliberate at first, gain nriUen inlroduetd in the piano lhe 3n· speed ami intensity through pedal. like tiphon. iUagi videnles slel/am, another UlfC~e-note dusters o{ half·steps. In CHURCH ingenious and felicitous device used to these sub·sections, Britten has cleverly solve: problems of unity and diversity. set themes successively derh'illive of one It is now.ble that following the: slate· another; in contrast to a more sweep· ment of this tune:, the Magi sing in uni. ing melody in the opening line. themes MUSKC son as they describe the diHiculty of suggeslrd by "tree," "fish," "young girl," birth. Following the: return of original and "drunken and old," are sinewy and material, Magi vid~lIles sleiLDm returns stepwise in nature. The setting is pre· for a final nine· measure restatement. dominantly syllabic: the melody is easily WORKSHOP The inner organization of Canticle sung but complexities in sonority arise 1" is subtle and complex. There is a in integrating voice with accompani­ certain alternating character to the: work ment. Occasional large melodic leaps July 25-29, 1977 which rcJ:uC5 to the traditional method become again trapped by the static ac· (Fours hours daily) of composing canticles: homophonic p""" companiment_ It is important to men· sages 01 the Magi alternate willi two In. tion the skill with which Britten wrote "cried chords; sections tend to alternate for harp; while at no time is its rhyth­ between homorhythmic and imitative· mic identitl' compromised by the voia: like passages; llie Magi alternate between line, the re entless jagged rhythms fully ROBERT BAKER-Conducting from imit:lth'e subjects and are only part of support the smoother vocal line. In the Console the total texture. The static and pan­ closing, the composer returned to the diatonic ch:nacler of the initial section carlier dotted rhythms o{ lhe ostina.to, Lectures becomes more chrom::IIlic in the middle but with an unmistabble predominance section, and then returns. The settling of triplets in the vocal line. The work. ROBERT NOEHREN-organ Recital effect of the antiphon adds a melodic i!I not terribly difficult and contains and hopeful touch that contrasts great­ unusual but essentially tonal turns of Lectures ly with earlier sections, and its length phrase. Once learned, one Is plC3scd gives appropriate importance to the with the unpredictable yet smgable For information write: Birth. manner in which the vocal line touches Brillen's setting of T. S. Eliot's "The marvelously on strands of siable tonal Director of the Summer Session DC3th of Saint NarcwlIs," or Clmlicle grounds. It .seems that while the vocal r' (Op. 89), was first perfonned on line ne,'cr overpowers the accompani. School of Music January 15, 1975, at Schloss Elmau, up­ ment, the accompaniment does not lose per Bavaria, by Peter Pears and asian its own identity. The easy manner in Northwestern University Ellis, The work is for tenor and harp. which Britten eased by half.step into Evanston, Illinois 60201 and is Britten's last canticle before his seemingly dist41nt tonal grounds is dC:lth Dcrember 4, 1976. The narrative pleasin~ to sing, The work could effec­ selling rcsponds to minute and specific tively he accompanied by piano. imagery. and sections are more apparent Prominent twentieth-crntury NIsms" through accompanimental changes than can be s«!'Cn in the canticles as well as thematic metamorphescs. The work the later religiolls dramas, Or "parables seems troubled, since it seldom comes for church perFormance," Britten's own The University of Kansas to rest tonally or thematically. As he peculiar brand of synthesis is attractive lowrence,KS 66045 did in previow canUcles, Britten reo and unpredictable, and, happily, never turned to Ihe original material for the really synthetiC (to the dismay of those 13-17, 1977>1- final section, Ostinatos are transposed who claim his so-caned eclectfdsm has June (reely. and an ambivalent allcgience to been a deterrent to any real stylistic mao C major and E major occun throughout turation). He is usually either strikingly Catharine Crozier, Harold Gleason the work. Excursions to the key·areas original or strikinJ!'ly almost·familiar. and Robert Baker of D major and Ab major perhaps ac­ Sometimes it is difficult to distinguish commodate the harpist; a final return between a rhythmic and melodic mo· to the original signature of no flats, tive; one emerges into or from the other Master Classes in Organ with Catharine Crozier and Harold Gleason nor sharps brings a more compressed in a way which makes defininlt the rnl Lecture·Demonstrations in selected topics in performance ,'ersion of the incipit material. The first {unction o{ either both difficult and practice with Catharine Crozier ostinato passage (at the text, "He walked arbitrary. Perhaps It is the extensive once between the sea and high cliffs") intertwining of these elements which Lectures in organ pedagogy with Harold Gleason is referred to by its dotted rhythms: accounts {or the impression one often Workshop In church music with Robert Baker from this germ rhythm, of C major and gets, that no one, clear, distinct struc­ ahered chords, emerge repeated E QC. tural pattern regularly emerges as vlc ~ Recitals by Robert Baker, Catharine Crozier, John Ellis, Albert la,,'CS, OJ thinly disguised pedal through­ torious o\'er its various parts. Yet In Gerken (carillon), James Moeser, and Mary Lou Robinson. Ollt much of the work. spite of all thi" Britten's mutfcal point ReglstraUon Includes two hours credit (graduate or undergraduate) The introduction is characterized by is communicated without distracting e1ahoration, Even though history un­ $46.20 for Kansas residents II bitonal harp accompaniment; the voice $98.20 for non residents of Kansas line combines elements of both E major doubtedly will be more thorough in its and C major in a very singable section. assessment than any such analysis as this, Air conditioned dormitories will be available starting Sunday, June 12: MelodiCOJlly, there appean a distinctive it will nevertheless probably have no choice but eventually to R'Vere the $7.00 per day in a double room jump of an ascending octave followed $10.00 per day in a single room immediately by a descending leap of a vOClt worl.:5 of Britten. The test of pro· gramming will add let another dimen­ Please make room reservations no later than June 6. Address sixth (Ex. 3). Later im'erted and trans· sion to this appraisa . A greater under­ posed, this incipit malerial relums at reservation requests as well as inquiries for more detailed the end of the work. The second !Cc· sianding of Britten's rhythmic and har· inFormation, including materials to be covered in the master classes, to: monic language, in comparilOn to others tion, marked slow, contains a smoothly Dr. James Moeser, Dean Oowing vocal line accompanied by an of this century, someday will help elu­ cidate not only the genuine and mgen· School of Fine Arts ostin.uo·like passage. A pedal E in ar­ ious simplidty of his expression, but the The University of Kansas pcggiat~ figure! is lublle yet tonally hope he seemed to oUa for the injus­ Lawrence, KS 66045 apparent. The seclion remains tonally tices bestowed on the world's innocents. ' Opening recilal by Catharine Crozier, Sunday,June 12,8:00 p.m. Ex_pIe 3...... c: ..... WltJa.~IIJ-n-.1 p _ __ _ .... __ r-"7JQ Ad courtesy ,,,... , ~:~1- _.1 I J Jlri~;==:I¥@I REUTER ORGAN CO. -P___ I---'- c..c w.. -derlbt w dow (~=w;-.+h-9"¥F'. , i jt;; ,I ml"'!=f..-A=l-n , ~

NOTES autho, h:u a rs:m ized C4,.,itie II infa the 10/­ 1 Mitd lell, Donald and HaN Keller, .Denl«­ lawin! events : God, Abr.aham, The Journey, ",I,. n,jlle,,: Ii C'''","~n'4 f7 (London, 1952), The AlTival (upon tile hill ), The A!Ony, The p,12. Blessing (by Abraham upon Is:l3c ). The Fare_ I I am Indebted to the nne article of David Wl'!lI, Thl'! Sacrifice, God', Inlerven1ion, and Drown, "Untlen'l Thrtt C:mtic!es," The }.I,,· Envoi (Britlen', own marking) • sit Re"iew, Volume 21 , 1960}, pp. 55-65, The . I Ibid" p, 67,

