THE DIAPASON SEPTEMBER, 2009
La Casa de Cristo Lutheran Church Scottsdale, Arizona Cover feature on pages 30–31
Sept 09 Cover.indd 1 8/12/09 11:59:02 AM
THE DIAPASON Here & There A Scranton Gillette Publication One Hundredth Year: No. 9, Whole No. 1198 SEPTEMBER, 2009 St. Paul’s Cathedral, London, Ontar- tember 25–26. This tutorial and liturgi- Established in 1909 ISSN 0012-2378 io, Canada, presents a weekly noon-hour cal event occurs in the Year of Jubilee of An International Monthly Devoted to the Organ, organ recital series on Tuesdays at 12:15 the Basilica of the National Shrine, and the Harpsichord, Carillon, and Church Music pm: September 1, Corinne Dutton; 9/8, is co-sponsored by St. John the Beloved Andrew Keegan Mackriell; 9/15, Stepha- Church in McLean, Virginia, and the nie Burgoyne; 9/22, Angus Sinclair; 9/29, John Paul II Cultural Center. Janet MacFarlane Peaker; October 6, The event features chant instruction CONTENTS Editor & Publisher JEROME BUTERA [email protected] Andrew Keegan Mackriell; 10/13, Wil- by Scott Turkington, lectures by William 847/391-1045 liam Lupton; 10/20, Joel Vander Zee; Mahrt (Stanford University and presi- FEATURES 10/27, David Greenslade; November 3, dent of the CMAA), and a fi nal Mass in Remembrances of a birthday celebration: Associate Editor JOYCE ROBINSON Andrew Keegan Mackriell; 11/10, Wayne the Extraordinary Form, celebrated in Heinz Wunderlich at 90 [email protected] Carroll; 11/17, Ann-Marie MacDairmid; the Crypt Church of the National Shrine, by Jay Zoller 20 847/391-1044 11/24, Angus Sinclair; December 22, with a fully chanted Ordinary and Prop- Swedish impressions of Andrew Keegan Mackriell; 12/29, Alison ers sung by participants. The organist will Eastman’s EROI Festival 2008 Contributing Editors LARRY PALMER Clark; January 5, Andrew Keegan Mack- be David Lang, organist and choirmaster by Jerker Sjöqvist 22 Harpsichord riell. For information: 519/434-3225 at St. John the Beloved in McLean. Cho- x211;
SEPTEMBER, 2009 3
Sept 09 pp. 2-19.indd 3 8/12/09 12:00:02 PM vember 4, Anthony Ciucci; December 2, Center, Norman, Oklahoma, featuring Laurence Libin, Wm. A. Little, Rus- Santa Barbara and St. Raphael School in Helen Anthony; 12/6, Advent Lessons & the Möller Opus 5819 organ, originally sell Stinson, Nicholas Thistlethwaite, R. Goleta. The program featured an expla- Carols; 12/24, Lessons & Carols. For in- installed in the Philadelphia Municipal Larry Todd, Jacques van Oortmerssen, nation of the history of the pipe organ, a formation: 717/737-0488; Auditorium in 1931, and the C. B. Fisk and Christoph Wolff; concerts by the demonstration of the pipework and tonal
Schlueter scholarship winners
A. E. Schlueter Pipe Organ Com- last fi ve years. Winners include Preston pany of Lithonia, Georgia, recently Dean, Kaitlyn Daniel, Jake Reid, Caro- awarded college scholarships to several line Gibson, Sue Anna Holder, Alana students in the Susan Schlueter Piano Jordan, Jessey Sperrey, Annie Ho, and Studios in Monroe, Georgia. Schlueter Sanjukta and Sanjana Vasisht. has sponsored these scholarships for the
4 THE DIAPASON
Sept 09 pp. 2-19.indd 4 8/12/09 12:00:26 PM ensembles and soloists will make their workshop leader, teacher and recitalist. Philadelphia debuts. He holds a Doctor of Musical Arts de- Here & There Among the grant recipients are Choral gree from Yale University as well as de- Arts Society of Philadelphia; Curtis In- grees from Northwestern University and stitute of Music; Kimmel Center for the the Royal College of Music, London. His Karen Beaumont plays several recit- Performing Arts; Mendelssohn Club of organ teachers include Thomas Murray, als this fall: September 13, Incarnation Philadelphia; The Philadelphia Singers; Gerre Hancock, Wolfgang Rübsam and Lutheran Church, Milwaukee; October and Piffaro, The Renaissance Band. For David Willcocks, and he has studied im- 25, St. Francis Church, Milwaukee; No- information:
Tong-Soon Kwak David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Organist Organist/Choral Conductor/ Organist/Pianist/ Organist Organist/Pianist/Harpsichordist Professor of Organ Oratorio Accompanist Recording Artist 2004 NYACOP Winner Associate Professor of Organ College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Associate Professor of Organ Grieg Academy of Music Yonsei University First United Methodist Church Oulu Polytechnic School of Church Music Bergen, Norway Artistic Director Columbus, Indiana Organ and Violin Southwestern Baptist Torch International Organ Academy with Manfred Grasbeck Theological Seminary Seoul, Korea Helsinki, Finland Fort Worth, Texas
Scott Montgomery David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Organist/Presenter Organist/Lecturer/Recording Artist Harpsichordist/Organist Organist Organist/Harpsichordist/Lecturer 2006 NYACOP Winner College Organist Professor of Harpsichord and Organ College Organist and Instructor of Organ Director of Music Ministries/Organist Director of Music Ministries Meadows School of the Arts Assistant Professor of Music Western CT State University Holy Cross Catholic Church Dr. Martin Luther King Jr. Southern Methodist University Luther College Director of Music Champaign, Illinois International Chapel Dallas, Texas Decorah, Iowa St. Peter Church Morehouse College Danbury, Connecticut Atlanta, Georgia
Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Artis Wodehouse Duo Majoya Organist/Harpsichordist/ Organist/Recording Artist/ Organist Pianist/Harmoniumist/ Organists/Pianists/ Accompanist Lecturer/Conductor Organist of Notre Dame de Miséricorde Reed Organist/Recording Artist Lecturers/Recording Artists Organist and Choirmaster Organist and Choirmaster President of the concert association Director of Music Marnie Giesbrecht Episcopal Church of the Advent The UNESCO Heritage “Automne Musical de Marchienne” The Unitarian Joachim Segger Spartanburg, South Carolina Imperial Cathedral of St. Mary Piano & Organ Instructor Universalist Congregation Professors of Music Speyer, Germany Charleroi, Belgium Montclair, New Jersey U of Alberta, King’s U Edmonton, AB, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
SEPTEMBER, 2009 5
Sept 09 pp. 2-19.indd 5 8/12/09 12:00:50 PM Ms. Chung began violin and piano Presbyterian Church, Arizona, as part of studies at age three and holds an ARCT the AGO Far West regional convention. in both instruments. She recently re- The program by Patrick Hawkins and ceived her bachelor’s degree in organ per- David Schelat featured organ solos and formance from the University of Alberta. duets. This is the composer’s fi rst com- She has also received several other awards position for solo organ, although the in- and scholarships including the President’s strument fi gures prominently in his large Award from the Manhattan School of orchestra work Echoes of Normandy. Music, where she plans to continue Patrick Hawkins, organist and choirmas- graduate studies with McNeil Robinson. ter at Mt. Herman Lutheran Church In Canada, she has studied with Marnie in Columbia, South Carolina, commis- Giesbrecht and Jacobus Kloppers. sioned the work for the occasion. Applications for the 2010 award will be received up to May 15, 2010. Application information will be available through the RCCO website at:
Schnitger organ, Bellingwolde
Aside from the restoration of two stops in 1992, the organ remains tonally original Faythe Freese and nearly entirely mechanically original. Elizabeth Harrison, a specialist in Faythe Freese is featured on a new North German organs and their music, recording, Faythe Freese à l’Orgue de directs the Historic Organ Resource l’Eglise de la Sainte-Trinité, Paris, on Program and teaches organ and music the JAV label (JAV 173, $25.00). This is theory at Geneva College in Beaver Falls, the fi rst commercially released record- Pennsylvania. The CD includes works ing by a female American organist on by Sweelinck, Scheidemann, Steigleder, the landmark instrument at l’Eglise de la Böhm, Krebs, Beethoven, J. S. Bach, and Sainte-Trinité, Paris. Freese performs an C. P. E. Bach. For information: all-French program of music by compos- 6 THE DIAPASON Sept 09 pp. 2-19.indd 6 8/12/09 12:01:08 PM Quantum console in loft The Roman Catholic Church of Saint James the Greater CHARLES TOWN, WEST VIRGINIA The largest Catholic church building in the state of West Virginia has installed a Quantum™ Four-Manual/136 Stop instrument built by Allen Organ Company, Macungie, Pennsylvania. The Allen console is situated in the Choir Gallery in the west end of the 1,000-seat nave. It speaks from five different locations throughout the room. The main organ is fronted by two custom-designed pipe façades. A twelve-channel Antiphonal division supports cantors and soloists at the lectern, three hundred feet from the console. This division also supports congregational singing at large festival services. An eight-stop floating String Division speaks from an ingenious “shadow box” chamber atop the south transept entrance, producing a spine-tingling dimension of soft, ethereal voices. This comprehensive instrument was chosen by parish leaders to support an expansive and excellent music program that boasts eight vocal choirs and two handbell choirs. A Pastoral Associate for Liturgy and Music is assisted by five choir directors and a Sacred Music Intern. The Music Department offers a series of bi-monthly Abendmusik Concerts following Saturday evening Mass. Nave viewed from loft Web site: www.allenorgan.com E-mail: [email protected] 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Ph: 610-966-2202 / Fax: 610-965-3098 gree from Beloit College, a master’s from the University of Michigan, and a Master of Sacred Music degree from Union Theological Seminary. He studied organ with Leo Sowerby, Robert Noeh- ren, and Flor Peeters, and harpsichord with Isolde Ahlgrimm. He studied con- ducting with Margaret Hillis and Robert Shaw, and voice with Thomas Wikman and Henri Noel. Melcher’s longest appointment was his over thirty years as the music direc- tor of the Northwest Choral Society. A member of the American Guild of Or- ganists, he served as organist-choirmas- ter at St. Mark Lutheran Church, Chi- cago (1968–71), St. Martin’s Episcopal Robert Schilling Church, Des Plaines (1971–80), and Morgan Park Methodist Church (1980– On July 21, Robert Schilling played Frederick Swann 83); then as minister of music at the First a recital at North United Methodist United Methodist Church in Park Ridge Church, Indianapolis, Indiana, com- Atlanta, GA; October 17, Presbyterian (1983–97). He joined the staff of Christ memorating the 60th anniversary of his Homes, Evanston, IL; 10/23, Kingsway the Lord Lutheran Church in Elgin, Il- fi rst organ recital, which he presented at United Methodist Church, Springfi eld, linois, in 1997, serving as cantor, organ- his home church in Westminster, Mary- MO; and 10/25, Evangel University, ist, choral and handbell choir director. In land, on July 20, 1949, at the conclusion Springfi eld, MO. March 2006, Melcher joined Holy Trin- of his fi rst year of organ study prior to ity Lutheran Church in Elgin as director entering college at DePauw University. of music ministries. The Rev. Robert A. Schilling, AAGO, In 1998, Melcher joined the staff of the retired in 2002 after 41 years as min- Suzuki School of Elgin, where through ister of worship and the arts at North March 2008 he served as accompanist United Methodist Church, and 21 years and coach for the ensemble classes. From concurrently as adjunct music faculty 1999–2007, he conducted the ELCA Lu- member at Butler University. He holds theran Outdoor Ministries Swing Choir degrees from DePauw University, Bos- for high school students in its summer ton University School of Theology, and choir tour of southern and central Illinois. Union Theological Seminary, with post- John H. Melcher is survived by his long- graduate study at Boston University, the time partner, John Morrison. University of Marburg (Germany), and Indiana University. His organ teachers William “Bill” D. Usher II died include Van Denman Thompson, Rob- April 30 in Los Angeles at the age of 40. ert Baker, Helmut Walcha, and Robert He studied at Westminster Choir College Rayfi eld. Schilling has played recitals in and received a bachelor’s degree in organ the U.S. and Germany, including with six performance and church music from the Indiana orchestras. University of Louisville, and a master’s Before coming to Indianapolis, he degree in organ performance from the was organist/choirmaster at churches in University of Southern California. His Winthrop and Boston, MA, Hempstead, organ studies were with Searle