MAY. 1977 \3 Britten's Short Choral Works Benjamin Britten's compositional techniques are as naturally present in (Corl tlnued f rom p. 1) his secular choral music as they are in The sopranos anti ahos sing in uni· his sacred writings. His idiom is con­ servath-e. yet refreshing in its harmonic Another RODGE:RS Organ SOli the £irst half of the piece, and then in two parts for nine measures; the and rhythmic features. Care has been last nine measures return to unison. exercised in every detail. This can be has recently been installed by The piano part adds considerable in· observed in the manncr Britten treated terest and color to the work. and can· h is text!, thcy way he responded to the sists mainly of a repetitious series of meaning and mood of the text, the mcality of the voice parts, the fresh­ JlIJENBURG Piano House four chords that vary some in pitch from measure to measure. with the other ness of thc harmonies, the variety of hand either playing a "ground" C. stac. rhythms. and the care hc paid to indi­ cato 16ths. or fill ing in the harmony cate articulation and dynamics. The during the two· part singing. Neither choral writings of thc '50's show a the SA chorus parts nor the piano ac­ higher degree of sophistication than cOlllpanhnent is difficult. The piece was those of thc late '20's and early 'SO's. composed in 1967. They require greater vocal and musical competence all the part of the perform­ The last three pieces in this group ers. and arc less simple in style, as would are unaccompanied and were written In be expected of any composer as he re· 1929, 1931, and 1930, respectively. A fines his skills. Wealden T rio. a setting of the poem "The Song of the 'Vomen" by Ford This matnration can be observcd in Madox Ford, was originally intended the Five Flower Sorlgs Op. 47, a set of for three solo ,·oices. The piece can be songs written for a wedding annh·crsaT)· perrormed by three soloists with chorus, in April, 1950, wh ich consists of Twp or by one soloist (meuo·soprano) with Dalfodils and Tile Succession of Four chorus, or by tutti chorus. The dialect Sweet MorllllS~ (texts by Robert in the text suggests a certain rough­ Henicls) . Marsh Flowers (words by ness of language, as reflected in the George Crabbe) The Eve"ing Primr05c St. Agnes lines "It's wann in the heavens, but it's (words by John Clare). and Ballad of cold upon the earth. and we ain't no Green Broom (anonymous tcxt). All Roman Catholic Church food at table nor no fire lIpon the are unaccompanied. Clark, New Jersey hearth: and it's bitter hard a·CIlI'istmas· In Two Daffodils Britten brings va­ sing." The long-short rhythmic pattern riety to the basically homophonic tex­ Rev. Denis J. Whelan, Pastor of the 12/8 and occasional 6/8 and 15/8 ture of the four parts by having the AT meters is varied by the use of the parts answer the S8 a beat later for the CALL COLLECT, (201) 351·2000 duplet rhythm. (irst half of the piece. Thc upper three mices siug the tcxt simultaneously in OR WRITE FOR FURTHER Sweet was the SOrlg. for SSAA chorus. is a setting of an early 17th-century the second half, while the basses sing a INFORMATION TO, Cambridge 220 Lute Book text of William Ballet. 'Vrit­ different portion o[ the text as the ALTENBURG PIANO HOUSE,INC. r------ten ill 3l l, this quiet work may be sUllg upper voices are sustained. Again Brit­ 1150 E. Jersey Street I N either with an alto soloIst or the first teu adds interest by varying the basic Elizabeth, New Jersey 07201 ame ______alto section singing the text, and the duplet rhythm with occasional triplet other three female parts filling in the figures. This piece is marked allegro (Authorized Rodgers Representatives) Address ------hannonies while smging the words. impetuoJo and contains several instances "lulIa, lullaby." of a dynamic change from " to pp. ____ z;p, ______The Sycamore Tree~ based on a Tile Succt:n ion of tile FO'Ur Sweel t raditional text, is a lively piece, having Months begins imitatively, with each a strophic setting With the melody ,·oice stating the text of a succCM h·c changing within parts. This piece makes month: sopranos. April; altos, May; a fi ne group "closer" for a Christmas lenors, June: and basses. July. The same program at church. but tIle "three imitative order OCCllrs again, this time ships" sailing to Bethlehem may pre· at a h igher pitch levcl, before thc piece clude its usc in some church services. comes to a very soft ending with each One of Britten's miniature choral \'Dice stating its month again. gems is Jesu, as Thou art our Scwiou r, T he Ellf:tl i"g PrimroJe is a soh, sensi. from A Day was Rorn, Op_ 3. Based on tive setting, mainly homophonic, about University of Wisconsin­ an anonymous old-English Christmas lhis e,'Cning flower. Britten varies the Extension THE text, this piece is set for SATB chorus homophonic texture with two short in­ and boys chorus, soprano solo. or semi· stances of i mitation. This piece sets up chorus. The chorus sings the text homo· the more rhythmic Ballad 0/ Green IMPOSSIBLE phonically, with the solo entering near Droom, which provides a fine example the end of each section of text on a of rhythmic interelt, with a Spanish Gloriana come six Cllordl Madison, Wisconsin 53706 ~ l'1llJrru ~ 1! a revolution In sound. an F for almost five measures, until this Dances with words by William Plomer. 2021 Eutem Avenue • Cindnn&1f, OhIo 4S20l more climactic refrain brings the piea: They are T ime (SATB). Concord • Phol!. (SUI 221-1400 to its conclusion. (SATB). T im. and Concord (SATB). THE DIAPASON Cmmlry Girls (SA). Rustics and Fish· the text, "0 lift your little pinkie, and ermen (TTBB). and Final Dance of touch the winter sky. love's aU over the Homage (SATB). In Time, Britten mountain where the beautiful go to :J!.. Sc!.f;c!'.r Organ Company shows his adroitness at varying a simple die," Briuen interspersed the [our solo rhythmic pattern, such as in a ~ me­ ,'oices. each with its own idiomatic is pleased to announce tlte conlplelion ter, by employing lJt~m;ola in the inner mclody, and used a rhytIlmic pattern of a new organ for •• two voices, with the same rhythmic pat­ in the choral refraim that was not ob­ tern appearing in the soprano a meas­ served in any of the other works ex· ure later; further variety is added to amined for this article. JJTorthi,.gtou the ABAB form by having the "n" A Trag;c Siory, with text by Thack· section change from the ~ metcr to eray, is scored for unison voices and lJuite~1 ~:letl,o~list Church 4/4. piano. Brittcn used a very simple mel· JJTortl,iugtou. Ol.io Concord is also homophonic and ody and accompaniment to tell the talc quite slow. In Time and Concord, the of the young lad who decided be male voices imitate the two parts in would rather ha"e his pigtail banging Three Manuals and Pedal - Five Divisions gently swaying 618 meter. Country Girl! in his facc, rather than behind him. 47 Stops - 64 Ranks - 3 Extensions is a Ih'cIy two-part song that employs Unfortunately he is unable to bring the a dotted rhythmic pattem in the so­ change about. This picce comcs [rom Slider Chests - Electric Key Action prano line. Rwtics mid Fishermen was Friday A.fternoons. not available for examination. Also extracted [rom Op. 7, Friday W. Edge Dixon - Minister Filial Darice oJ Homage is marked AftenJoons, two volumes containing 111aurice Casey - Director of 111usie "Smooth and gracious," indicating the twelve songs for children for "oice and William Haller - Orgauist spirit of this piece in ~ meter. Diatonic piano, comes A New Year Carol. Two vocal lines produce a number of settings are based on this piece that dissonances, while the harmony is fair. contains three short verses plus a reo SCHLICKEH OHGAN CO. INC. Iy chordal. There are carefully.conceived [rain. The first is for unison voices. imitative passages within the thirty.file the second is for SSA. The simple quiet Buffalo, Ne." ¥orla measures of this short composition. chordal accompaniment is in keeping In 1932 three two-part songs for with the spirit of this work. boys' or femaIe ,'oices wcre published, The third piece available from Fri· The first two were available for examl. rltlY AflcnlOOPIS is the final song of the nation and are seuings of tcxts by 'Val. twelve. Old Abram Brow n. which is ler de 101 Marc, The first is The Ride· available both for SATB and piano or SSAA and piano, The steady quarter b),-"iglltsJ for piano and two voiccs, Though not as rapidly paced. the Rain­ note rhythm of the piano accompani­ bow is another fine composition for ment depicts the funeral march of young voices. whose parts are indcpen. Abram Brown, now dead and gone. To dent from the piano. further set the solemn tone. there is SAINT MARY CHURCH Fancie is set to words by Shakespeare steady eighth.note rhythm in the \'Ocal for piano and ,'oices (boys' or female). parts that remain on an E for a whole This rapid·paced piece is mostly uni. measure as each voice enters. A dirge son, with the piano part having all feeling is intensified shortly thereafter arpeggiated chord in the left hand by a descending four·note imitath'c throughout. scate pattern that encompasses the oc· Advance Democracy was composed for tave. In the final verse, there is augmen. unaccompanicd SATB chorus. With tation as the eighth note becomcs a words by Dandall Swingler. this is a quarter note in the two upper voices, patriotic piece that was published duro while the lower voices continue with 109 the early part of World 'VOIr II. the original material. The steady march·like tempo empha. The final Ilarrath"e piece to be ex­ sizcs the text. "Time to arisc Dc· amincd is 1"lIe Ballad of Lilac .Alw· mocracy, before our lives and liberties grave and Lady Banlard, with anony· arc powder'd into dust." Less dissonance mous words from the Oxford Doole 0/ 62249 appears in this work, which is very Ballads. It is scored for TBB and piano, stirring in spirit. This piece is rarel), with an effective accompaniment inde· performed today. pendent of the ,"ocal parts. The last group of compositions that This artide would not be complete fan within the scope of this article may without at least a brief reference to be lenncd narrative because of their Uritten's CercmOPIY of Carob, scored for texts. The first is Britten's setting for treble "oices and harp or piano. This unison voices and piano of the Irish work. with its bcauti(ul medievel carol tune The Sally Gardens. This arrange­ seuings and its opening and dosing ment of the melody that is so usdul unison processional and recessional because of its limited range of a aim· mo\"Cmcnts alltl harp interlude, has gil'en both singers and audiences some pie octave is familiar to practically all of the most satisfying moments of musicians. Britten's simple. yet expres· twentieth century choral literature. The live piano accompaniment, with the harp timbre provides a marvelolls tex· steady succession of eighth notes in thc lure within thc total work. Although a right hand and frequently appearing cerlain degree of etherialness is lost in arpeggiated quarter notes in the left Ihe transcription for mixed voices by hand. delicately supports tlle tunc as Julius Harrison. in the opinion of this DESIGNED FOR THE CHURCH SERVICE AND THE ORGAN LITERATURI!: it is independently sung by lbe voices. writer, the Ceremony of Carols still of· Lilt DOYJ for SATB voices and piano, fers much in this voicing. is a through.composed, rapidly. moving In all of tIle choral compositions SIMPLICITY iece that tells the story of a boy who examined. Britten displayed excellent RELIA81LITY r.lad notIling in his pockets but a jack. knowlcdge of the capabilities of human ACCESSIBILITY knife and a button. \'Dices, be they boys, female, or male. From among the fine folk song young or mature. His accompaniments arrangements [or solo voice, Imogen do not obliterate the vocal parts, but Since 1893 Member APOIA Holst has arranged for piano and SSA they are mainly independent and en· voices 0 can ye 5ew cw/uons. The homo· hancc the total effect by their inob· 156 Woodland Street phonic vocal parts provide little diffi. trush·cness. Of the works covered in Hartford, Connecticut 06105 culty In this song that contains some this article. it seems that the composer dialect in the text. As in Sally Garden5, had some penchant either for employ. Britten has achieved a freshness in the ing vcry rapid tempi and text declama· accompaniment, while employing simple tion or very quiet and sensitive settings harmonic and rhythmic materials, and of the poets' words. The music is serio l'et the basic integrity of the original ous, but alwa),s has a freshness to it. tunc is presen'ed. Certainly, the."e can he la ili ng assurance With words by George Wither, I for continued pcrformancc o[ a goodly I"ov'd a Lass is scored for SA Tn chorus portion o[ Britten's choral output. Any· and piano. Briuen employed numerous thing Jess will not do justice to this meter changes that include not only musical master of our time. 2/"1 . 3/ 4. 4/ 4. 5/ 4. 5/ B. and 7JB. but also an 11 / 8 tpeasure. This work re­ quires a more mature choir than the RolJerl E. Snyder i5 associale profe5' previous three narrative pieces. lor of mluic and clloral cOrldllctor at The words of W. H. Auden's A Shep· Ealtern Illinois U,,;veT5;ty. Charle510n. herd's Carol provide tIle teXt [or a He hO/d5 the PhD. degree from the secular carol for unaccompanied SATB U"iversity of Iowa arid is Illi,lO;s pre5j· chorus and SATB soli. Between the fivc dent of the American Clroral Director5' homophonic choral sections that repeat A5sociat;0,..