Wright, NY, and Washington, DC. Schilling was Donald McDonald, Melvin Dickinson, dean of the Indianapolis AGO chap- Susan and Stephen Talley and Cherry Rhodes. Usher served at ter (1970–72) and national president of Parsippany United Methodist Church the Fellowship of United Methodists in Susan and Stephen Talley and the in Parsippany, New Jersey, St. Stephen Music and Worship Arts (1985–87). In Covenant Choir perform on a new CD, United Church of Christ in Louisville, 2002 he was named a “Sagamore of the I Was Glad, produced by Sonare Record- the Church of the Incarnation in Glen- Wabash,” Indiana’s highest honor recog- ings, Inc. The Covenant Choir sings cho- dale, California, and St. Mel Roman nizing community leadership, by Indiana ral works ranging from Parry’s I Was Glad Catholic Church in Woodland Hills, Cal- Governor Frank O’Bannon. and Handel’s Zadok the Priest to Chris- ifornia. He was director of music at Holy tiansen’s Beautiful Savior. Featuring the Trinity Church in Georgetown, District fi ve-manual Aeolian-Skinner, Opus 1196, of Columbia (parish of President John F. the recording includes Bach’s Fantasy Kennedy) from 1995–2006; there he led and Fugue in G Minor, Dupré’s Cortège the music ministry of the 3,500-house- et Litanie, Mulet’s Carillon Sortie, and hold parish and established the Music Rhapsody for Organ Duet by Naji Ha- at Trinity concert series. At the time of kim. The CD is available for $15 (which his death, he was director of music and includes shipping) at 8 THE DIAPASON Sept 09 pp. 2-19.indd 8 8/18/09 9:44:39 AM To help churches and organists afford the ultimate in sound and quality, Johannus continues its successful stimulus plan. Continuing our stimulus plan ... FROM FROM FROM FROM $ 6,650 $ 12,995 $ 21,995 $ 54,995 American Opus Sweelinck Rembrandt Classic VII SPECIAL EDITION SPECIAL EDITION SPECIAL EDITION SPECIAL EDITION (Prices include 10-year limited warranty and exclude sales tax, delivery and installation) www.johannus.com ADV_JOHANNUS_246x360_DIAPASON_ZW.indd 1 7/21/09 9:09:34 AM John-Paul Buzard Pipe Organ Here & There Builders of Champaign, Illinois has signed an agreement for an organ for St. Vincent Benedictine Archabbey, in Bärenreiter announces a new vol- Latrobe, Pennsylvania, to be completed ume in the Urtext edition of Wilhelm in two phases. The Apse Organ will be Middelschulte’s organ works. Volume an 11-rank instrument located in two III (BA 8493, €31.95), edited by Hans- existing chambers, with its specifi ca- Dieter Meyer and Jürgen Sonnentheil, tion divided in much the same way as contains four compositions: Toccata Buzard’s Divided Swell Organs. It will on the chorale Ein feste Burg ist unser responsibly reuse pipework from the Gott, Canon in F major on a theme by original Möller Apse Organ, combined Johann Sebastian Bach, Meditation on with new pipes. the chorale Alle Menschen müssen ster- The Apse Organ is scheduled for com- ben, and Chromatic Fantasia and Fugue. pletion for a special series of November The edition includes a detailed foreword anniversary services. Phase One includes and critical commentary, in German and a console to control both the Apse Or- English. For information: gan and a new Gallery Organ of 65 ranks, Great musicians need extraordinary instruments to deliver magnificent performances. P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com 10 THE DIAPASON Sept 09 pp. 2-19.indd 10 8/12/09 12:02:13 PM Rodgers Instruments Corporation A member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 · 503.681.0444 fax Email: [email protected] www.rodgersinstruments.com the festival is associate professor of music Looking Back and university carillonneur Tin-shi Tam. Carillon News In conjunction with the carillon festival, In the wind . . . by Brian Swager a carillon composition competition is by John Bishop 10 years ago in the September 1999 being held to encourage the writing of issue of THE DIAPASON original carillon compositions by young Cover: Reuter Organ Company, St. composers, under age 35. Prizes include Therese Parish, Deephaven, MN a cash award of $500 and the premiere Shane Douglas O’Neill wins 10th Dub- performance of the winning composition lin International Organ Competition at the festival. Stefan Engels appointed associate professor, Westminster Choir College The Begijnhof Church, Sint-Jan- Jon Gillock named Performer of the de-Doper (St. John the Baptist), in Year by New York City AGO Leuven (Louvain), Belgium, is expand- Arthur C. Strahle dies on May 16 at ing its 16-bell chime into a carillon. The age 90 historic series of 16 Gillett & Johnston “Reminiscences of Henry Willis 4 as bells, which were once part of the car- told to John-Paul Buzard, Part 1.” illon of the Leuven University Library, “The Schübler Chorales & The Num- have been played in recent years by bers Game,” by Edmund Shay an automatic chiming mechanism. New Organs: Andover, Austin, Dobson The Royal Eijsbouts fi rm of Asten, the Netherlands, is casting 29 new bells in 25 years ago, September 1984 the profi le and tuning of the Gillett & Cover: J. F. Nordlie Company, Augus- Johnston bells. The instrument will be tana College, Sioux Falls, SD Aimé Lombaert played by means of a baton keyboard in Susan Marchant appointed chair of the new world standard. The Begijnhof John Bishop the music department, Pittsburg State Aimé Lombaert, a well-known is now part of the university and be- University, Pittsburg, KS Flemish carillonneur, passed away on longs to the UNESCO World Heritage. Decisions, decisions John Chappell Stowe appointed as- October 30, 2008, at age 63. He had The carillon will be played for the fi rst We are rebuilding an organ. It’s about sistant professor of organ, University of just retired from his positions as munici- time during the Open Monument Day 90 years old. It has electro-pneumatic ac- Wisconsin-Madison pal carillonneur in the Belgian cities of on September 13. tion. The main manual windchests have Vernon Gotwals retires after 32 years Bruges, Deinze, Poperinge, Damme, and ventil stop action. It has three manuals at Smith College, Northampton, MA Geraardsbergen. Lombaert was born in and 33 ranks. It was built as the “down- “New Concerto by William Mathias,” Oudenaarde, Belgium, and studied at the stairs” organ in a large Roman Catholic by Laurence Jenkins Royal Music Conservatory in Ghent, the church—a common layout for the quint- “Pipe Organ Structure and Sound,” by Lemmens Institute, and the Royal Caril- essential huge Catholic parish that allows William D. Turner lon School in Mechelen. He received his Masses to be celebrated concurrently. In “A New Discovery in the History of diploma from the Royal Carillon School our work at the Organ Clearing House the Organ,” by Michael Wm. Lefor in 1978, became assistant carillonneur we’ve been involved in the relocation of New organs: Richard L. Bond, John to Eugeen Uten in Bruges in 1980, suc- quite of few “downstairs” organs as par- M. Crum, Lee Organs ceeding him as municipal carillonneur ish leaders fi nd it attractive and useful to in 1984. In Deinze, he played one of the redevelop those huge spaces into recep- 50 years ago, September 1959 few “major-third” carillons. tion rooms, classrooms, offi ces, rehearsal Jerald Hamilton appointed professor space, and of course to create spaces that and university organist, Ohio University, As a result of the economic downturn, can generate rental income. Athens, OH Bok Tower Gardens in Lake Wales, The organ has been purchased by a Garth Peacock appointed to organ fac- Florida, announced the cancellation of church that has a strong liturgical tradi- ulty, Oberlin College its International Carillon Festival in 2009 tion and an elaborate music program, Elizabeth Van Horne appointed to or- as well as the elimination of the positions located in a big city. Over the course of gan faculty, Baldwin-Wallace College of the assistant carillonneur/librarian and a year or so, the church’s organist and Charles McManis badly injured in mo- the administrative assistant. I developed a plan that includes add- tor crash ing six ranks of pipes and a couple 16′ Elsie E. MacGregor, fi rst woman David Monaghan, Curator of Canada’s extensions to existing ranks. Originally F.A.G.O., dies in Indianapolis House of Commons, announced the ap- the Great and Swell divisions each had “Builder’s 2-manual Designs Stress Tone pointment of Andrea McCrady to the Piet van den Broek and Staf Nees two windchests, one for lower pressure, & Mechanism,” by Charles McManis position of Dominion Carillonneur on one for higher. The high-pressure Great Organs by Aeolian-Skinner, Austin, Parliament Hill in Ottawa, Canada. Mc- Carillonneur Piet van den Broek chest will become the Solo division play- Barlow, Delaware, Estey, Holtkamp, Crady’s former carillon position at the passed away on October 26, 2008, at age able independently on Manuals I and II. Kney and Bright, Möller, Mudler-Hunter, Cathedral of St. John the Evangelist in 92. Van den Broek was director of the Because we will be able to incorporate Noehren, Pels, Reuter, Schantz, Tellers, Spokane, Washington is open. Royal Belgian Carillon School and mu- some good-quality 16′ ranks left from E. F. Walcker, Wicks nicipal carillonneur in Mechelen, Bel- the church’s previous organ, our 39-rank Trinity College, a liberal arts school gium, from 1965 until his retirement in specifi cation will include eight 16′ ranks 75 years ago, September 1934 with approximately 2,200 students in 1981. Born in Chaam, the Netherlands, including three open ranks, two reeds, News of Sir Walter G. Alcock, Charles Hartford, Connecticut, is seeking a col- he left at age 18 for Mechelen to study at and three stopped wood ranks. There Black, William C. Carl, Palmer Chris- lege carillonneur. The original 30-bell the Lemmens Institute. Upon his gradu- will be seven ranks of reeds, two on high tian, Ernest M. Ibbotson, Clarence Mad- carillon built by the John Taylor Bell- ation in 1938 he became adjunct organ- pressure. The only reed not under ex- er, Rollo Maitland, Mlle. Renee Nizan, foundry was enlarged to 49 bells in 1978. ist at St. Rombouts Cathedral. He began pression will be the Pedal Bombarde. Henry Ward Pearson, Ernest Sumner, It hangs in the tower of the Trinity Col- carillon studies with Staf Nees in 1941 In the last few weeks I have been de- Frank Van Dusen, Morris W. Watkins, lege Chapel. and received his fi nal diploma from the signing the technical specifi cations of Nesta Williams carillon school four years later. the project, working with suppliers and Organs by Aeolian-Skinner, Aus- Iowa State University in Ames, our client to make decisions about which tin, Kilgen, Kimball, Möller, Page, Iowa, holds its 2009 Carillon Festival Send items for “Carillon News” to Dr. materials and which equipment will Schaefer, Willis September 5, 10 am–4 pm. The guest Brian Swager, c/o THE DIAPASON, 3030 make up this organ. We have faced quite carillonneur is Adrian Patrick Gebruers W. Salt Creek Lane, Suite 201, Arling- a few complicated technical choices, and Be sure to check for news up- from Cobh, Ireland. He will conduct a ton Heights, IL 60005-5025; 12 THE DIAPASON Sept 09 pp. 2-19.indd 12 8/12/09 12:02:40 PM lessly broken)—in other words, literally couple of the fancier additions will be of pouches of stops that are on into the The upside of this conundrum is that restoring an organ can result in an instru- based on the work of a different organ- stop channels of stops that are off—the the companies that produce these spe- ment that cannot be played. builder whose specialty stops are espe- exhausting happens through the holes cialized and rarifi ed controls (you can’t go The word rebuild when used to de- cially prized. in pouch leather of stops that are off. to Home Depot to buy a drawknob mo- scribe an organ project is much more I believe that many additions are made It’s easy to diagnose because the cipher tor) have the time and ability to perfect general and not very limiting—a “re- to pipe organs based on nomenclature will go away when you turn on the stop. their products. So while the drawknobs build” of a pipe organ is a philosophical instead of tone color. If the last organ In other words, a hole in a pouch in the we will install in the console for this or- free-for-all. We buy or make materials you played regularly had a Clarion in the Octave 4′ will allow the pouches of the gan will be the same as those on many or- and parts that will “do the job.” We want Swell, the next one needs one too. I think other stops to exhaust through it into its gans in that city, they are excellent units the organ to perform well, that