U8 J. H. & C. S. ODELL & CO., INC; Y 82..&4 Morning.ide Ave., Yonkers, New York 10703 E ONE HUNDRED & EIGHTEEN YEARS A 1859-1977 R Five Generation. building Odell Organ. S 914 Yonkers 5-2607

MAY,lm 15 louisian~ SIGte University undar Richard Competitions Heschke: and Woyne SIGler. master's stu­ I""'lt-- dent under Robert To ..... n at Wichittl Slate FINE ORGAN BOOKS University. Judges for the coot est finals were Philip Possession of talent is Gehring, Valporl!liso University: Clyde given credence through --- Hollowa y, Inditln", Univers ity; Wilme Jensen, O~ltlhome City University; and recognition. James Moeser, University of Konses. Con­ John Ruskin .. testants were chosen from entries covering -- 24 states Gnd Ctlnoda. The competition is pllriially underwritten by a grant from the First Presbyteritln Church Foundation. Members of the music staff at the Fort Woyne church include lloyd Pinkerton. minister of music. and Jock Ruhl. orgenist lind theater manoger. Diana Hansbrough. a high school sen­ ior from St. MGry's, Ohio. htls been nGmed recipient of 0 $500 schol~rshjp in the third onnuel argon competition at Bo ..... 1 ing Green State University. She is or· ganist of tho WGyne Street Methodist Todd R. Wilson, 22. I!I nl!ltive of Toledo. Church in her hometown I!Ind will ottend KLAtS: THE ORGAN STOPlIST Ohio. WI!IS nl!lm ed wi nner of tho IB th No­ tho university's College of MusicGI Arts tionel Org.,n Pleying Competition the 136 POOH. IIIII.trvl.d at in Bowling Green. Ohio. $15.00 postpaid In U.S. First Presbyteril!ln Church. Fort Wl!lyno. Robert Ad,ian Smith hos beon an· Indil!lno. on March 26. He competed nounced winner in the Sidh Notionl!ll BLANCHARO: flgainst seven other finalists. I!I number Organ Competition herd et the Fint ORGANS Of OUR TIME which had bee n reduced from ffty seven Presbyterian Church of Fort Lauderdele, originfll contestGnts. He won a cash prize 100 Klal. S~lt'. Florida. on March 6. He is tI sophomore 112 Photos of $500 and the opportunity to perform music maior at Lenoir Rhyne College. $20.00 postpaid In U.S. I!I recitl!ll at the church on April 26. Mr. Hidory, N.C., where he is an organ stu­ W ilson is a graduate of the College­ dent of lorry H. lowder. and is orgtlnist BOTH fOR $30.00 Conservatory of Music at the University of Corinth United Church of Christ. No D.ol.,.. of Cincinnoti. where he is currently study­ Other finalists in tha can fest were ing for a moster's degree in organ per­ James Russell Brown, grGdutlte studont et KLAIS: 01£ wUlZIUIGrl DOMOlOlLN forml!lnce. He is I!I student of Wayne Fisher the New Englond Conservl!ltory in Boston, 128 pages, lIIustrated Gnd has twice before beon a finalist in and Henry Richard Ramirez, graduata stu­ German and Engll'h Te., the Fort Weyne competition. He has pre­ dent at Southern Methodist University. HardCover viously won two AGO regional contosts. Judges were Reginl!lld Foort, lorotto $50.00 po.tpaldlrt U,$, as well os the National Competition spon­ Scherperel. lind George Wm. Vol~el. sored by the First Congregational Church David McVey of los Angeles Gnd the Strodor Notionol x holorship Competition at tho University of Cincinnoti. He is organist.choirmoster Here & There of Cl!llvl!lry Episcopol Church in Cincin­ A Baeh Festival will be held MGY 6·B in nati. Hagerstown, Merylond. by tha St. Cecilil!l First runnerup wos Miehael K.el.y, 0 Choral Society under the leodorship of senior ot lewrence Univenily. Appleton. rounde r-conductor Clair A. Joha"nsf,". Wisconsin. where he is en orgon d uden. Programs include orgen and harpsichord of MiriGm Clapp Duncon: he was aworded recitals. a chember·music program ond a a $300 cosh prize. Third place wos aworded ctlntata concert. A grl.lnt from the Mary. to Ford lanerstadt, 0 grGduGte of New lond Arts Council will help fintln ce the York's JuilliGrd School, where he studied restival. with Vernon de Tar. Haig Mardirosian. faculty mem ':l er tit Other finillists in the competition were Ame ricM University and music director Timothy Albrecht, doctoral student at the for the Lutheran Church of the Reformtl· Eastman School of Music where he studies tion in Washington, has been invited to with David Craigheod: Robort Delc llmp, ploy two orgl!ln recittlls in the Philharmonil!l doctorGI student ot Northweste rn Univer_ Festivol of Poland in August, whero he sity and student of Richerd Enright: w,. will be the only Americtln artist. Dr. Mor­ Dan Hardin. formerly e student ot North­ dirosil!ln recently performed for the In· western Gnd currently of Asheville, N.C.: ternationtll Drgon Wee k in Bonn , G e r­ J. Thomas Mitts, doctorol candidote at mony. David Smllh FREE I Trier Calhedral. Full color poster 16 Y. " x 23". TELLERS ORGAN PIANO TUNING artist ft£it.Jls Send 75 cents lor postage and Company, Inc. Learn 'Plano tuning and repair with Artists Manager easy ta follow home study caurse. handling. COMl'LElE ORGAN SUYICE SINCE ,_ Wide open Ileid wllh good earnings. .. . Send Check With Order Makes excellent "exira" lob. Wrlle P.O. lOX 1313 American School of Plano Tuning - ErM, Pa. 16512 Ph. 456-'306 . . (Ohio residents odd sales tax) 170$0 Toler Dr. o.,IDt Hit, CA !SOlI . • I ,

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1-6 THE DIAPASON Gillian Weir pl"yed e fourteen. recital The American Musieal Indrument So­ series during March devoted to the or· ciety h",d its sixth ennuel ntllion",1 meeting I I gon worh of J.S. Boch. The progroms too~ in Winston Selem, N.C., April 22·2-4. Of Fourth Annual pIece et the University of Western Aut.· perticuler interest to orgenists wes e ses· helio in Nedlands, where Miss Weir 01100 sian presenting pepers on ~eyboerd in· qll!l!n Iilkl! taught mosterclesses end gave ledure struments: Rudolph Kremer spo~e on "The a demonstrlltions. She returned to the Rationele of Keyboard Construction United States lato in the month to begin viewed Historicelly," David Sutherl",nd de· HartpsicIZOI"td e brief tour of this country. voted his etlention to "The Restoretion of the 'Giu$li' Herpsichord." end Welter Wopksqop CONFERENCE FOR Hashn Thomson directed e perform. E. M"nn presented 'Charles Tews: an once of Hone9ger's "King Devid" at the Eerly Philedelphie Pie no Meker." John CHURCH MUSICIANS Church of the Convenont in ClevelMd, Mueller ployed e recital on the Flentrop ",t Selem College, end Morgeret Mueller at Santa Barbara, California Ohio, Merch I J. The orotorio wes per· American Boplisl Assembly formed by soloists, choir, end on indru· pl",yed e concert on the Tonnen berg at July 25 • July 31 the Brothers' House. mente I ensemble. Green Lake, Wisconsin Susanne Shapiro A progrem of French chorol music, di. Retirement Wm. Neil Roberts J Illy 23.30, 1977 rected by Ro b. rt Luck, wes given et the Co-Directors North Yon~ef5 Community Church, He". ings·on. Hudson, Now York, on Merch 20. Includod wore tho F"ur8 Requiem end Literature survey Fo",,",.: the Cum Jubilo Mess of Durufl~; DeWiH • Performance practices Paull\lanz Wasson wes the organist. Figured bass • Master classes Choral Clinician According to areo press reports, the • Private lessons Organ J ecbonville AGO Chapter hos taken the initietivo in promoting the return of the Swimming pipe org"" to church use in northern Tennis Dole Wood Florido. J. Donald DeLong, chopter sub. Hiking deo,., hes edimeted fhet only one-fifth Youlh Choir of the churches in his ereo hove pipe or­ College Credit available gens, so he and his colleegues ere orguing Jo Ann BUller fo r both the su periority end longevity of For more information write to: instru men ts with pipes. Harpsichord Workshop Children's Choir Attention. Shap;,o·RobfJrt~ Noel Goamanne, orgllnist end choir di. clo Immaculate Heart College Nancy Siokes rector et Christ the King Cetholic Church, 2021 Western Avenue 00 lies, Texes, hes received the "Pro Ec. Re,ner Brawn will retire ot the end of Los Angeles. Ca. 90027 Younger Children's Choir clesia et Pontifice" modal from Pope Pau l the spring semester os e feculfy member for outstending service to the church. The et Biola College. le Mirende, CeHfornie. presentation wes medo by the RI. Rev. whore he hes served for 28 yeers. Ho will elso retire os orgenid td Wilshire Presby. Thomes Tschoep!), bishop of Dell .. 5. The For information and bro· model wes instituted by Pope lee XIII terien Church in los Angeles, 0 position some 70 years 090. he has held since 1940. A concert wes cll"re ."rile: given et BioI", in his honor on Merch 29. Mr. Brown is well·~nown for his numer· ORGAN CONFERENCE The Stations of the Cross, written in ous orgen compositions as well es for Jay l\Iartin, Pl'csidcnt 1932 by Mereel Dupre, hOos received chember end orchestrel works. He will be University of Nebraska Fcllowshi), of Amcrican severel recent performences. Verle larson listed in the new edition of Beker's Bio. at Lincoln pleyed pori ions of the work et Emmonuol grephicel Didionory end in the Inferna· Baptist l\Iusicians Episcopal Church, Be ltimore, on April 8, lionel Who's Who of Musiciens. He hes Gunther Keu nzinget ond Robert Grogan been Ihe recipient of three Ford Found,). THE ORGAN AND Valley Forge, PA 19481 performed it on the some dtlto et the No· tion grents and severel ASCAP owards for tionol Shrine in Washington, D.C., with his ectivi ly in promoting the compositions GERMAN ROMANTICISM ntmetion of the ted by Cleudel. Douglas end perfo rmence o r contemporery music in Butler wes the organist for this work when Americe. WAYNE LEUPOLD it wes heerd on Merch I J et All SlIinfs Mr. Brown received the BMus degree Church. Pesedene, Celifornie, with denco from the University of Southern Californie, ROBERT SCHUNEMAN intorprotation by tho Seinh Dence All where he 011100 ellrnod his mllders degree. o Since 1906 Troupe under tho direction of Tedd He is e pest deGn of the los Angeles October 6·8 R Welsch. AGO choptor. Recitals, Lectures. Recordings G of 19th & early 20th century artists A F.r 'urt"., Irtformaflollt, wrile: N UN-L ORGAN CONFERENCE RANDALL S. DYER c/ o Dr. George Rltdle :J~. SII",to! 0/ Q"aht" WFBenzenof5Co. Scltool ., MIllIe P Pipe Organs and Organ Service U.I¥erslfy 0' Hebraslra-Uftcolft N,w Orgllm - Additions L1nco'n, HE 685., Tuning - R~pal'J - Rebuilding ~ JEROME B. MEYER &SONS 80x 489 138 WoodbuTl Rd., E 2lJt so. AUSTIN ST. HicksvlUe, LI. N.Y. Jefferson City, Tennessee 37760 5 MILWAUKEE, WIS. 532D1 516~81-1220