all the it’s important to plan additions with your empty stop channel. Turn on the Octave with a sturdy old-style toggle feel, beauti- notes work correctly and the tuning is ears rather than your drawknob-pulling 4′ and the Principal 8′ can no longer ex- fully engraved knob faces, and of course, stable. We want the job to be both eco- fi ngers. Some specialty stops stand out— haust that way so the cipher goes away— compatibility with today’s sophisticated nomical for the client and profi table for an organ with a good French Horn can but the note in the Octave is dead! solid-state combination actions. the organbuilder, a seemingly oxymoron- do some things that other organs can’t. With the revival of interest in Roman- This week we placed the orders for ic goal. But we are not necessarily mak- But describing an organ by reciting its tic music, cathedral-style accompanying, new drawknobs identical to the original ing an artistic statement. stoplist does not tell me what the organ and symphonic organ playing, instant (we’re expanding from 33 to 60 knobs), I prefer the word renovate. It comes sounds like. An organ without a Clarion stop action is critical. We have decided drawknob motors and tilting tablets for from the Latin root “nova” which sim- 4′ can still be a wonderful organ. to convert the stop action in our instru- couplers, new keyslips with many more ply means new. My dictionary gives the The additions we’ve chosen come ment from ventil to Pitman. pistons than the original layout, and en- word novation as a legal term describing from many long conversations concern- graved labels for indicator lights and the the substitution of a new obligation for an ing what we hope the organ will be able Console divisions of stops and pistons. old one—I’m no attorney, but I presume to do. And these additions are intended The console is the place where we’ve that describes a contract that has been to transform the instrument from its faced the most choices. In the early Combination action renegotiated or an agreement that has original secondary character to one suit- twentieth century, the great heyday of It used to be “ka-chunk” or “ka-thump.” been cancelled and replaced by a new ed for all phases of high liturgy and the organbuilding, each builder had specifi c One of the factors of that blindfolded one. In organbuilding, I use the word performance of the organ repertory. and unique console designs. Each manu- test would be pushing a piston. Compare renovation to describe a project that fo- factured their own drawknob mecha- in your mind’s ear the resulting sound in cuses philosophically on the work and Windchests nisms, their own keyboards, their own a Skinner console with that of an Austin. intentions of the original organ builder. Ventil stop action is one in which each piston buttons. Each had a particular If you’re familiar with both builders you It allows for the addition of ranks, espe- rank is mounted over a discrete stop way of laying out stopjambs. An experi- know exactly what I mean. The sounds cially if the original specifi cation was ob- channel. When the stop is off, the organ’s enced organist could be led blindfolded are as distinctly different as are the dia- viously limited by constraints of space or air pressure is not present in the channel. to a console and would be able to iden- pasons of each builder. In many renova- budget. It allows us to modify an instru- The stop knob controls a large pneumat- tify the organbuilder in a few seconds. tion projects, a solid-state combination ment to better suit a new home. And it ic valve that allows air pressure to rush Most of those organs were built by action is installed to operate the original forces us to make myriad decisions with in to fi ll the channel. This is one of the companies with dozens or even hun- electro-pneumatic drawknobs—a nice the ethic of the original instrument in earliest types of pneumatic stop action, dreds of workers. A factory would house way to preserve some of the original the forefront of our minds. invented to allow for the transition away independent departments for consoles, ethic of an organ. But when the specifi - Our current project is a long way from from the slider chests of the nineteenth windchests, wood pipes, metal pipes, cation of an organ is changed as part of a a restoration. We have chosen to replace century. Both electro-pneumatic and tu- casework, structures, and wind systems. renovation project, it’s not easy to adapt large and important components. We are bular-pneumatic organs were equipped Components were built all around the the original knob mechanisms by adding adding several ranks. We are including with ventil windchests. When they are in factory and brought together in an erect- knobs. In fact, it’s typical for there to be a sophisticated combination action. We perfect condition and perfectly adjusted, ing room where the organ was assembled plenty of space in a chamber to add all expect that the result will be an instru- they operate quickly and effi ciently, but and tested before it was shipped. Today, kinds of new ranks, but no way to add ment with plenty of pizzazz, extensive there are some inherent problems. most organ workshops employ only a few the controls to the console without start- expressive capabilities, and a wide range The nature of the large valve (ventil is people. There are hundreds of shops ing over. It’s no good to add a stop to the of tone color. There will certainly be the word for a pneumatic valve) means with two or three workers, a small num- organ when you can’t include the knob in plenty of bass and fundamental tone. We that there’s a limit to how fast the air ber of dozens of shops with between ten the combination action. intend for the console to be welcoming pressure can enter the stop channel when and twenty workers, and a very few with There are a half-dozen fi rms that pro- to the player, expecting that the organ the stop is turned on, and a limit to how more than twenty. duce excellent solid-state controls for will be played by some of our most ac- fast the air pressure can exhaust, or leave When building small tracker-action pipe organs. They each have distinct complished organists. the channel when the stop is turned off. organs, it’s not diffi cult to retain a phi- methods, the equipment they produce In this and other professional publi- To put it simply, sometimes a ventil stop losophy of making everything in one is consistent, and each different brand cations, we are accustomed to reading action is slow. It’s especially noticeable workshop. Without distraction, two or or model combination action has myriad descriptions of completed projects. As I when you turn off a stop while holding three craftsmen can build a ten- or fi f- features unheard of a generation ago. work through this long list of decisions, a note or a chord—you can clearly hear teen-stop organ in a year or so, making Programmable crescendos, piston se- I thought it would be fun (and useful the tone sag as the air leaves the chan- the keyboards, pipes, action, case—ev- quencers, manual transfers, expression to my process) to discuss them in broad nel. Pitman chests introduced the fi rst erything from “scratch” and by hand. couplers, melody couplers, pizzicato terms as the project begins. electro-pneumatic stop action in which When building large electro-pneumatic basses, the list seems endless. Multi- the stops are controlled at the scale of organs, that’s pretty much impossible. level systems have been with us for long Adding ranks the individual note. Turn on a stop, air Too many of the components must be enough that we’re no longer surprised by If this instrument was originally a pressure enters a channel in the Pitman mass-produced using metal, too many hundreds of levels of memory. “downstairs” organ, I think it’s fair to say rail, the row of 61 Pitman valves move, expected functions of such an organ (like But when we’re renovating a console, that it was a secondary instrument. In and each note is turned on individually combination actions) are so complicated we face the challenge of including lots fact, the church it came from has a mag- and instantly. to build by hand, that it’s simply not eco- of new controls for all those, dare I say, nifi cent and much larger organ in the Another disadvantage of ventil stop nomical to do it with a “build everything gimmicky functions. We build draw- main sanctuary. Our instrument was not action comes from the fact that electro- here” philosophy. ers under the keytables so the fl ashing decked out with some of the fancy stops pneumatic actions work by exhausting. That means that a few organ-supply and blinking lights and readouts are not that are appropriate, even required for A note pouch at rest (not being played) companies provide keyboards, draw- part of our music-making, and the or- the sort of use it will get in its new home. has organ air pressure both inside and knobs, combination actions, piston ganists complain that they whack their The voices we’re adding include French out. Play the note and the interior of the rails, and other console controls and ap- knees when they get on the bench. We Horn, Tuba, and Harmonic Flute. We’re pouch is exposed to atmosphere. The air pointments for the entire industry. It’s add “up and down” pistons to control adding a second chorus mixture (there pressure surrounding the pouch collaps- something of a homogenization of the memory levels and sequencers. We have was only one). We’re adding a second es it, carrying the valve away from the trade—just like you buy the same books bar-graph LED indicators for expression Celeste (there was only one). We’re add- toe hole. In a Pitman chest, a hole in a in a Barnes & Noble store in New York pedals. And we even install USB ports so ing 16′ extensions to a soft string and an pouch means a dead note, annoying but or in Topeka, and a McDonald’s ham- software upgrades and MIDI sequencing Oboe, as well as a couple new indepen- not disruptive. In a ventil chest, a hole burger tastes the same in Fairbanks as in can be accomplished easily. I suppose the dent sixteen-footers. Most of these ad- in a pouch means a cipher, annoying and Miami, so the drawknob action is identi- next step will be to update a combination ditions are being planned based on the disruptive. The cause of the cipher is air cal in the consoles built by dozens of dif- action by beaming from your iPhone. It’s scaling of the rest of the organ. And a pressure exhausting from the interior ferent fi rms. easy to produce a console that looks like Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ. This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co. P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com 14 THE DIAPASON Sept 09 pp. 2-19.indd 14 8/12/09 12:03:07 PM a science lab or an aerospace cockpit, and them is subjective and is the esthetic thirds and fi fths—actually more than in nel is playing one pitch and the other is it’s just as easy to fall into thinking that side of keyboard temperament. Pythagorean tuning. playing a close but different pitch, then the lights, buttons, and switches are more From these principles it is possible to 4) Equal temperament. In this tem- if you play those two channels through important than the sound of the organ. understand, or indeed to re-invent, any perament, each of the twelve perfect speakers into the air, they will produce It’s our choice to keep the “look” of the of the historical temperaments, each fi fths is narrowed by exactly the same beats that can be heard. However, if you console as close as possible to its original of which is of necessity simply a way of amount. In this tuning, alone among all play them through headphones, so that design—it is a very handsome console. approaching and solving the issues de- possible keyboard tunings, each specifi c the two notes never interact with one an- But keeping that in mind, you will want scribed above. instance of each type of interval—perfect other in the air but each go directly to a some modern gizmos close at hand. fi fth, major third, and so on—is identical separate ear of the listener, then no beats There are lots more things to think Major historical tunings to all other instances of that interval. will be created and the listener will hear about. Are we holding up bass pipes with 1) Pythagorean tuning. This is the the two different pitches without beats. soldered hooks or with twill-tape tied in simplest practical approach, in which Tuning intervals Notes that are being produced by knots? Are we making soldered galva- eleven fi fths in a row are tuned