Sherwood Organ Company Inc. WALTERS ORGAN CO., INC. 85 Longdale Avenue 2027 Palmtldp Way Orlando, Fla. 32809 While Plains, New York 10607 (305) 857·1481 Custom Built (914) 946-7990 (212) 582-4240 PITMAN and UNIT CHESTS Service Mechanical and Tonal Rebulldlnz New Organs

Builders of Fine Tracker and ORGAN KITS QUALITY PIPE The ultima,. I" d~ & IOUnd ORGAN Electro-Pneumatic Pipe Organs DEMO RECORD & BROCHURE" $1 .00 RESERVOIRS Inquiries art Cordilllly Invited • 32' - 18' electronic pedals for pip .. 1365 So. Detroit Ave • • Ie Capture comblnllUon action W. ZiIllIller & Sons Toledo, Ohio 43614 INCORPORATED Member APOBA ~ ~~ 5872 Am.poI_ Dr. 419-382-6761 ~~~:;;r- San Jose. CA. 95129 Mailing Address: P. O. Box 520, Pineville, N. C. 28134 NATIONS FORD ROAD' CHARLOTTE, N. C.

CHESTER A. RAYMOND, INC. McMANIS ORGANS PIPE ORGAN BUILDERS

Incorporated Rebuilding, Maintenance and Additions 10th &: Garleld P.O. Box 55 Princeton, N.J. 08540 KANSAS CITY, KANSAS 661!M Phone: 609-924-0935

MAY, 1977 17 . SARA ELIZABETH ALYATER Richard CALENDAR Organ Quintette ANDERSON Oratorio Accompanist Director of Madrigal Singers a.MttC..... 12 MAY The deadline for thh calendar Is the Marion Anderson; Busch-Relsingllr Museum. Woodstock, Vermont 05091 C. GtHn,Ite,., N. 10th of the preceding IIKInth (May 10 for Harvard U. Cambridge, MA 12 noon June bsue). All events are assumed to be Rkhard KonUln; St Thomas Church. New organ recitals, unless otherwise Indkoted, York. NY 12:10 pm and are grouped from east to we,t and Richard Heschke; W Georgia College. robert anderson north to south within each dale. Colendar Carrollion. GA 8: 15 pm HEINZ ARNOLD information should include artist name or Terry Charles; Kirk of Dunedin. FL 8115 SMD 'AGO F.A.G.O. D.M" .. event, dote, location. and hour, Incomplete pm information will not be accepted. THE DIA­ Southern Methodi,t Univenlty STEPHENS COllEGE PASON regrets that It cannot assume re­ Dalla., Tua. 75275 sponsibility for the accuracy of Information COLUMBIA, MO. in the calendar. 13 MAY Frederick Hohman; St Pauls Cathlldral, Buffalo, NY 12 noon CHARLOnE AND WILLIAM Marilyn Mason; Kenmare Presbyterian, UNITED STATES Buffalo. NY 8,15 pm Thomas L. Bailey East of the Mlublippl RiYer Durufle Requiem; Cathedral of Mary Our 5 MAY Queen. Baltimore, MO 8 pm ATKINSON atrial EpiKoPllt Olurch Quadrivium, Ma,leen Montgomery, dlr, Terry Charles; Kirk of Dunedin, FL 8115 Flm PRESBYTERIAN CHURCH Roanoke. Va. BUKh-Reisinger Museum, Harvard U. Cam­ pm 2001 EI Camino a.al bridge, MA 12 noon Ouondcl•• CalifoJIIlia 92054 Recital. John Bertalette: SI Thomas Church, New Yad:, NY 12:10 pm ... MAY Ann l Vi vien : Church of the Advent, Workshops Recitals 6 MAY Boston, MA 3 pm Dan locklair. First United tJ.elhodlst, One­ Stravinsky Mau. James Johnson. dlr; First Peter Basch ROBERTA BIT600D onla, NY 8 pm Church Congregational, Cambridge. MA 8 J. S.M.D., F.A.G.G., Ch. M. Robert Griffith. Bach festi val; Trinity lu­ pm Wildwood Road theran. Hagerstown, MO 8 pm David Pizarro. with brass Cathedral of 13 Best View Road Virgil FolIC. 50th seoson gala; Kennedy St John the Divine. New York. NY .4 pm Califon, New Jersey 07830 Quaker Hili, Connecticut 08375 Center, Washington. DC 8 pm Hurd Swingin' Samson; Cathedral of John Rose; St Philips Cathedral, Atlanta, Mary Our Queen. Baltimore. MD 8 pm GA 8 pm Virgil FolIC, with Baltimore symphony; lyric Theatre. Baltimore. MD 8:15 pm Community Renewal Chorusl Orchestra CHARLES BOEHM JOHN BULLOUGH 7 MAY Hall. Chicago. IL 8 pm TRINItY LUTHERAN CHURCH A.B. M.S.M. Ch.M. Dan locklair. warkshopJ First United Meth­ Hlcknillo. N.Y. forleigh Dickinson Univ.rtit, odist, Oneonta, NY 10 am Chamber concert. Bach festival, St Johns NASSAU COMMUNItY COllEGE TeanKIt, New Je.... y Memorlal Methodist Church Episcopal, Hagerstown, MD 8 pm IS MAY Oo,.l.n City, N.Y. White Plai,.s, New York lutheran Choir of Chicago; Grace luther­ Biggs Memorial concerl; Music Hall. Meth­ an, River Forest. Il 8 pm uen . MA 4 pm Stravinsky Mau, James Johnson, dirt First Church Congregational, Cambridge, MA 5 ARTHUR CARKEEK a MAY pm M.S.M. ... AG.O. WILL CARTER Cantabrigia Trio. Eric Herz. dir. Fogg "Vocal recilol. Center Church. Hartrord, DePauw University Organist Museum. Harvard U. Cambridge, MA 3 pm CT 3,30 pm Church of Saln. John the Evangensf Guy Bovet; Old Wesl Church, 8oslon, MA Evensong & Jersey City OrthodollC Chain Gobin Memorial Church 3:30 pm concert; Cathedral of 5t John the Divine. CrcencutJe, IDdiana New Yorle City Britten Miua arevi,; St Thomas Church. New York. NY 4 pm New York, NY 4 pm Brilten Rejoice in the Lamb; St Thomas Performing Arts Quartet; Immanuel Lu­ Church. New York, NY .4 pm theran. New York. NY 5 pm Grucrutcln A ward Sponsor Edword A Wallace; St Thomas Church. Idabelle Gay; St Thomas Church. New New York, NY 5:15 pm CHICAGO York, NY 5115 pm Vaughan Williams Moss in g. Holst Hymn Bo6ert ClarA John A Davis Jr; Cadet chapel, West CLUB OF to Jesus; Church of the Ascension. New York. School of Music Point, NY 3:30 pm NY 8 pm WOMEN Albert ludecke; First Presby torian, T,en­ University of Michigan Roger Ruckert; Hartwick College. Oneonta, ORGANISTS ton. NJ 4 pm NY 7:30 pm Mrs. Ann To"lor, President Ann Arbor Brahms Requiem; Trinity Church, Pri ncelon, John Pagett, with arch; Presbyterian NJ B pm Church, White Plains, NY 8 pm Sola voices & organ: GraCe Presbyterian. Princeton Collegium Musicum; All Sainls Jenkintown, PA 3:30 pm Church, Princeton, NJ B pm Eugene Belt; Cathedral of Mary Our Music of Bach, Vivaldi, Britten, Tenth Pres­ Harry E. Cooper MICHAEL CORZINE Queen. Baltimore, MD 5,30 pm byterian. Philadelphia, PA 5 pm School of Music Robert Jen!oOfl. Bach festi val lecture: Trin­ Mendelssohn Elijah; Solem United Chu..:h Mus. D., F.A.G.O. it y lutheran. Hagerstown. MD 9:30 am of Christ, Oalyeslown, PA 7 pm Florida State University C oif A Johannsen. harpSichord. 80th fes­ Festival evensong; Cathedral of Mory Our ti val; Washington County Museum. Hagers­ Queen. Baltimore, MD .4 pm RALEIGH, N. CAROUNA Tallahassee town. MO 3 pm Mozart Regina Coeli, Bruckner T. Oeu"" Bach Cantatas 106 & 1'1. Ronald Jenkins. Frederkk Monks. dir; All Saints Church, cand; Trinity lulheran. Hagerstown. MD 8 Chevy Chase. MD 5 pm pm Serafina DiGiacomo, soprano; Cathedral Bruce Stevens. Hamplon Baptist, Hampton. of Mary Our Queen. Baltimore, MD 5:30 pm WALLACE M. COURSEN, JR. JOHN EDWARD COURTER VA 8 pm Boch Cantata 11~ Vivaldi Gloria; Refor­ '.A.G.O. F.A.G.O. J Marcus Ritchie. with Jacquelyn Turner. mation lutheran. Washington. OC 3 pm meua, Cathedral of St Philip. Atlanta. GA CHRIST CHURCH Stanley H Cox; Cathedral of St Philip. Recitalist 5 pm Atlanta, GA 5 pm BLOOMFIELD AND GLEN RIDGE. NJ. Choral C:lOcert; Second Presbyterian. In­ Berea College Ber.a, Ky. 40404 Sophie Albrecht; Lakewood United Meth~ dianapolis. IN 8 pm dist. lakewood, OH 4 pm Oberlin Col~egium Musicum; St Paul Lu­ Music of Handel; Christ Church. Cincin­ theran, Skokie. Il 3 pm nati. OH 5 pm Bach Moss in a·Minor, Dayton Bach S~ DAVIDSON d ely; Seventh-Day Adventist Chu..:h. Ketter­ DELBERT DlSSELHORST • MAY Guy Bovet; Church of St John Evangelist. ing. OH 7:30 pm Joa F. SuWln L DMA Handel Messiah; First United Methodlsl. MSM. AA 01 ChM ,..5 .... ChM New Yor k, NY 8 pm Hatp.r Col • .,. 1M Pr.Jb".rJ... Ch.re.h Unlvelaitr of Iowa Peler Schwarz. Fairmount Presbyterian, Ashland. KY 5 pm UllMJ. nUnob Huw lewis; St Johns Episcopal. Delroit. ,.,.,tH, ..,,In,lo,,, Iowa C~r 10wD Cleveland Heights, OH 8:30 pm MI 3 pm Donold W Williams; hi Church of Chrht 10 MAY Scientist. Ann Arbor, MI 7:30 pm KATHRYN ESKEY Beeth:)ven Mass in C, Gerre Hancock. dir: Mendel.ssohn Elijah; Carmel United Meth· EUGENIA EARLE St ,homos Church. New YOtk.. NY 7.30 pm edisto Carmel. IN 4 pm Vifgll FolIC ; Methodist Church, Hadd~n­ Resplghi Laud to Nativity, Kadaly TeO. um; Teach,,.. C.lla ••, Columbia University The University of fic:d, NJ 8 pm Second Presbyterian. Indianapolis. IN 8 pm Harpsichord Recitals Boch Cantata 80, Kodcily TeOeum. Morgan North Carolino Pa,,1 Hll nry. dassical guitar; Chrbt Church Performance Proctice Workshops Chapel, Cincinnati, OH 12110 pm Simmons. dir; Fourth Presbyterian. Chicago, Il 6:30 pm 15 W.d 84th St,• • t, N..... Yor., N.Y. t0024 11 MAY *previously announced for a different Jacque;ine Ridenour. soprano; South Con· dote or time gregational First B:Jptist, New Britain, CT GEORGE ESTEVEZ EARL EYRICH 12:05 pm (h.m. Music of Thomas Tomkins; 51 Thomas 16 MAY St. Stephen's Church Cnurch. New York. NY 12: 10 pm David McVey; Alice Tully Holl. LlncDln Chlto.o Chomber Choir (Episcopal) Samuel Porter, 51 Johns Church. Wash­ Cenler. New York., NY 8 pm Rhode Island College ington. DC 12:10 pm Bruce Stevens; St James Episcopal. Rich­ Chutch .f Our Saviour Providence Karel Paultert; Museum of Art, Cleveland. mond. VA 8 pm OH 12:15 pm Marilyn Keiser; First Baptist, Nashville, TN