absolutely When two close pitches are sound- pipes or strings have overtones. When nized windlines or using PVC pipe or pure, and the remaining fi fth is allowed ing at the same time we hear, alongside two such notes are played together, the fl exible rubber hoses? It’s relatively easy to be extremely narrow: so narrow that those notes, a beating or undulating pitches that mingle in the air include the to make a list of all the right choices for human ears will not accept it as a fi fth sound that is the difference between the fundamental and the overtones. Any of the renovation of a fi ne organ built by a and it has to be avoided in playing. two pitches that are sounding. If a note those component sounds that are very great organbuilder. But the challenge is 2) Well-tempered tuning. In this at 440hz and a note at 442hz are played close to one another will produce beats to retain the musical and artistic qualities approach, the narrowness of fi fths is at the same time, we hear a beating at if they are not in fact identical. It is by of the organ, renovate an organ using the spread out over enough fi fths that the the speed of twice per second. If the two listening to these beats and comparing same level of craftsmanship as the origi- narrowed fi fths sound acceptable to our notes were 263hz and 267hz the beating them to a template or plan (either no nal builder and produce an instrument ears. Practical experience suggests that would be at four times per second. This beats or beats of some particular speed) that thrills all who make music and wor- this means over at least three fi fths. The kind of beating sounds more or less like that we carry out the act of tuning. ship with it, while keeping in mind that fi fths that are not narrowed are left pure. a (quiet) siren or alarm. It is so much a For example, if we are tuning a note the future of the pipe organ is ensured by All intervals and thus all chords and all part of the background of what we hear that is a fi fth away from an already-tuned the appropriate balance between artistry keys are usable. when we listen to music that most peo- note, then the fi rst upper partial of the and expense. Thoughtful organbuilders 3) Meantone tuning. Here the tun- ple initially have trouble distinguishing higher note is meant to be the same pitch face that question every time they pick ing of fi fths is confi gured in such a way as it or hearing it explicitly. Normally once as the second upper partial of the lower up a tool. Q to generate pure or relatively pure major someone fi rst hears beats of this kind, it note. (For a discussion of overtones see thirds. When this kind of tuning was in is then easy to be able to hear them and this column from July 2009.) If these very widespread use (primarily the 16th distinguish them. overtones are in fact identical, then they and 17th centuries), this was a widely These beats are a real acoustic phe- will not produce any beats; if they are not and strongly held esthetic preference. In nomenon. They are not psychological, quite identical they will produce beats. On Teaching order to generate a large number of pure or part of the physiology of hearing: If the goal is to produce a pure perfect by Gavin Black major thirds, it is necessary to tune a they are present in the air. If you set up fi fth, then beats should be absent. If the large number of unusable intervals, both a recording in which one stereo chan- goal is to produce a narrow perfect fi fth, ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD AAATFEE DBO DOBSON CASAVANT FRERES TAYLOR BOODY BOODY TAYLOR .DE DYER R. Intervals, tuning, and temperament, part 3 In the fi rst two columns on tuning I did not refer at all to names of tempera- ments—neither the rather familiar terms such as “Werckmeister,” “Kirnberger,” or “Vallotti,” nor less familiar ones such as GARLAND FISK “Fogliano-Aron,” “Ramos,” or “Bend- eler.” It can be interesting or useful for a student to learn something about these historical temperaments; however, there is a reason that I have avoided framing FRITTS my discussion of temperament with these established tunings. It is much more use- ful for students to grasp the principles that underlie any keyboard tuning. It is then possible for the student to both understand any specifi c tuning system— historical or hypothetical—and to invent his or her own, and also to understand Your Church Needs a New Pipe Organ. some of the practical and artistic implica- GOULDING & WOOD tions of different tuning approaches. What’s the First Step? Underlying tuning principles 1) It is impossible for all twelve perfect fi fths on a normal keyboard Call or e-mail us! From information for your architect through fund-raising, APOBA instrument to be tuned absolutely has helpful publications concerning every aspect of an organbuilding project. pure. This arises out of the mathematics of the fundamental defi nition of intervals, and it is an objective fact. If you start at any note and tune twelve perfect fi fths And, they’re FREE for the asking! pure, then the note that you come back to—which is supposed to be the same as QUIMBY REDMAN SCHANTZ SCHOENSTEIN & the starting note—will be signifi cantly HENDRICKSON sharp compared to the starting note. To receive information about pipe organs 2) Therefore, at least one perfect and recognized pipe organ builders fi fth must be tuned narrow. Anywhere from one to all twelve perfect fi fths can AP write or call toll free 1-800-473-5270 be tuned narrow, as long as the overall or on the web @ www.apoba.com amount of narrowness is correct. PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America 3) The need to narrow one or more BO fi fths is an objective need, and doing so A P.O. Box 155 • Chicago Ridge, Illinois 60415 is the practical side of keyboard temper- ament. The choice of which fi fths to OTT PARSONS narrow and (bearing in mind that the overall narrowness must add up to the NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP right amount) how much to narrow SEPTEMBER, 2009 15 Sept 09 pp. 2-19.indd 15 8/12/09 12:03:30 PM then beats should be present—faster (But it is interesting to speculate about important, even crucial. Many listeners formances: it is not possible to tell keys the narrower a fi fth we want. In tuning the direction of causality: did Pythago- even now feel that the sonority of a harp- apart except by absolute pitch. The rise a major third, the same principle applies, rean organ tuning suggest the avoidance sichord is most beautiful in meantone. and dissemination of equal temperament except that it is the third upper partial of thirds as consonant intervals, or did a also coincided with a general worldwide of the higher note and the fourth upper theory-based avoidance of those inter- Well temperaments increase in travel. In a world in which partial of the lower note that coincide. vals suggest that a tuning with very wide In the late seventeenth century, equal temperament and a particular pitch Listening for beats produced by thirds was acceptable?) composers and theorists began to sug- standard (say a′=440hz) will be found any- coinciding overtones is the essential gest new temperaments that overcame where and everywhere, a fl utist, for exam- technique for tuning any keyboard Meantone tuning the harmonic restrictions of meantone. ple, can travel from Europe to America or instrument by ear. Any tuning can be The rise of meantone tuning in the These were the well-tempered tunings, Japan or anywhere and expect to be able fully described by a list of beat speeds for late fi fteenth century corresponded with in which every fi fth and every third is us- to play with local musicians. each interval to be tuned. For example, the rise of music in which the major able as an harmonic interval. In order to It is also likely that the general accep- in Pythagorean tuning the beat speed for third played an increasingly large role as achieve this fl exibility, these tunings do tance of equal temperament helped lead each of the eleven fi fths that are tuned a consonant interval and as a defi ning in- away with most or, in some cases, all of to twelve-tone and other atonal music explicitly is zero. (The twelfth fi fth arises terval of both modal and tonal harmony. the pure major thirds. This change can by promoting the idea (and the actual automatically.) Any well-tempered tun- A major triad with a Pythagorean third be seen as a shift from an instrument- listening experience) that all keys and all ing can be described as a combination does not quite sound like a resting place centered esthetic—in which the beauty twelve semitones were the same. of fi fths that have beat speeds of zero or point of arrival, but a major triad with of the sound of the pure thirds was con- In equal temperament, no interval is and fi fths that have various moderate a pure third does. During this same pe- sidered more important than perhaps pure, and no interval is more than a little beat speeds. In equal temperament, all riod, the harpsichord and virginal also anything else—to a composer-centered bit out of tune. This is a tuning that, just as the fi fths have beat speeds greater than arose, supplementing the clavichord and esthetic and philosophy, in which limita- a matter of taste or habit, appeals strong- zero, and they all refl ect the same ratio, the organ. These new instruments had a tions on theoretical compositional pos- ly to some people and does not appeal with higher notes having proportionately brighter sound with a more explosive at- sibilities were considered less and less to others. I have known musicians with higher beat speeds. In most meantone tack than earlier instruments. This kind acceptable. There were strong defenders no training (or for that matter interest) in systems, major thirds have no beats or of sound tends to make wide thirds sound of the older tunings well into the eigh- historical temperaments who could not very slow beat speeds, while those fi fths very prominent. This may have been a teenth century. It is interesting that in stand to listen to equal temperament be- that are tuned directly have beat speeds further impetus to the development of one well-known dispute about the mer- cause they found equal-tempered thirds that are similar to those of well-tem- new tuning systems in those years. its of meantone as opposed to well-tem- grating; I have known others who can ac- pered fi fths. Meantone tuning, since it includes pered tuning, the advocate of the former cept the intervals of equal temperament These beats have a crucial effect on many unusable intervals, places serious was an instrument builder (Gottfried Sil- as normal but who cannot tolerate the the esthetic impact of different tuning restrictions on composers and players. bermann) and the advocate of the latter occasional more out of tune intervals of systems. For example, in Pythagorean Modulation within a piece is limited. In was a composer (J. S. Bach). well-tempered tuning. tuning, while all of the perfect fi fths are general, a given piece can only use one The crucial esthetic characteristic of At the Princeton Early Keyboard pure (beatless), all of the major thirds are of the two notes represented by a raised well-tempered tunings is that different Center website there are links to sever- very wide and beat quite fast. This gives (black) key, and must rigorously avoid keys have different harmonic structures. al resources describing and comparing those thirds, and any triads, a noisy and the other. Many transpositions create That is, the placement of relatively pure historical temperaments and discuss- restless feeling. A triad with pure fi fths impossible tuning problems. Many keys and relatively impure intervals and triads ing further some of what I have written and pure thirds—a beatless triad—is a must, as a practical matter, be avoided with respect to the functional harmonies about here. Q very different phenomenon for a listen- altogether in order to avoid tremendous of the key (tonic, dominant, etc.) is differ- er, even though it looks exactly the same amounts of re-tuning. ent from one key to another. (An interest- Gavin Black is the director of the Prince- in music notation. Other sorts of triads Some keyboard instruments built dur- ing experiment about this is possible in ton Early Keyboard Center in common use in the late Middle Ages. the time but little used, since by limit- In equal temperament, which became Love me brought This was a time when the perfect fi fth was ing transposition it placed signifi cant common in the mid- to late-nineteenth And love me wrought still considered a much more consonant harmonic limitations on composers and century, every interval with a given name Man to be thy fere. or stable interval than the major or minor improvisers, and thus made accompani- and every triad or other chord of a par- Love me fed, third. Thus it made sense to use a tuning ment more diffi cult. Yet it remained in ticular type is the same as every other And love me led, in which fi fths were pure and thirds were use for a very long time. It seems cer- interval, triad, or chord of that type. Part And love me letteth here. wide enough—buzzy enough—to be al- tain that whatever it was accomplish- of the appeal of this tuning in the nine- — Anonymous, 14th century most inherently dissonant. ing esthetically must have seemed very teenth century was, probably, its theo- NB: fere = companion, friend retical consistency and symmetry. Many letteth = keeps people have found the concept of equal temperament intellectually satisfying: it The annual Christmas cantata, once a does not have what might be thought of church tradition, is becoming less com- A Precious Gift as arbitrary differences between things mon in many churches today, and may that, theoretically at least, ought to be soon disappear from December worship the same. Equal temperament took hold services. Although a regular feature, es- from the Past in the same era of organ history that in- pecially in Baroque Protestant churches, cluded logarithmic pipe scalings—an- it clearly lost its favor with the composers other theoretically satisfying, mathemat- of the 19th century. While the mid-20th for the Present ically inspired idea. During this same century was blessed with an overabun- time, designers of wind instruments dance of them, for a variety of reasons were working to make those instruments today’s December worship services are and the Future sound the same—or as close as humanly noticeably less punctuated with an ex- possible—up and down the compass. tended, multi-movement setting, espe- Supremely beautiful and blendable This is another manifestation of a taste cially those by signifi cant composers of tonal color – a Gift from the Venetian for avoiding seemingly arbitrary or ran- the past. dom difference. Choirs and budgets tend to be smaller School of organbuilding, a monumental part of our On an equal-tempered keyboard, the and that affects the performance of ex- great heritage. The result: a versatile and Áexible computer experiment described above tended choral works. The cost of hiring a palette to make possible your Ànest work. would result in two indistinguishable per- small orchestra depletes an entire year’s Intriguing? Let us build your dream. Specialists in Choral and Organ Music 2209 Crestmoor Road, Suite 220 Nashville, TN 37215 615-386-3542 § 800-851-9023 § 615-297-4291 Fax www.loisfyfemusic.com The Organ Clearing House Builders of Fine Pipe Organs to the World PO Box 290786 Charlestown, MA 02129 www.ruffatti.com Ph: 617.688.9290 Via Facciolati, 166 • Padova, Italy 35127 • [email protected] • In the U.S. 330-867-4370 www.organclearinghouse.com 16 THE DIAPASON Sept 09 pp. 2-19.indd 16 8/12/09 12:03:48 PM budget in many cases. The purchase of a ments, but is separated into various sec- gational singing is indicated. The music signed for church use, the approximately cantata that is useful only at one time of tions, each having its own tempo. Much follows a traditional style with frequent 40-minute work could be reduced by the year adds to the dilemma. For exam- of it is in homophonic texture with lim- unison passages and diatonic writing for shortening the long overture. ple, fi ve general anthems that can be used ited counterpoint, although in one sec- the choir. This is a pragmatic setting that more than once at various times through- tion the soprano line has sustained whole will appeal to most congregations. Oratorio de Noël, Camille Saint- out the year are usually less expensive notes while the lower voices offer rhyth- Saëns (1835–1921). SATB, soli, harp, than one cantata. Furthermore, cantatas mic contrasts in declamatory phrases, a By Heaven’s Light, Allen Pote. SATB, organ, and strings. C.F. Peters, No. are almost never repeated for at least two style typical of Pachelbel. The music is optional vocal solos, two readers, 11053, $17.95 (D-) years, adding to the fi scal problem. not diffi cult. and keyboard, Hope Publishing Co., Composed when Saint-Saëns was 23, Some churches fi nd it diffi cult to No. 8331, $8.95 (M+). this rarely heard work has ten move- perform a 25-minute cantata within a Magnifi cat, Domenico Cimarosa There are several ways of performing ments, of which fi ve are for choir. The 60-minute service, and so the cantata is (1749–1801). SATB and orchestra, this Christmas cantata; one involves vari- fi ve soloists have an extensive role in this relegated to some evening or afternoon C.F. Peters, No. 8351, $4.95 (M+). ous candles, and the other employs a se- 40-minute Latin oratorio. The choral special event, which generally results in The choral score has only keyboard ac- ries of frozen scenes (tableaux) that illus- score, which is for keyboard, includes fewer listeners. In the minds of the choir, companiment; the orchestra consists of 2 trate the texts of the singers and readers. indications of instruments playing the the amount of energy and commitment oboes, 2 trumpets, 2 violins, and basso The cantata has nine movements, which various parts. The harp part is fi lled with to prepare a cantata, while still providing continuo. The music begins very dra- begin with “Prepare the Way of the numerous glissandi and arpeggios, which a weekly anthem, merits the solid sup- matically and has rapid, jagged rhythms Lord” and end at the manger. Although add greatly to the beautiful colors of the port of listeners; choir morale often suf- in the accompaniment while the chorus most of the music and texts are original, harmony. This work will be beyond most fers when the congregation’s attendance has a slow, sustained chordal opening. the carol “Away in a Manger” is incorpo- church choirs, but would be especially is low, and that adds more problems for This is exciting music with many dynam- rated in one movement. The choral parts useful for community choirs. the director who is constantly fi ghting ic shifts and several tempo changes. With are on two staves and are appropriate for the erosion of dedicated singers. no solos and a small orchestra, this Latin most church choirs. With a duration of Musical tastes clearly have changed. Magnifi cat is a lovely, fresh setting that 25 minutes, it fi ts comfortably into a wor- There are fewer people wanting to hear may be more challenging for the orches- ship service. Book Reviews what to them is a somewhat dry Baroque tra than the choir. cantata, much less a work in Latin. The The First Christmas, Michael quality of music heard today is lower. The Christmas Story, Hugo Distler Gryspeerdt. Children’s voices, piano The Organ Works of Fela Sowande: This is true not because of the lack of (1908–1942). Unaccompanied SATB with optional fl ute, violin, clarinet, Cultural Perspectives, by Godwin good composers writing meaningful mu- with divisi and soloists, Concordia cello, and percussion, GIA Publica- Sadoh. New York: iUniverse Publish- sic, but rather is more easily traced to the Publishing House, 97-4780, $7.00 tions, Inc., G-5746MF, $10.00 (full ing, 2007, 1-800/288-4677, SEPTEMBER, 2009 17 Sept 09 pp. 2-19.indd 17 8/12/09 12:04:08 PM were responsible for introducing west- fi eld of African musical scholarship. the chapter pertaining to the state of art Fugue, Récit, Duo, Grand chœur, Tierce ern classical music to Nigeria. The sig- In speaking of Bankole, one can hardly music in Nigeria, an informative histori- en taille, Boëly; Trio für Orgel, Grosse nifi cant role of the mission schools and refrain from citing similarities between cal sketch of the development of western Orgel-Sonate in C moll über der 94 colonial institutions in the musical devel- the composer and his teacher, Fela So- music in Nigeria is presented. In an- Psalm, Adagio für Orgel, Reubke. opment of Nigerian musicians is clearly wande; however, unlike Sowande, Ayo other section, the problems originating This is the fi nest compact disc I have highlighted, for these two sources played Bankole lived a rather short life, which from European musical hegemony and come across in quite some time. I was a major role in the formal education came to a sudden and tragic end in 1976. their consequences for African music not previously familiar with the sound of Nigerians. It was the culmination of Although he did not produce many are discussed. Other topics pertain to of the Clicquot/Cavaillé-Coll organ at these forces that produced Sowande and works, Bankole was a man of consider- the development and current state of Versailles, and I have to say that judging other Nigerian musicians of the era. In able talent and promise. Had he sur- organ-building in Nigeria as well as the by the recording, it is one of the fi nest Sowande, a world view was forged that vived, there is no telling what creations evolution and characteristics of African instruments around. It is, as the title of would accompany him during his life- he may have given the world. pianism. In addition to biographical ma- the CD suggests, a regal instrument with long musical pursuits. Bankole’s musical training was of Af- terial, there are chapters dedicated to two distinct sides to its character. On Sadoh makes a strong case for So- rican, English, and American origin. the composer’s vocal, piano, organ, and the one hand, more than half the pipe- wande’s intercultural stance (exhibiting He was primarily an organist and pia- choral works. work is from the original instrument of compositional elements of the African, nist; consequently, it should come as no Of particular interest are the segments 1761 by François-Henri Clicquot, while African-American, and European) and surprise that much of his compositional that deal with the African audience and a substantial part of the 45-stop three- presents cogent arguments to support output centered on these instruments. the shortage of musical scores. In the manual-and-pedal instrument is also by it via the organ compositions. The work His extraordinary skill as an organist is former, the author discusses the musical Aristide Cavaillé-Coll, who rebuilt the provides an insightful cultural analysis of exemplifi ed by his youthful selection performance expectations and experi- organ a century later in 1861. The organ the composer’s organ works that includes as Assistant Organist of the Cathedral ence of stratifi ed groups within Nigerian is therefore capable of playing both the a discussion concerning the presence and Church of Christ in Lagos, Nigeria. society. In the section that addresses the baroque-classical and the romantic-sym- nature of Yoruba dance elements and Af- This tenure was soon followed by his nature of and reasons for the dearth of phonic repertoire. Moreover, there is rican rhythms in Sowande’s compositions. appointment as Organ Scholar of Clare published African music, one may dis- nothing schizophrenic about this instru- Of particular interest to this reviewer is College at the University of Cambridge cover striking parallels between Nigeri- ment, and its classical and romantic ele- the presentation of material pertaining in London (1961–1964). Another simi- an music and African-American classical ments seem to meld seamlessly to form to Sowande’s views regarding the African larity to Sowande consists of Bankole’s music. For this reader, a most enjoyable a homogeneous and artistic whole. It is concept of musical communication and recognized excellence in organ-playing, feature of Sadoh’s book lies in the re- not just less infl uenced by romanticism, the role that it ultimately played in his a skill that was confi rmed by his appoint- freshing candor that the author employs like early Cavaillé-Coll instruments such choice of thematic material. ment as a Fellow of the Royal College of during the presentation of certain facts. as St. Denis, nor is it just that it contains Sadoh’s research is well documented. Organists (FRCO) in London, Britain’s For those interested in Nigerian history, quite a bit of good eighteenth-century In addition to the signifi cant biographical highest diploma in organ performance. there is signifi cant commentary pertain- pipework like St. Sulpice, but uniquely material, it provides a useful discography Bankole became the second and last ing to the effects of European sociologi- in this instrument Cavaillé-Coll seems to of Sowande recordings