18 THE DIAPASON 17 MAY 2 JUNE Virgil Fox, with Springfield SymphonYI James Christie; 8usch·Reislnger Museum. Ch ..... H. Ph. D. '.A.G.O. Symphony Hall. Springneld. MA 8 pm HaNard U, Cambridge. MA 12 noon GEORGE FAXON Don Smllhers. trumpet; Wliliam Neil. or­ Regniold lunt, St Thomas Church. New gan; Rockefeller Chopel. U of Chicago, IL York. NY 12110 pm TRINITY CHURCH FINNEY 8 pm Chairman, Dlvl.ioft of MutIc , Art 3 JUNE BOSTON H.ughton e.I".e, Houlhton, N.Y. 18 MAY David Craighead; First Presbyterian. Bing­ Houlhton W.... 'an Mothoclftt Church Britton Rejoice in the Lamb; Sf Thomas hamton. NY pm Church, New York, NY 12,10 pm William Aylesworthl Fourth Presbyterian. Shoron Ollison; Sf Johns Church, Wash­ Chicago, Il 12110 pm ington, DC 12:10 pm Karer Poukert; Museum of Art, Cleveland. " JUNE Robert Finster WAYNE FISHER OH 12:15 pm David Craighead. workshop; First Pres­ DMA byterian, 8lnQhamlon. NY Cal lege Con.ervatary of Mus/c 19 MAY St. Luke'. Ch"rdI Harvard Choir; John Ferris, dirl Busch­ 5 JUNE University of Clndnnali 45121 Reh.inger Museum, Ha ..... ard U, Combrkfglt. Sen Ant."Jet John W Ferreiro; Fiu' Congregational, MA 12 noon Waterbury, CT 4 pm Roger Ruckert; Groce Church. New York, RSCM 50th annlversory festival, Cathe­ NY 12 noon dral of St John the Divine. New York, NY 20 MAY 4 pm HENRY FUSNER Jobn RI. 4§mbart III John Rose; Cathedral of Sf Philip, Atlanta, John Gearhart; Groce Presbyterian. Jen­ S.M.D., "-A.G.O. B.A.,M.Mus. GA 8:30 pm ~· n t own . PA 8:15 pm Music for soloists. chorus. organJ Emman­ fin' Pre.bytorian Church Grace Presbylerlan Church 21 MAY uel Episcopal, Baltimore. MD 4130 pm Nashville, Tonno.MO 37220 Jenkintown, Pa. 19046 David Pizarro. with Janis Klavins, bass­ Herbert l While Jr 1sf Church of Christ 887-6117 baritone; Calhedral of SI John the Divine, Scientist, Oak Pork, Il 5 pm New York, NY .. pm Donald S Wright; Sherman Pork Lutheran. 80ch Miua Bre.,is in G. Cantata "'; Balti­ Milwaukee, WI 3 pm more Bach Soc; Cathedral of Incarnalion, Robert Glasgow Baltimore, MD 8 pm 8 JUNE Antone Godding David Gallogher; MU$ic Hall. Methuen, School of Music 22 MAY MA B:30 pm Scho.1 of Musk Samuel Carabelto; Church of the Advent. Dale Krider; St Johns Church, Washing­ University of Michigan Bimop W. Angie SmIth Chapel Boston. MA .. pm ton. DC 12:10 pm Fred SiraJity, tenor; Trinity Church, New­ Ann Arbor OIoloh_ CIty U.l ....lty port, RI .. pm 10 JUNE Arthur A Phillips; S. Thomos liberal Cath­ Kirsten Synnestvedt; Fourth Presbyterien. olic. New York. NY 3:30 pm Chicago. Il12: IO pm LESTER GROOM Elgoo Drum of Gllfontius, F,ederk k Bell. BRUCE GUSTAFSON condo lalayelle Ave Pre$byterian. Brookfyn, 12 JUNE Seallie NY -4 pm Bernard & MireiUe lagd, organ & harp. Wedey Ascribe unto the lord; St Thomas Seattle Pacific:: Otun:h or lb. sichord; Mellon Arts Center, Wallingford. {i:llnt Mary'. CoD ... Church. New York. NY 4 pm Coli••• AKenaion CT 8 pm Notre Dame, Indlana. Karl E t-Aoyer; Sf Thomas Church, New Arthur A Phillips; St Philip Episcopal, New 98119 98199 York. NY til 15 pm York, NY 3 pm Wallace M Coursen; Christ Chill rch. Glen Silver Jubilee seNice for Queen Elizabeth; Ridge, NJ 4 pm Cathedral of SI John the Divine. N. w York. Frederick Swann: Union Presbyterian, Car­ NY 4 pm E. LYLE HAGERT neys Point. NJ 7130 pm Alvin lund.; St Thomas Church. New York. Kenneth K livingston; Church of the New NY" pm STEPHEN HAMILTON Jerusalem, Philadelphia, PA 4 pm Gwen Gould. with percussion; Immanuel G._n. I!pll

MAY, 1977 19 5 JUNE (Conl./rom p. 19) Frederick Hohman, Cathedral of the CALENDAR Risen Christ. Uncoln. NE 4 pm Music for on English Summer; St Bed., Episcopol. Menlo Park. CA 8 pm 70 MAY Harp3ichord recitol; First Congregational. hhn Obetz; Fint Pre,bytetian, lafayelle. Los Angeles. CA 8 pm LA 8 pm 6 JUNE 22 MAY AGO festival service; St Franch Church, Frederick Hohman; Chri,1 Church Cathe- Palos Verdes Estates. CA 8:15 pm dral, SI Louis, MO 4:30 pm • Handbell festival; Westminster Presbyter. 7 JUNE ian. lincoln. NE 4 pm Bach Musical Offering; First Cangrega. Dovid S Harris; Sf Johns Cathedral. Den· tional. l«» Angele" CA 8 pm vert CO 4 pm Douglas L Butler, all·Messlaen; First Uni· 10 JUNE tarian. Part:and, OR 8 pm Bach Festival, Contalal 16. 50. Motet 2. J Thomas Strout. Bach Clo'lierlibung 111; Suite 4; Clapp Hall. U of Iowa, Iowa City, First United Methodist, Whlltier, CA 7;30 pm IA 8 pm Donald Vaughn; Seventh.Day Adventist, WILLIAM KUHLMAN Arthur laMirande la Meso. CA 7:30 pm 11 JUNE Luther College Bach Festivol, Cantata 21. arioll Clapp Church of the Holy Mallie of Jesus 23 MAY Hall, U of Iowa, Iowa City, IA 8 pm Decorah, Iowa 52101 John Obet:l; Finl Methodist, Midland. TX Bach a·Minor Mass. lauds Jones. cond; New York, N.Y. 10025 8 pm First Congregational. Los Angeles. CA 7130 pm 2~ MAY Marilyn Ke iser: St Marks Cathedral, Min· 12 JUNE neapolis, MN Catharine Crozier; U of Kansas. lawrence, HOW LEWIS RICHARD W. UTTERST kS 8 pm 28 MAY George H Pro; Groce Cothedrol, San Recitals M. S. M. John Obetz; Universily Church, lama Francisco. CA 5 pm SECOND CDNiKEGAnONAl CHURCH linda, CA 4 pm Festival of Chairs; Gorden Grove Cim· Saint John's Church munity Church. CA 9:30 & II:lS om 50 f." f'''''', DetlOff, MI 4I20J ROCKFORD. IWHOIS 3 JU NE Lloyd Holzgrof, oll.Bachr Firsl Congrega' 13 JUNE tional. los Angeles. CA 8 pm James Moeser; U of Kansas, Lawrence. KS 8 pm David Lowry 4 JU NE Junior Ba .h festi'lals First Congregatro nal• INTERNATIONAL SdllHll of Mu<.,ic William MacGowan los Angeles, CA 3 pm aethe.da.by-lh.. Sea Britten War Requiem, with combined 5 MAY \1..'irlthrc1jl C(II1l'~W choruses & arch; Auditorium, Oxnard, CA 8 John Tutt le; Sf Pa uls Anglican. Toronto. Ho("k Ilill. ~(\LL[h Llnllill.1 297:n Palm Beach, Florida pm Onta rio 12:05 pm

FREDERICK L MARRIOTT KIM R. KASLING James Kibbie JAMES R. MmLER D.M.A. ORGANIST - CARIUONNEUR Holy Family Church TRINITY CHURCH W•• te,.. MkhIton Un'...-aIty KIRK·IN.THE.HIUS ,w.t CO ••reglltlo .... Church Fort Worth, Texas TOLEDO, OHIO BLOOMfiELD HILLS. MICH. ~BD13 K.lorno&.o, MkhJga.

HAROLD MUELLER WILLIAM H. MURRAY SHARON KLECKNER GEORGE E. KLUMP F.A.G.O. House of Hope DIVISION OF THE ARTS My •• M FAG.O. Presbyterian Church Trinity Episcopal Church SI. Poul. MN 55105 DALLAS BAPTIST CoLLEDB Temple Sherith Israel Church of the MtldiolOf Recitals DALLAS, TEXAS 7521 I San Francbco Chico ••• III.

CARLENE frank a. novak RAYMOND H. CHENAULT NEIHART HOLY TRINITY LUTHERAN M. Mus. FCM Recitalist Central 'r•• by.aria. Churt:h CHURCH Oreanisl - Choirmaster Arl!l19ur and Campbell lOBO Main All Saints Episcopal Church, Atlanta, Georela KaRMa thy, Missouri 64109 Bullalo, N.Y. 14209

Margorot Melvin RICHARD M. PEEK FRANKLIN E. PERKINS DICKINSON Sac. M ••• Doc. Ph.D. University of Louisville Th. ladue Chap.1 louisville Boch Society Covenant Presbylerlan Church Th. John Burroughs School Calvary Epi.copal 51. Franci ..in-th ..fi.lds Episcopal 1000 E. Mor.head Charlo»_, N. C. St. louh. Millo t,ll rl RECITAL.S DAVID HEWLETT MYRTLE REGIER bau MARSHALL BUSH Mount Holyall. Colle,e Th. Can.ervatory of Music Cenlral Square Winchester. New Hompsftlre South Haelley, Ma ••achulett. H.G.C.S ..... Suocoas'rolautier Cone." MSlmt . .. Productions, Inc . P.0.6374 • Clearwater • ~tarlda • 33511 ~I ALEXANDER BOGGS K. BERNARD SCHADE II k -JOHN HOLTZ S.M.M. STAT! COllEGE HAm

20 THE DIAPASON B MAY John Tuttle, Sf Pauls Anglican, Toronto, Albert Greer, tenor; SI Georges United OntarIo 12:05 pm c lurch. Toronto, Ontario 4 pm THE DIAPASON A MUST FOR EVERY ORGANIST 20 MAY ($7.50 a , ...r-$13.oo for two years) I MAY Albert Bolliger; Heillggelst Church. Ber- Susan Ferre; Evangelical lutheran, Olden. lin, Germany 6 pm Do nol Hnd calh b Irg. Germany Frank lacina; Sf Andrews Presbyterian, 29 MAY Send THE DIAPASON for p Irf Credit, Canada 8:30 pm yeorls) to Albert Bolliger; Heilsbronnen Church, Ber- lin, Germany 8 pm ~ MAY Name Enclosed Is $ Graham Griggs; 51 John Chrysostom C lurch, Victoria Park. Manchester, England 2 JUNE Street 8 pm Thomas F Froehlich. Arthur lawrence, Mu- THE DIAPASON Nora Easton; SI Pauls Anglican, Taronlo, sic for the Queen; Sf Michaels Anglican. 0, 'Iario 12:05 pm Paris, France 8:30 pm City 434 South Wabash Ave. , MAY 5 JUNE State ______Zip Chicago, III. 60605 Music of Heinrich Schutz, Richard Birney Albert Bolliger, Chieso dei Teatini, Fer- S lith. dir; 51 Christophers Church. Burling. rora, Italy 9: 15 pm 11, Ontario B.15 pm Stephen Crisp; Sf Matthews Church, Of· '0 Iowa, Ontario 8:30 pm i MAY Gordon Jeffery & Alan Barthel; AeoUon NORMA STEVLlNGSON T Wollard Harris, S. Georges United Town Hall. London. Ontario 8:30 pm D.M.A. C lurch, Toronto, Ontario 4 pm Wisconsin-Superiar Music of Heinrich SchUtz, Richard Birney Uni".'.;'r of 8 JUNE Pilgrim LulIe.ran Church S, lith diri 51 Pauls Church. Dundas, Onlario Monteverdi 1640 Vespers; Wells Cathe. Superior, Wisconsin 54880 7 30 pm drat Somerset. England 7 pm Suncoast/jt:C:' Concert Mgmt. & Productions, Inc. Timothy Zimmerman; Aeolian Town Hall. P.0.6374 • Clearwater' Florida' 33518 ndon, Ontario 8:30 pm 10 JUNE ' MAY Sir James Jeans' favourite music; Box- ADOLPH hill Music Festival, Oorking, Surrey, England STEUTERMAN maurice thompson Susan Ferre; Ste-Clotilde, Paris, France 9 I B pm Mus. Doc., F.A.G.O. p , Southweslern at Memphis, Retired St. Ignatius Catholic Church 11 JUNE I MAY Calvary Episcopal Church, Emeritus Kynast:;!n; All Souls, Langham Muska mundana el muska inslrumentalis; Austin, Texas 78704 Nicolas Memphis, Tennessee P ]ce, london, England 8 pm Boxhill Music Festival, Oorking, Surrey, Eng- Sydney Birrell; St Pauls Anglican, Toronto, land 8 pm o ,tario 12:05 pm 12 JUNE 2, ' MAY Baroque vocal & instrumental musk; Box- JOHN TUTTLE, FAGO Thomas F Froehlich, all·Bach; SI Michoels hill Music Festival, Oorking, Surrey, England FREDERICK SWANN Saint Paul's Anglican Church A Iglican, Paris, France 8,30 pm B pm The Riverside Church 227 8100r Sireet Elllt Toronto, Ontario New York City M4W 1C8 recitals Instruction L. ROBERT SLUSSER Robert IV. S ...ith MUS. M•• A.A.G.O. University Baptist Church George Norman Tucker Mus. Bach. slIlly silltle wilmer lA JOLLA PRESBYTERIAN CHURCH ChorloHesville ST. LUKE'S CHORISTERS a.a.g.o. ch.m. Virginia 22901 lA JOLLA, CALIFORNIA Kalamazoo CHURCH OF ST. JOHN THE EVANGELIST BOY CHOIRS Beacon Hill Bodon

Carl Staplin C. GORDON ROLLIN SMITH Ph.D., A.A.G.O. WA-Ll-RO Drake University BOY CHOIR RECITALS University Christian Church WEDERTZ tl50 Porty-fint StrCf't, Brooldya, NY 1121. DES MOINES, IOWA WARREN C. M1LlEJI - DIRECTOR 2534 West H8th St. Chri.t Chun:h, Shaker Height. 22. Ohio CHICAGO 60655

MARILYN MASON CHAIRMAN, DEPARTMENT OF ORGAN HARRY ARTHUR WELLS UNIVERS1TY OF MICHIGAN CLARENCE WATTERS ANN ARBOR RECITALS Trinity Lutheran Church "MI.. MalOn played with audedty onrl reterve. demon.,,.ting anew The Chapel, Trinity College Washington Slate University her extraordinary 'odDly ••• •, Del Moi.... Regis ••r. Odober 5, 1964 Pullman 99163 Hartford, Connecticut

DAVID A. Charles W. Whittaker THOMAS MURRAY Recitals BOSTON 02111 WEHR Fairfax United Methodist Church ST. PAUL'S CATHEDRAL Eastern Kentucky University RIchmond, Kentucky P.O. Box 17D Fairfax Virginia 22D3D

~ HARRY WILKINSON DONALD WILLING ~ r~~ pOCOl2O Boq SirlGeRS Ph.D •• F.A.G.O. faculty ~ ST. MARTlN·IN·THE·FIELDS North Texal Slate University ., )r , " STATE COlLEGE, EAST STROUDSBURG, PENNSYLVANIA 18301 Chestnut Hill. Philadelphia Denton WEST CHESTER STATE COLLEGE. P.... K. BERNARD SCHADE. FOUNDER AND MUSICAL DIRECTOR DONALD W. WILLIAMS LARRY PALMER D.M.A. RONALD WYATT MARTHA FOLTS Zion Lutheran Church Trinity Church Concordia College Galveston Traditional Hdrpstchord - Organ Ann Arbor, MI Southern Methodist University Recitals: Organlst·Cholrmaster Lynn Gary Zwicky Avant-garde Satnt Luke's Eptscopal Church ZEIGLER·DlCKSON DMA FAGO Organist 6337 Jackson St,.e' Dallas, Texas Department of Music Eastern IIlInoil UnlvenJty IOWA STATE UN1VERSITY Pittsburgh, Po. 15206 Ames. Iowa Chorledon

MAY, 1977 21 Classified advertising ra.e.: p.r word, $.20; minimum charge, $2.50; N X numb.r, additional $1.00. CLASSIFIED ADVERTISEMENTS Repll •• 10 box numbers should be lent c/ o The Diapason, 434 S. Wabash Avenue, Chicago, III. 60605.