in the appendix. Nigerian to achieve this distinction. His cal paradigms that were imposed upon have achieved an instrument that is both Moreover, the publication contains nu- reputation as an organist ultimately re- Nigerian society. very eclectic and highly artistic. Added to merous and diverse photographs of So- sulted in an invitation to play at Royal In sum, the book is a fi ne, well-re- this, the Cavaillé-Coll strings—the Récit wande taken during various stages of his Albert Hall in London. searched, and much needed contribu- Viole de gambe and Voix céleste, and the professional career. Of particular interest Like Sowande, Bankole was a man of tion to musical scholarship. Herein, G.O. Salicional 8′ and Dulciane 4′—are are those photographs of Sowande seated distinction. During his lifetime, Bankole Sadoh took a chance, made an attempt, the fi nest strings I have ever heard, cer- at the pipe organ and Hammond organ as held several distinguished posts and was and succeeds in one of the most chal- tainly on a French instrument, and at well as photographs taken during his stage granted many honors. Bankole also stud- lenging tasks a scholar can undertake: to times they sound like a real orchestra. appearances as a noted jazz pianist. ied Ethnomusicology as a Rockefeller convey signifi cance upon a relatively un- Forget the Skinner at Yale; this is the Published studies such as this, fea- Foundation Fellow at the University of known entity. In this case, the entity was real thing. turing the works and accomplishments California at Los Angeles (UCLA). While formidable young Nigerian composer The organist on this recording, Chris- of African and African-American organ in America, he served as a visiting lectur- Ayo Bankole, whose promising light was tian Ott (b. 1968), is both the co-titulaire composers, are exceedingly scarce. For er at Ohio State University (1971–1972). snuffed out much too soon. of the Grand Orgue in the Royal Cathe- this reason, it is all the more delight- His interest in composition, however, —Mickey Thomas Terry, Ph.D. dral of St. Louis in Versailles and also ful to encounter well-researched and started during the late 1950s. Bankole’s Editor, The African-American Organ the titulaire of the Orgue de chœur. He documented works such as this. I would works comprise compositions for voice, Music Anthology is clearly an excellent player who is very recommend this book to anyone who is choir, organ, piano, as well as some Washington, DC experienced at knowing what the instru- interested in Fela Sowande. chamber pieces. His interest in compo- ment is capable of, and thus manages to sition led him to synthesize African and get the best out of it. The repertoire he Intercultural Dimensions in Ayo European musical elements. As he ma- chooses is particularly interesting. When Bankole’s Music, by Godwin Sadoh. tured, Bankole developed an interest in New Recordings one thinks of Cavaillé-Coll organs, one New York: iUniverse Publishing, 20th-century composition techniques. generally thinks of the music that was 2007, 1-800-288-4677, 18 THE DIAPASON Sept 09 pp. 2-19.indd 18 8/12/09 12:04:26 PM Sonata. Christian Ott certainly doesn’t makes a prayerful, meditative statement have any problems with the Sonata, of New Organ Music New Handbell Music that is carried throughout the entire ar- which he gives a masterful performance rangement. The lilting 6/4 rhythm of that is both thoughtful and virtuosic. both tunes, along with the “fi nger touch” I would certainly recommend this Wilhelm Friedemann Bach: Eight Jesus Calls Us O’er the Tumult, ar- technique for a dozen measures, adds to recording. It combines a wonderful or- Fugues (Berlin 1778), edited by Paul ranged by Linda R. Lamb for 2–3 oc- fl ow and beauty of the piece. gan, excellent playing, and very inter- Simmonds and Mike Daniels. €12 taves of handbells. GIA Publications, esting repertoire. plus postage; G-6591, $3.95, Level 3+ (M). Praise Unfolding, for 3–5 octaves of —John L. Speller SEPTEMBER, 2009 19 Sept 09 pp. 2-19.indd 19 8/12/09 12:04:50 PM Remembrances of a birthday celebration: Heinz Wunderlich at 90 Jay Zoller Birthday concerts in Hamburg My wife, Rachel, and I fl ew out of Newark on Thursday, April 23, and landed Friday morning at Tegal Airport in Berlin, Germany. Our friend Matthias Schmelmer, who will be important later in this story, helped us to the Haupt- bahnhof. There we took a fast train for the two-hour ride to Hamburg, where the birthday celebrations were to take place. As one of the recitalists, I had been given an hour and a half of practice time on Friday evening the 24th, and an hour the next morning to prepare for the fi rst concert, which was to take place on Wun- derlich’s birthday itself, April 25. There were fi ve other organists participating, as well as a vocal ensemble, so the time we had available was limited and valuable. I was to play the Fuga Variata, a piece Wunderlich had written in 1942 during the war. Suffering from jet lag and with my wife practically falling asleep beside the console, I found the allotted time barely enough to register the piece. Af- ter a night of rest, I was looking forward The author with Heinz Wunderlich following the all-Wunderlich program played by The 1955 Beckerath organ restored to my hour of practice the next morning. former students on April 25 (photo: Rachel Zoller) by A. Schuke 2006 at Hauptkirche St. Imagine my surprise when, arriving in Petri, Hamburg, where the Wunderlich the balcony, the performer practicing Ökumenische Messe per was appropriate for the music on student concert was played April 25 before me said that we had a cipher on The next day, Sunday, a performance the program. Although I have heard the (photo: Hagen Wehrend) the Hauptwerk. Luckily, we found a key of the Wunderlich Ökumenische Messe Schnitger organ on several occasions and to the organ case, and I was able to fi x (Ecumenical Mass) took place as part of have played it myself, I couldn’t help but the problem. My years of organbuilding the morning service at St. Petri. It was wish that we could have heard the Bach came in handy! sung by the Hamburger Bachchor St. on the Schnitger organ instead. In any The four-manual Beckerath organ in Petri under the baton of the St. Petri event, American recitalists should ac- St. Petri had been completely rebuilt by music director, Thomas Dahl. This is a quaint themselves with all of Wunderlich’s the Schuke Organ Co. since my visit fi ve very effective setting of the Mass for a music, as it is of the highest quality. years ago. Several new stops were added cappella choir, and the experienced cho- to make the choruses more complete, rus of St. Petri made it memorable. The Organ and orchestra along with a new console and, most wel- music was soaring and lyrical, with sug- On Wednesday evening, we gathered come, a new solid-state system with mul- gestions of Gregorian chant, and put me at St. Petri again for the fi nal Wunderlich tiple memories; all was done in keeping in a contemplative frame of mind. birthday concert, a program for chorus, with the Beckerath sound. Sunday afternoon we toured an amaz- organ, and orchestra. Thomas Dahl had Unlike many churches in the USA, ing exhibit of the works of Edgar Degas a demanding evening with the Organ German churches have hard surfaces at the Hamburger Kunsthalle, followed Concerto No. 7 in B-fl at Major, op. 7, within large spaces, and refrain from us- in the evening with dinner at the home no. 1, of Georg Friedrich Handel; Heinz ing carpeting. As a result, the sound is of Thomas Dahl with his wife Steffi and Wunderlich’s Easter cantata, Erschienen unlike almost anything you hear in this their two delightful daughters. We were ist der herrliche Tag, written in 1992; the country. I gauged the reverberation in St. able to inspect the two-manual Fürer premiere performance of Wunderlich’s Petri to be 6 to 8 seconds—long enough organ in the little village church of St. Concerto for Organ and Orchestra on the to require some adaptation in one’s play- Nicholas next door, where Thomas is Name B-A-C-H; and Mendelssohn’s Psalm ing to allow for it. able to practice. Although a much small- 42, “Wie der Hirsch schreit,” op. 42. The The performance of “Former students er church than St. Petri, the beautiful soprano soloist was Dorothee Fries and playing music of Heinz Wunderlich” interior of wood and plaster is sympa- the organist Andreas Rondthaler. The The Berliner Dom from the canal (photo: went very smoothly. The Kontrapunk- thetic with the organ, making a clean and chorus was once again the Hamburger Jay Zoller) tische Chaconne was played by Dörte distinct sound. Bachchor St. Petri. The evening was excit- Maria Packeiser (Heidenheim, Ger- After being tourists on Monday, we ing, with the Wunderlich Concerto being many); next I played the Fuga Variata; a boarded a train on Tuesday for Bremen only one of many highlights for me. chorus under the direction of Cornelius where we toured again, the highlight be- One other Hamburg organ that de- Trantow sang Four Motets for unaccom- ing the St. Petri Church—a huge, gar- serves mention is in the Church of St. panied chorus; Izumi Ikeda (Fukuoka, ishly painted cathedral, possessing four Georg. The church, which is dedicated Japan) played the Sonata Tremolanda organs. In the main part of the sanctuary to the Trinity, was built in 1747 and de- Hiroshima; Andreas Rondthaler (Ham- is the large Sauer organ originating from stroyed by bombs in 1943. Only the burg) played Dona Nobis Pacem with 1893. During several rebuilds, it has been damaged steeple remained, which was violinist Solveigh Rose; Emotion and enlarged to its present four manuals and repaired, and a new church, representa- Fugue was played by Eva-Maria Sachs 98 registers. A three-manual Bach Organ tive of 1950s architecture, was built. The (Erlangen); and the program ended with was built in 1966 and sits primly in a side sanctuary, which was designed to serve Orgelsonate über ein Thema played by aisle balcony. The remaining two organs the purpose of a concert hall as well, seats Sirka Schwartz-Uppendieck (Furth). As are a one-manual Silbermann Positiv 700 people, has galleries large enough in subsequent concerts, the church was from 1732/33 and a one-manual and for an orchestra, and boasts a 1959 E. F. full and the audience enthusiastic. All pedal Wegscheider organ from 2002, Walcker & Co. organ with 36 registers. the performers ended the evening with which accompanies the choir. dinner at a local restaurant with Profes- Berlin sor Wunderlich. Wunderlich’s 90th birthday On Thursday morning, we boarded the concert train for our trip back to Berlin. Having Following an afternoon in the con- never been to Berlin, I wasn’t sure that The Diapason temporary art museum, we returned to I was going to like it, but we found the Hamburg in time for Heinz Wunderlich’s city a delight, with the transit easy to get 2010 Resource Directory recital at St. Jacobi in the evening. The around on, and more things to see than recital was played on the Kemper organ, we could possibly include in our remain- • The only comprehensive directory of which has been restored since my last ing week. The city has been rebuilt, and the organ and church music fi elds visit fi ve years ago. The church is also like Hamburg, construction seems to be • Includes listings of associations, sup- the home, of course, of the famous Arp going on constantly. Sauer organ, Berliner Dom (photo: Stephan pliers, and the products and services Schnitger organ, which dominates the Our friend, Matthias Schmelmer, Gast) they provide end of the church in the second balcony. is the director of music and organist at 3 ″ ″ • Printed in 5 ⁄4 x 8 format and mailed The Kemper sits on one side of the lower Kirche zum Heiligen Kreuz (the Church isters on four manuals and pedal, it is with the January 2010 issue of The balcony. Professor Wunderlich chose four of the Holy Cross) in Berlin. Thanks to one of the largest in Germany. Once I Diapason pieces for his program: Bach, Präludium his many contacts, I was able to see and determined that the swell pedals worked Advertising deadline: und Fuge in h-Moll, BWV 544; Wun- play more organs than I ever would have opposite to ours in the USA and that the November 2, 2009 derlich, Sonata Tremolanda Hiroshima; on my own. The largest is the Sauer organ Great is the lowest manual, I was off for Reger, Fantasie und Fuge über B-A-C-H, in the Berliner Dom. The cathedral itself an enjoyable evening. Contact editor Jerome Butera op. 46; and Wunderlich, Sonata über den is an impressive building, with a dome The organ built