POSITIONS WANrED MISCEUANEOUS PIANOfORTES HARPSICHORDS NATIONALLY KNOWN ORGANIST, CHOIR· THE NEW 7·0CTAVE PBERSON CHROMA­ LAVISH &' STEINWAY GRAND, MANUFAC­ HARPSICHORDS, PEDAL HARPSICHORDS, mllster, tellcher, OM"', 15 years experience, well. tic Tuner model 320, is now lIvaillible from tured in 1897, ornotely pllinted by 11I m4I d l on· clavic" ords custom mllde. JlIn H. Albllrdo, 14 versed in concerted, chun:h, liturgiclll lind sloc~. Continuously variab le Vernier control al· don lIrtist Arthur Blodmore. Unique overstrug Princess Street, Elora , 01'11.. Clinadli NOB ISO. Ot9"" music is seeking employment beginning lows you to compensllte for temperature or frame. This piano WI!S owned by Evelyn Nes· Fall, 1977. Will consider privlIte school, church tune celeste rllnh with elise. For more detllils: bitt - 'the girl in the red velvet Iwing." For SABATHIL HARPSICHORDS, PEDAL HARP­ or college. location is open, Tapes lind e. cel. Peterson Electro·Musiclil Products, Dept. 31 , information coli Theodore C. Wood, RD 2. sichords lind Cilivichords: most reli"ble lind lent references supplied upon request. Address Worth, IL 60482. Salem NY 12865 , (518) 854·1189 . bellutifully sounding from $1 ,1'95.00. Brochure B-2, THE DiAPASON. $1.00. Stereo l P $5 from Dept. 0, 1084 Homer, RECOVERING ANY TYPE OF pOUCHES, VlIncouver, B.C., Canl!da. ORGANIST CHOIRMASTER, SMM: UTS/NYC, pneumlltics lind primllries lellther or poly. HARPSICHORDS FRmED CLAVICHORD IN KIT FORM. SOL· postgrlldull'. study abroad, Experience: Proles­ urethllne. Reservoirs telel!thered also. Write CLAVICHORDS - ".NOTE, EaONY NAT­ tllnt·Catholic liturgy: multiple, ht!lndbell. con­ Eric 8rugger Relellthering Servic.e, 10H Ellst urllls, bone or ivory covered sh"rps, cherry, id mllhogllny cllse, boxwood nllturol ~eys. De· sert choir; studio tCllching in organ_pilllno. 29th St.. Erie, PA 16504. wliinut or mllple Cllse, pllneled lid. All air dried signed afler 17lh.century Germlln clavichord. voice; recital: college ccnserv"tory professor and lIged solid wood. MlIrgl!ret Hood Hlirpsi. $29S complete. Write for free brochure. Zucker· CT competent in teaching, administration, church NOEL MANDER OFFERS - FAITHFUL COpy chords, 580 W. Cedar St., Platteville, WI 5381B. mann Harpsichords, Box 121·0, Stonington, music. Regards church music as vital enrich­ of Hlillse (I684) Regal Orgl!n B, -t, 2, Portable (60S) 348·6410. 0637B. ment of Chrislian faith e~pressed within wor· fu ll co mpliSs ttader (in W form 8, 4, 2.) Medi· HARPSICHORD, ORGAN AND FORTEPIANO ship. Will consider church or college. Reply eval Portative £500. Period Chamber Orglln, HARPSICHORD, 2·MANUAL TASKIN COPY, ~its. Authentic replicas of historiClil instru. E.2, THE DIAPASON. bellutiful instrument, superbly restored, £12,000. 2~8' , 1~4 '. buff on lower 8'. H"ndstops with shove coupler. Bilid cl!se with red interior ments in kit form for construction by the oma· SI , Pl!ul' s Cathedrlli. new Ed of booklet on reo teur crafhman. lIIustrllted brochure. Frllnk Hub­ build. For details plellse send two doll"rs. Noel gold bllndings. Lou's XVI stand. pII;nted sound· POSITIONS AVAilABLE bOllrd. so ri d wood co nstruction, not 1I UI. New bard Hlirpsichords, Inc., 185A·D lyman Street, Mlinder, St. Peter's Organ Works, London, E2 Walthl!m, MA 02154. ORGANBUILDERS, SAN FRANCISCO Englllnd. l'9n, lIs~ing $5.800.00. Color photos availlible. lOO·ye"r old firm wilh fine faclory under new John O. Lyon. 27141 Novi Rd., Novi, MI 48050. ONE OF A KIND CLAVICHORD BY JOEL financially sound, professional monllgement with van Lennep. 16th c. Itlililin style. Fretted, IVORY, ROSEWOOD, EBONY ETC. DRAW. SPERRHAKE HARPSICHORDS AND CLAVI­ highest quality standards seeh thoroughly ex· stops and console fittings m"de to any pattern. d ouble strung. Cedllr Cllse, outer case s'lk perienced, mechllnic"lIy skilled persons of in· chords. Ex cellent, dependllble, bellutiful, Robert velvet covered. 5. Cleverdon, Stogecol!ch Rd., Existing wor~ fllithfully cop'ed , hllnd engraving S. TlIylo., B710 Gl!rfield St., Bethesda, MD 20034. tegrity and intetrgence for faclory and field in 1I1l styyes. The most cllreful lind personlll Wilton, NH 03086. (603) 654-6364. jobs including superv·sory. Good plly and an service in the World. Thos. Hlirrison and Sons FINE HARPSICHORDS, CLAVICHORDS MADE ariisticllily rewarding future. Reply in con· (Est"blished 1830) , St. Peter's Close, London. STEVEN SORLI, ElEVE d'HUBlARD, OFFERS & to individulil prerequis'tcs: French, Flemish, fidence to Schoenstein Co., 3tOI 20th St., San EZ. Engl"nd. a French double tllstefully decorllted with a Francisco. CA '94110. Italian. contemporary configurations. Also 1I sound unlikely 10 flltigue the listener. Copied spectrum of ~ih. E. O. Witt, R3, Three Riven, after the fa~e Hans Ruckers by Jelln·Clliude MI 49093. (616) 244·5128. ORGANIST-DIRECTOR, PART TIME, FOR 4 SEVERAL SALES FRANCHISES AVAILABLE Goujon, Paris Conservlltoire. Frllnk Hubb"rd voclIl and 2 hand bell choirs. Extensive music lit this time. Contllct Wids Orglln Compllny, q l:l lli ity in wor~m"nship with dose attention to program for suburb"n United Methodist Church 1100 Fifth Street, Highlllnd, IL 6224'9 lind sub. HARPSICHORDS, CLAVICHORDS BY NEU­ authentic detllil. $6,000.00. Delivery within six of 1600 membership. Open August, 1'977: slliary mit qualifications. pert. RECORDERS by Moeci:, Adler, and others. months. Write for brochure: Steven W. Sorli, negotiable: benefits. Two organs: music equip­ Also historic instruments. Write or clIlI Gordon harpsichord mll~er. Route 3, Mineral Point, WI ment; new Schllntz pipe orglln to be installed Wildm"n, 222l E. 7460 5., SlIlt l"~e City, UT TWO, THREE AND FOUR.MANUAL AUSTIN 84121. (BOI) '942·4751. 53565. ellrly 1'97'9. Send resume to: Mrs. F. W. Goines, consoles, b:

22 THE DIAPASON Classified advertising rates: per word, $.20; minimum charge, $2.50; box number, additional $1.00. CLASSIFIED ADVERTISEMENTS Repll •• 10 box numbers should be sent c/o The Diapason, 434 5. Wabash Avenue, Chicago, III. 60605.