for Princess Amalia in 847/391-1045 psalm Jona. reminiscent of St. Paul’s London or St. 1755 by Peter Migendt and Ernst Marx 20 THE DIAPASON Sept 09 pp. 20-21.indd 20 8/12/09 12:05:42 PM ing. The building itself is unique in that a Max Reger’s organ steel structure has been added internally, The last organ I played in Berlin was with catwalks around the central area so ordered and designed by Max Reger. one can walk around the church at the In 1913, the acquisition of an organ balcony level. Built in behind arches was planned for the Schützenhaussaal, throughout are glassed-in offi ces and where Max Reger was conductor of the conference rooms that look out on the ducal orchestra. Since Reger wished to sanctuary proper. In the center of the have a movable console, the contract was church and extending up into the dome signed with Steinmeyer, the only compa- is a large tent hanging by ropes or cables. ny capable of the work at the time. Reger I can only imagine that it is to deaden the ordered the organ very informally using reverberation somewhat. only a post card! Across the street in a quiet cemetery lies The organ was built for Reger, and Hook façade, Kirche zum Heiligen the grave of Felix Mendelssohn. We spent in the end he was satisfi ed with the re- Kreuz, Berlin (photo: Jay Zoller) several meditative moments at his grave- sults. The dedication recital was played side and that of his sister, Fanny and her by Karl Straube on April 19, 1914. Un- husband, William Hensel. fortunately, illness forced Reger’s resig- nation soon afterward, and so he only Leipzig and Dresden played it for the Duke’s funeral on June On Tuesday we fulfi lled a lifelong de- 26. In August, World War I began and sire of mine, to visit the churches where the organ wasn’t used any more. Today J. S. Bach worked for the last decades of the organ sits in the Weihnachtskirche his life. Although we did not hear the or- (Christmas Church), which began as a gans in either St. Nicholas or St. Thom- community hall. The room is not large, as, we sat enjoying the atmosphere and and the organ speaks from behind wood were able to pay our respects at the grave latticework directly and loudly into the The author at the console of the 1755 of the greatest of composers. Later, we space. It was an exciting experience Amalien organ in the Berlin Karlshorst walked to the home of Felix Mendels- to sit at the console where Reger and Tent and catwalks, Kirche zum Heiligen sohn, which is not far away, and got a Straube sat! Kreuz, Berlin (photo: Jay Zoller) taste of his home and life. Of particular In addition to organs, we visited many delight were his drawings and watercol- historical sites including remnants of the ors displayed there. Berlin Wall, Checkpoint Charlie, the We had also wanted to visit Dresden Brandenburg Gate, and the Reichstag. and were glad we did. After a bus tour Our primary interests were in the many around the city, we found our way to museums that Berlin has to offer, how- two churches that showed two different ever. One of the most outstanding for methods of reconstruction. The Kreuz- us was the Berggruen Museum with its kirche had been completely burned out large collection of Picasso, Matisse, Klee, during the fi re bombing of February 13, Braque, and Giacometti. We highly rec- 1945. The church, which seats 3,200, was ommend it. rebuilt in a simple style and rededicated We were reluctant to end this memo- on February 13, 1955. The raw plaster rable trip with its concerts, organs, mu- walls, which were intended as a tempo- seums and serendipitous surprises. Q rary measure, were kept as a reminder of the night of terror when tens of thou- Jay Zoller is organist at South Parish Con- sands of Dresden people were killed. gregational Church in Augusta, Maine, where At the graves of Felix Mendelssohn and The great Jehmlich organ, which was de- he plays the church’s historic 1866 E. & G.G. Fanny Hensel (photo: Jay Zoller) Hook organ. He holds degrees from the Uni- stroyed, was replaced by a new Jehmlich versity of New Hampshire and the School of organ of 76 registers and four manuals Theology at Boston University. He is a retired and pedal. designer for the Andover Organ Company The restoration of the Frauenkirche and currently designs for the Organ Clearing was fi nished in 2005 and was complet- House. He resides in Newcastle, Maine, with Matthias Schmelmer at the Amalien ed in exquisite and loving detail. It is his wife Rachel. organ, Karlshorst (photo: Jay Zoller) an almost unbelievable place, with its Zoller, as a high school student in 1961, was marbleized and gold-leafed surfaces, fortunate to hear Heinz Wunderlich play at the Methuen Memorial Music Hall on Wun- exquisite colors, central altar of which derlich’s fi rst American tour. They began a 80% had been saved from the rubble, professional relationship in 1989, when Zoller and glorious organ. We were fortunate played in a masterclass that Wunderlich was that as we walked in, the new organ giving. Since then, Zoller has studied some built by Daniel Kern, with four manu- of the Wunderlich organ works with Profes- als and pedal and 67 registers, began sor Wunderlich and has performed many of to play. As the organist demonstrated his organ compositions in recital. In addition the instrument, we sat overwhelmed by to writing several articles about Wunderlich the sound and the beauty of the space for The American Organist, Choir and Or- gan, and THE DIAPASON, he has played in all- around us. (See Joel H. Kuznik, “Dres- Wunderlich recitals in Hamburg, Germany in den’s Frauenkirche: Once a Silbermann, 1999, 2004 and now again in 2009. His article, Now a Kern,” in The Diapason, Feb- “Heinz Wunderlich at 90,” appeared in the ruary 2006.) April 2009 issue of THE DIAPASON. 4A?RRCPCBJC?TCQDPMKMSP/MRC@MMI Hook console, Kirche zum Heiligen Kreuz, Berlin (photo: Jay Zoller) Daniel Kern organ in the Frauenkirche, Dresden (photo: Jörg Schöner) homes since it was built, but is now lo- cated in the Berlin Karlshorst. The organ is awaiting restoration in the fall, but is completely playable in its small church. It has two manuals and pedal with 25 stops. The sound is clear and bright, and the reeds, which were added in 1960, are compatible with the time period. A com- plete delight! Monday afternoon brought us to Schmelmer’s own church, with its rather unique, for Germany, E. & G. G. Hook organ. Much has been written about this 19th-century American transplant from Woburn, Massachusetts, and I won’t add The author at the E. & G. G. Hook organ, to that now. Suffi ce it to say that it has a e Kirche zum Heiligen Kreuz, Berlin wonderful new home in a very live build- SEPTEMBER, 2009 21 Sept 09 pp. 20-21.indd 21 8/12/09 12:06:04 PM Swedish impressions of Eastman’s EROI Festival 2008 Jerker Sjöqvist, translated by Fredrik Tobin The Swedish Organ Society (Sven- ska Orgelsällskapet) came to the United States October 16–22 to attend concert highlights of the Eastman-Rochester Organ Initiative, which focused on the new Craighead-Saunders Organ built by GOArt of Sweden. They then traveled to New York and Philadelphia for an addi- tional taste of American organbuilding. In March 1771, Adam Gottlob Caspa- rini (1715–1788) delivered a magnifi cent organ to the Polish Dominican Holy Hans Davidsson showing the recon- Ghost Church in Vilnius, Lithuania. The structed console in Rochester organ, the only surviving example of this productive Prussian organbuilder’s larg- learn from baroque performance prac- er instruments, has miraculously been tice in the old world, an impression also preserved intact in a world of war and reinforced during Friday’s gala concert. political confl ict. World War II and the A group of 18 traveling enthusiasts political situation during the Soviet era from the Swedish Organ Society (Sven- undoubtedly played a part in the organ’s ska Orgelsällskapet) were joined by an preservation from major renovations equally large group from the Friends of during the 20th century. the Organ Art (an association with a spe- In 1992, Swedish organist Göran cial connection to GOArt), who together Grahn (well-known organ consultant and Hans Davidsson and Harald Vogel in front of the façade with other visiting Swedes created a no- Secretary of the International Society of ticeable Swedish presence. Everyone Organbuilders, ISO) made this major thoroughly enjoyed the newly built re- discovery during one of his many jour- construction of what may be the largest neys in the Baltic countries. He came well-preserved instrument in northern into contact with a local organ expert, Europe. It was a wonder to behold and Rimantas Gucas, who had been taking during the many recitals provided an un- care of the organ, which by that point forgettably splendid aural experience. was a more or less unusable treasure. Money was in short supply, and there The Craighead-Saunders Organ were many bureaucratic obstacles that Christ Church Episcopal, Rochester, NY slowed the progress of the restoration Modeled after the 1776 Adam Gottlob Casparini Organ, Holy Ghost Church, project. After being tipped off about the Vilnius, Lithuania instrument, Göteborg Organ Art Center (GOArt), Sweden, became involved and Claviatura Prima made a deal with the Lithuanian Depart- Principal á 8 ment of Culture in 1999 to document Porduna á 16 the organ. This technical documentation Hohlfl aut á 8 during the next three years was done by Flaut Travers á 4 Niclas Fredriksson of the Swedish Na- Octava Principal á 4 Qvinta á 3 tional Heritage Board, in cooperation Super Octava á 2 with local scholars and organbuilders. Flasch Flöt á 2 3 The project thereafter ran on two dis- Tertia á 1 ⁄5 tinct tracks. One track was the restora- Mixtura á 5 Choris tion of the original organ by Lithuanian Trompet á 8 conservators, but to date they have only The console makes clear that this organ’s origin is from the Lithuanian region of restored the organ case, with the re- mines and smithies. Claviatura Secunda building of the bellows, windchests, and Principal á 4 Iula á 8 action to be done under the supervision Principal Amalel á 8 of Janis Kalnins. There is still insuffi cient Unda Maris á 8 money to restore the pipework, but many Flaut Major á 8 are hard at work to realize the goal of a Flaut Minor á 4 completely restored organ. Octava á 2 The second track is based on the new Wald Flöt á 2 documentation more recently done by Mixtura á 4 Choris a team of American organbuilders and Vox Humana á 8 the Eastman School of Music, whose Dulciana á 16 Hans Davidsson, professor of organ, was Pedall a driving force behind this project. The Principal Bass á 16 school runs an ambitious program called Violon Bass á 6 the Eastman-Rochester Organ Initiative Octava Bass á 8 (EROI), which with GOArt has built a Flaut & Quint Bass á 4 full-scale reconstruction of the Caspa- Posaun Bass á 16 rini organ, in Christ Church (Episcopal), Trompet Bass á 8 Rochester. The reconstruction includes Accessories ′ a second tremulant, and a Dulcian 16 Tremulant has been added to the second manual. Pedal to Manual Coupler The instrument was also equipped with Gwiazdy (Cymbelstern) a pedal coupler, and the upper range in Vox Campanorum (Glockenspiel) both manuals and pedal has been extend- Bebny (drum stop) ed with two keys. The glockenspiel and Calcant zimbelstern were made by Whitechapel Swedish visitors together with Hans Davidsson at the console Bell Foundry in England, and the origi- Born in 1940, Jerker Sjöqvist is a former nal wood carvings were documented and reproduced by the American fi rm New ments, 33 stops). William Porter show- teacher, organist and choirmaster, cello and Energy Works, also responsible for the cased a wide variety of registrations and recorder player. He visited the UK for the fi rst time in 1977, and started his own Evensong reconstructed balcony. ended with Bach’s Allein Gott in der Höh group, which appeared some 200 times in The Diapason On Thursday, October 16, 2008, (BWV 662). David Higgs played an im- Sweden, Italy, Austria, Germany, and the UK. EROI began with the inauguration of pressive performance of Mendelssohn’s He brought about 300 Swedish choirmasters 2010 Resource Directory the Craighead-Saunders organ. The Sonata in F Minor, op. 65, no. 1. Hans to Cambridge in the 1980s for choir training, event featured music and speeches from Davidsson presented a fresh and brilliant and arranged tours in Sweden and Norway The only comprehensive directory many people, including the president of rendition of Bach’s Toccata, Adagio and for St. John’s College Choir, Cambridge. He and buyer’s guide for the organ the University of