FOR SALE - PIPE ORGANS FOR ~ALE - PIPE ORGANS FOR SALE - ELECTRONIC ORGANS FOR SALE - MISC. 1B72 TRACKER ORGAN, 12' ORNATE WAL­ 1957 HILLGREEN_LANE PIPE ORGAN, PRES­ ARTISAN "CONCERT" MODEL KIT. 3-MAN­ WAREHOUSE CLEARANCE SALE: LARGE IN· nut clue... stops, redbred. Bedenholdt Organ ently used by Min nesota church. 2.mllnulIl, t-lV, uel , 5 $lfI ts sol'd state gener~tors, 90 stops, 22 ventory of pipes and vllrious other compo­ Builders, Collins. MO M738. ranh, 25 stops. Available immediately. $10"'1 pfesels, crescendo and 2 tone cabineh. Finished nents, some new, some old. Various mllkes. or best offer. CII" Ted Deturik (612) m·1llO. waln",t. Presets. manuals and some generators Send SASE for list. W. J. Froehlich, «6 Grove ESTEY, TUBULAR PNEUMATIC, I9-STOP OR­ assembled. Idelll for church project or serious 51., WestfLeld, NJ 07090. gan. Edensively overhauled 9 yellin ago, Best HISTORIC 2/6 WURLITZER RESIDENCE PLAY­ home builder. Original cost $12,500. Sale price offerl Contect: United Community Church, PO er organ complete with 63 rolls by Crawford, $7,5'JO delivered. For details write or call: C. B. FISK T-SHIRTS AND SWEATSHIRTS. BOI( 717, Tupper Lake, NY 12996. others. Originally built for 1912 Chicago World' s Robert Eby, Founder Artis~n, PO Box 2613, Handsome photo.silhcreen of four-m~nuel Fllir. Excetl(ml. now in storage, professionally Newport Belich. CA 92663. (714) 6<15·1530. Harvllrd orglln. Snany T·shirts ($S) in gold, WURLInER THEATRE ORGAN. 2-MANUAL, packed. $10,000. Inquiries to: J . M. Butler, Down­ light blue, while w/navy trim, (navy printing); 8 ranks with tro!lPS end percuuions. Now play. t_ n Presbyterilln Church. 121 N. Fitzhugh St., SCHOBER ELECTRIC RECITAL ORGAN. FULL crimson. green, navy, (white printing). Cozy ing In thc&tre. Mint cGndition. $10,000. Serious Rochester, NY 1<461<4. (716) 325·-1000, 2 mllnuals, full concave foot pedllls, 13 pil' sweatshi,h ($O) in vermit!ion, denim. green, inquiries only. SASE. No phone colis. Brantley tons, re,verbato!lpe, new leslie speaker. $2,750. navy, (white printing). Sizes: S M l XL. Mini­ DuddV. Stump Hall Road , Cedars, PA 19423. MECHANICAL ORGAN 1890, WARREN, 20 Contact Ray Helms, 7110 Jones Valley Dr., mum $1 postllge & handlin; . Please indicate slops, 2 m~nua ls , 56 notes, grellt and swell , Huntsville, AL 35802. (205) 881·<4S73. PIPE ORGAN, MANUFACTURED BY MICHl· size lind alternate colors preferred. Supply is pedal 30 notes. Needs repairs. Av~jlable by limited. Send check or money order to Char_ gan Pipe Organ Co., IIpproximately 60 years MllY, ''In. Franco;s Caron. 11-10 rue Dllndurand, RODGERS 2-MANUAL, MODEL 1I0E, old, 16 ranks, good playing condit ~ on. Best les Nllzarian, 107 GtllnHe St., Rockport, MA Montreal, Quebec HIX IM6, (51<4) 722·2387. church or home instrument, <4 edernal spellker 01966. offer. St. Brigid Church (Louis Begin), 207 ub · ne~s . Practice pill no, transposer. Six months East Ashman St., Midland, MI <413lA0. 1914 '-RAN K, 2-MANUAL TRACKER. STEN_ .old mi nt condition. Suying theatre model. Pur_ NEW AND USED PIPES AND EQUIPMENT. ~en pipes. Contllct (3ot ~ 2<49·9671. Rt. 2, Box chaser must remove $8,750.00 firm. CIIII (201) Direct electric chests and unit relays. 3M con­ &-RANK TUBULAR PNEUMATIC 2-MANUAL 2 ~ SS, Upper Mllrlboro, MD 20870. 366·W-I1. sole and theatre percussion. Write for com_ Estey pipe organ in excellent condition. Quar­ plete list. SIS Middlebury Street, Elkhart, IN HOOK I; HASTINGS lID, l-t.4ANUAL, 10 tered oak case and bass pipes, gold colored FINE CONDITION, ALLEN ORGAN, MODEL <46514. diapason front pipes, mllhogany console and ranh. Available immedi~tely. Highest bidder_ 31-1. 3 k e~ b oards . full pedal, 3 sp .. a~ers. By ap· concave radiatiing pedal board. Price Sl.ooo or Pillyable. Contact John Gunnarson, Trinity point ment, L. M. Wiggin, BoT 232, litchfield. 3-MANUAL BARTON CONSOLE, 2 ROWS best offer. F. S. Runehall, 190 Bllyswllter Street, Church, Elm St., Concord, MA 01742. CT 06759. of stops, g ood shllpe. (<41<4) 612·1691 , {<41<4} 639- Boston , MA 02128. 1322. RODGERS MODEL 660 USED ONLY AS HOME FOR SALE - ELECTRONK: ORGANS prlldice in.trument. Very g ood condition: three BARTON 3·MANUAL CONSOLE, REASON­ RESIDENCE-STUDIO TRACKER ORGAN, 2- NEED A MORE MASSIVE ENSEMBLE FROM ~eyboll r d d raw knob console, edra tone cllbi­ able, make offer. Wurlitzer 2-10 relay, priced manual, built 1969; 8 registers, AGO stand· net. Ideal for small church. Best offer over to sell, no reasonable offer refused. Wurliner ard. Teak casework. Further information avail­ your electronic organ? Midures1 Add the gen­ eralors needed at very low cost. $1.50 brings $8,SDJ. Write J oel Kro lt, First Presbyterian concert flutes $100 or best offer. Merr & able to serious inquiries. Address E.3, THE Church, Moorestown, NJ 08057. Colton vox humana pipes and single.rank unit DIAPASON. SO. page hllndbook lind clltalog of solid It~te generators, sc hematics and specificllfions rec­ chest $175. Crating and shipping availeble to ommendations. J. R. Reid, 8911 SlIvory Drive, FOR SALE - MISC. IInvw here in U.S. at cost. (313) 549-3696. Dick 2_MANUAL, 12_RANK TRACKER ORGAN, RE­ Sunnyvale, CA 9-1087. Dudchik. 4522 Elmwood, Royal Oak, "'11 <41lJ7l. cently completed. Fully cased, free· standing. ESTEY REED ORGAN, 2M/lOR AND PEDAL, inc. swell box, 8'5" H. 7'9"W, 5'2"0. Cherry w. blower. Qllk case. S8OO.00. (<41<4) 731 -7966 eve­ MOVING - STUFF'S GOTTA GOI E. M. case, Immediately available. FOB Mid·East VICTOR BUYS AND SELLS PIANOS AND OR­ nings. Bllrry Hllvens, SOI % W. Atlantic, Apple­ Skinner conwle, Moller chest, pipework of gans worldwide. Largest election in USA. Over USA. As~ in g $4:3,000, Send for specification. ton, W I 5-1911 . Skinner, Moller, Pilcher and Hutchings. Send Address E.<4, THE DIAPASON. 1000, all makes 200 grands. Conn and Allen SASE to 76 Laurel Drive, Atlant4, GA 10142. church and the~tre orgllns 30"/a off. 300 N.W. WOOD PIPES, NEW, UNVOICED ,S' STOP­ 5-1th St., Miami, FL 33127. (lOS) 751·7502. ped woods, <4. 1/ 4 x 5·1/<4, 61 pipes, mllhognay, S' CORNOPEAN, SALICIONAL, VOX CE­ 2O-STOP, 2-MANUAL AND PEDAL UNIT leste, aeoline, -I ' princip~1 and others. Send Wich organ. For information write Msgr. Jo_ lacquer finish. CliPS screwed on , footh oles CONN ORGAN T650 THEATRE ORGAN, bored, with pipe feet. Voicing II vll illlble. $500 fo r list. loT.O.A.. 1135 E~st Chestnut St., leo seph P. Waclllusky, St. James Church, <496 Ter­ banon, PA 17042. race Blvd., DePew, NY 14043. three manuals, full pedalboard, internal spellk­ each set or $5.000 fo r I h ets. American Organ elS plus four Conn amplifier pipe speaker un its. Supply Co., <4 121 Soulh Sixth St., M il w/lu~ee . WI All in excellent condition. Must sell beC4 use 534:2 1. (<41-1 ) -IB3·30-16. 2/6 BARTON HORSESHOE CONSOLE, BEAU. 10.STOP, (4-RANK, 2·MANUAL AND PEDAL re[ocallng. $-1,900.00 or best offer. Call or tiful mahogany, combination action, 2nd touch, 1957 E. S. Wald er trader organ. Will be write Steve Britton. <46 North 16th Street, Nites, NEW ORGAN PIPES, EXCELLENT WORK· <49 tllbs plus mlltching relllYs, good condition removed and restored for new loclltion by MI <49120 or (616) 6IH·0491. mll nship a nd er pertly voited. Formerly super­ b ut less bench. (SIS) 692-4698 evenings. J ohn Cavelier. Contad Cavelier Organ Builders, visor of Aeolian·Sklnner plpeshop. Hans Rother, Abern athy, 716 North Court, Ottumwa, IA 52501. Inc., 252 Amherst, Buffalo, NY 14207. German O rglln Pipet ralt, 3-1 Stu dard St., RODGERS CAMBRIDGE nO-II WITH 2 Mattaplln, MA 02126. HARP AND MISC. MOLLER PARTS, BALD­ Klipsch LaScIIIII spellkers. Drawknob, 2 full win Model S. SASE. Bill Kohut, 309 Nod h Crest, HENRY PILCHER'S SONS 1925 PNEUMATIC mllnullls, full pedlliboard. Computer action, USED PIPES AND MISC. EQUIPMENT, WRITE Cllry, Il 6OOt3. pipe organ. Must move th is menth, $3,000 or adjustable pislons lind foot studs, Cen be for specific needs. Box 2061, Knoxville, TN best offer. (2IS) n4·6559. fully preset. Slops include S' Krumhom, 1-1/3' 37901. 2-MANUAL MC MAHOGANY HORSESHOE lIIrigot. harp, cari llon, I' Fife, 16' Contr~ console, completely refinished. Keyboerds re_ 21-RANK 1911 AUSTIN ORGAN REBUILT Trompetie, 12' Contra Violone, tutti position ONE WOOD 4' OCTAVE. LOW WIND, 1lJ4" built and recovered. New pedal sh~rps, naturals, 1941 wjlh three,manual console. Seven (7) ranh plus 40 more. Complete mllnual.manua!·pedal to 2". 61 pipes. $275.00 includes creting. One duds. 4S tllbs plus 5 couplers. Real shllrp. De· added 1972. Now in use. Available January, coupl ing, 10 months okf. Inch.des all Rodgers St. DillplIson low wind $195.00. One 2' Piccolo, sire to trllde for good theatre pipework. T.C. 1918. Best Ofler. For specificlliions wllte Ken· felltures. $19,500.00. Robert Salembier, 134 spotted metal, nice rank, higher wind,S to 7". ok. Trumpet, tibill, tuba, gamba, sleigh bells. neth E. Witllam., First Presbyterian Church, Brook Hollow, Hanover, NH 03755. (603) -448. $200.00. Write Orglln Components, PO Bo)( <421, John Spalding, RD #1, Coudersport, PA 16915. J 505 South Dewey, S,utlesville, OK 7-1001, 1300 or nights Ml·S309. Cicero, IN <46014. (SI4) 274·8797. WENDHACK STEINER sInce 1845 Since 1780 W ALCKER ORGANS ~ organs Walcker OL'ga1l8 Incorpo~ted ~qev-

~ - .... Rieger Organs 2000 South Patrick Drive D·7157 Murrhardt Indian Harbour aeach, Florida 32937 1138 Gar\'in Place A-6858 Schw"rzach Austria louisville, Kenludcy <40203 Telephone: (385) 773·1225

CREATIVE ORGAN BUILDING FOR ARTISTIC MUSICAL RESULTS ORGAN LEATHERS Greenwood Organ Company WHITE, SON COMPANY CHARLonE, NORTlI CAROLINA 28205 "THREE GENERATIONS OF ORGAN aUILDING" 592 EaIt PInt S..... I South Boston, MauachUlelli 02127 ~ ORGAN SERVICE· J. E. Lee, Jr. Loms F. MOHR & COMPANY JULIAN E. BULLEY ;J)ur~am & Compang ORGAN KNOXVILLE, TENNESSEE 37901 8UILDING AND SERVICE New Organs - Rebuilding Box 2061 MAINTENANCE Service P.O. Box 212S SINCE 1906 Tuning. Maintenance .. hbulldlng Talhlhassee, Fla. 32304 2899 Valentine An. 1376 Harvard Blvd.-Dayton, Ohio 45-406 Consultanb (904) 575-2001 New York 58, N. Y. 513-276-2481

Telephone: SEdgwick 5-5628 fOR SALE: Und organ pam. Many of EmeI"JeDCY ServIce Yearly Contracts antique value_ Send $1,00 for complet. MULLER PIPE ORGAN CO. Harps - Chimes - Blowers e,U'80.EiN,~"IlFH~1 &. a ,If' Ii.t. 136S So, Detroit Ave, \!'.~...... ---. .. -. \lJWI £sperl Overhaulins iii c...-.:mST_ 1877...... ,::) ...... \ WIcJc. Organ Company Toledo, Ohio 43614 Highland, Illinol. 62249 "..1. 0,... ""~ JI..,.... 4 JI.... • 419-382·6761 B.. ," JlW" SAN FRANCISCO (6111 654-21'1

Organ Builders and Inc. • Rebuilding * FRANK J. SAUTER SONS * • Repairing Phones: 388-3355 • Contractural Servicing 4232 Wesl 1241h Place PO 7·1203 Alsip, Illinois 60658 For Unexcelled Service

MAY,19n 23 Murtagh -McFarlane 99 CLAREMONT AVENUE NEW YORK, NEW YORK 10027 212-864-0850

I '

Robert Anderson Robert Baker Charles Benbow Dovid Craighead Ray Ferguson

~."" ' • .~ ,'.. • # " - .", ' '.

Jerold Homilton Gerre Hancock Clyde Holloway Wilma Jensen Joan lippincott

ANNOUNCING CHARLES BENBOW, new head of the Organ Department at the University of Oklahoma, naw avail­ able throughaut the season.

EUROPEAN ARTISTS AVAILABLE 1977-78 Marilyn Mason Donald McDonald James Moeser FALL Susan Landale Martin Neary Rene Saorgin Gillian Weir

WINTER en Daniel Rath (February 1978) I ' Peter Hurford (Feb. 27-Mar. 15, 1978) Karel Paukert Frederick Swann Donald Sutherland en Lionel Rogg (March 1978) ---I ' I.- OTHER AVAILABILITIES