Rochester, the Lithu- Fugue in C Major (BWV 564), accompa- has written reviews on organ and choral mu- and church music fi elds anian ambassador, and the director of nied with dancing by the Rochester City sic, and has arranged tours across Europe, GOArt, Johan Norrback. Harald Vogel, Ballet in the choir. including three organ tours with American who served as the offi cial inspector, The inaugural concert concluded with organist Matthew Provost to Ostfriesland Advertising deadline: played Bach’s Prelude in C Major (BWV the sinfonia and chorus from Bach’s can- and Bach organs in Sachsen (Germany) and November 2, 2009 Alsace, a Dutch organ tour with Jacques van 545) with his usual authority and a sub- tata Wir danken dir, Gott (BWV 29), Oortmerssen, a 2007 tour to Paris, and last fall lime plenum. which was performed with a beautiful a USA tour in cooperation with the late Joel Contact editor Jerome Butera The three organ professors of Eastman blend of organ, voices and orchestra. Kuznik. He was a member of the board and 847/391-1045 also reinforced the organ’s aural success in The impression was, however, that the treasurer of the Swedish Union of Organists 22 THE DIAPASON Sept 09 pp. 22-25 .indd 22 8/12/09 12:06:50 PM Farrand & Votey Organ Installed in Ransdell Chapel Wesley Roberts century-old slice of music history Choir and one in the Great. Additions in Aarrived on the campus of Camp- the Choir included a new Rohrfl ute 8′ bellsville University in central Kentucky (replacing the Concert Flute 8′), Spitz in early 2007, when a Farrand & Votey Principal 4′ (replacing the Rohrfl ute 4′), 2 organ was moved from Nashville, Ten- Nazard 2 ⁄3′ (replacing the Flute Celeste nessee, to the George W. and Marie T. 8′), Blockfl ute 2′ (replacing the Harmon- Ransdell Chapel. The organ was built ic Piccolo 2′), Cymbal III (replacing the in 1894 for Christ Church in downtown Geigen Principal 8′), and Krummhorn Nashville, as a modest instrument of 8′ (replacing the Clarinet 8′). A new approximately fi fteen ranks.1 Over the Gedeckt 8′ (replacing the Doppel Flute course of many years, it has been re- 8′) was placed in the Great. The total built and enlarged to its present size of cost for these additions was $6,730. 51 ranks and 3,014 pipes. That Camp- The maintenance and care of the organ bellsville University could acquire such was entrusted to Dennis Milnar in 1968 a treasure was in itself a miracle, consid- and has remained with him and the Mil- ering few universities nowadays are in a nar Organ Company to the present day.10 fi nancial position to afford an organ of A newcomer to Nashville from upstate this size. But the miracle of a pipe organ New York, Milnar soon established his is that it can be rebuilt and enlarged for own company and developed a business much less expense than the purchase of a that has serviced organs throughout Ten- new instrument. Such would be the story nessee and in surrounding states. Under 3 of Farrand & Votey’s pioneering instru- Milnar’s guidance, a new Tierce 1 ⁄5′ was ment from the 1890s. added to the Choir in 1974. Additional work was done on the organ throughout The organ’s origins the 1980s, including releathering the At the time Christ Church contracted console pneumatics in 1981, converting with Farrand & Votey for an organ in the Double Open Diapason to a 32′ Sub June 1894, the church was moving into a Bourdon in 1984, releathering the wind new sanctuary and desirous of a fi ne in- chests in 1987–88, and installing a Scharf strument for its new facility. William R. III, Trombone 32′, and other stops in Farrand (1854–1930) and Edwin Scott 1989. The expression machines were re- Votey (1856–1931) worked for Whitney leathered in 1991. Organ Company in Detroit, and when Whitney retired in 1887 the two joined Liturgical renewal—changes at to establish their own company. The Christ Church company was soon expanded through the While many of these changes were be- acquisitions of two small organ building ing made to the organ, discussion within fi rms, Granville Wood (1890) and Roos- Christ Church began to develop fol- evelt (1892). Always seeking new inno- lowing World War II on the placement vations, Farrand & Votey employed the of important items within the chancel. most modern construction techniques of Those concerned with liturgical renewal the time, using several recent develop- suggested the baptismal font, pulpit, and ments patented by Roosevelt and a few altar of the church be brought forward of their own. Their technique paid off from the back wall to the front of the handsomely, for they quickly reached chancel for closer contact with the con- national attention with important instal- gregation. Similarly, efforts to study the lations in key locations across the United Console and façade possibility of placing the organ in the bal- States. At the Columbian Exposition of cony began during the 1960s after Peter 1893 in Chicago, they exhibited two or- engine for wind pressure. He releathered Choir; and a Flute 8′, Octave 8′, and Su- Fyfe had been organist for several years, gans, including a four-manual instrument the organ, rebuilt much of the internal per Octave 4′ in the Pedal. In addition, but there was never a coordinated effort in Festival Hall. Undoubtedly, these ac- workings of the console, and moved the three ranks were revoiced: the Trumpet to any of these ideas until after 1980, complishments attracted the attention of latter across the chancel, as the original 8′ (Great), Oboe 8′, and Vox Humana 8′ when Rev. Tom Ward became rector. Christ Church, as it did others.2 plans detailed. The work took six months (Swell); and the Clarinet 8′ (Choir) was Ward enthusiastically supported changes Farrand & Votey’s new organ for Christ and was said to be thorough and com- given new bass. By the time work was in the liturgy laid out in the 1979 Book Church was a three-manual instrument of plete in church documents. fi nished in September 1940, the organ of Common Prayer, and it was through approximately fi fteen ranks. It was played In the years to follow, the organ served was said to have been enlarged to 2,438 his encouragement that church leaders for the fi rst time during the opening ser- as the principal musical vehicle for wor- pipes.6 Pilcher’s fee for these additions studied and retained a liturgical consul- vices for the new building on Sunday, ship services and concerts. Henkel and service was $7,298.7 tant to suggest changes. A new design December 16, 1894. The organist was ac- gave concerts on the new instrument to Further expansion of the organ began was approved in 1990, which called for companied by a quartette plus a “chorus demonstrate its capabilities. One such to be discussed after World War II, and a the altar table, with adjoining pulpit and choir” of three ladies and fourteen men. concert program, dated December 5, new console was installed by Möller Or- baptismal font, to be moved close to the The organ used the newly developed 1909, included J. S. Bach’s Toccata and gan Company in 1955. This console, the front of the chancel, and for an extension electro-pneumatic action, a revolution- Fugue in D Minor and Boëllmann’s Suite third for the organ, is still in use today. of the balcony to relocate the organ and ary technique for the time; called ventil, it Gothique, as well as lesser-known works Tonal improvements were made a few choir therein. The initial changes to the had a separate wind supply for each stop, by G. M. Dethier, Edwin Lemare, and years later in 1959. front of the chancel were completed in with individual valves for every pipe. Its Edward d’Evry. Henkel continued service at Christ 1992 with the installation of a new altar. keyboard was attached to the instrument, Church until his retirement in 1959. He Shortly thereafter, discussion turned as in tracker actions, although the origi- Additions and repairs had served a total of fi fty-three years as more decidedly toward moving the organ nal plans had called for it to be set across A set of chimes with twenty tubes was organist-choirmaster, and in honor of his and choir to the balcony, and plans began the chancel in a detached console. The presented for the organ by Jane Wash- ministry, the church dedicated the organ to be developed to reinforce the balcony organ was considered the best that could ington Ewing in memory of her husband to Henkel upon his retirement. He was and enlarge it for this purpose. As these be obtained for the time and was the only Felix Grundy Ewing in 1936. They were succeeded by Peter Fyfe, who served in plans developed, various organ consul- one of its kind in the southeastern United dedicated and heard for the fi rst time on the same capacity for the next thirty-fi ve tants agreed that the Farrand & Votey States. As might be imagined, the organ October 28, 1936.3 Later, a Schulmerich years, until 1994.8 During Fyfe’s years could not satisfactorily be reworked and quickly became a source of pride for the carillon was given by Louise Bransford of service, many fi ne musicians from reinstalled in the balcony. Consequently, church and city. McGavock in memory of her parents, around the country came to Nashville the decision was made to purchase a new The new instrument drew its elec- William Settle and Noda McGavock and played the organ in either church organ rather than move the existing in- trical power from a series of four large Bransford, in late 1944. With no place services or concerts, including Leo Sow- strument to the balcony. Renovation of batteries for key action, and obtained to install the gift, a front tower for the erby, John Scott, and Fred Swann, among the balcony for this purpose was com- wind pressure from a water pump. The church was constructed in 1947, and the others. An unusual event was the fi rst pleted in 2003, and an impressive 60- batteries were expensive to maintain carillon was installed therein.4 performance of a Mass for Moog synthe- rank Lively-Fulcher organ was installed. and proved to be unreliable. Little to no By 1940, Henkel had noted to the sizer and organ given in Christ Church The new organ was played for the fi rst maintenance seems to have taken place church that the relays between the by Nashvillian Dr. Gregory Woolf in the time on June 1, 2003, by church organ- during the fi rst dozen years. During this console and the organ had deteriorated early 1970s.9 ist Michael Velting.11 With these changes period, there were no fewer than seven to the point that repairs were needed.5 In 1967, Fyfe and Christ Church complete, the church no longer needed different organists. In 1906, Arthur Hen- Pilcher Organ Company from Louisville, turned to A. W. Brandt and Company its Farrand & Votey organ and placed it kel was hired as organist/choirmaster, Kentucky, was engaged the same year to of Columbus, Ohio, for extensive work, up for sale. and entrusted to care for the instrument. install a new console (with relays built releathering much of the instrument and A committee was formed and before the inside) and seven new ranks. Company repairing pneumatics and pipe boards. An organ for Ransdell Chapel end of the year, Orla D. Allen, a builder records show that by the time work was An extensive contract detailing the op- About the same time, the initial stages who had been with Farrand & Votey, was complete, Pilcher had added nine new eration was signed in September for the of designing the new Ransdell Chapel contracted to restore the instrument. ranks. These consisted of a Gemshorn sum of $16,535. The Choir organ was for Campbellsville University were be- Allen installed a new electrical Holtzer 8′ on the Great; Vox Celeste 8′, Aeoline expanded in a second agreement with ginning. Upon learning of the availability Cabot rotary transformer, or motor-gen- 8′, and Trompette 8′ on the Swell; Flute Brandt two months later, which called of the Farrand & Votey organ in Octo- erator, for key action and a Ross hydraulic Celeste 8′ and Unda Maris 8′ on the for the installation of six new stops in the ber 2003, University Organist Nevalyn SEPTEMBER, 2009 23 Sept 09 pp. 22-25 .indd 23 8/12/09 12:07:08 PM The Trumpet en Chamade has copper resonators, with a fairly large scale creating a round, full sound. Christ Church Cathedral Swell to Great Unison Specifi cations of the original Farrand & Swell to Great Super Octaves Votey organ13 Great Octaves Choir to Great Sub Octaves GREAT Choir to Great Unison With speaking façade pipes, the organ room behind is 56 feet wide. 16′ Double Open Diapason* Swell to Choir 8′ Open Diapason Swell Octaves Moore and Wesley Roberts approached in February 2007, in a series of six weekly 8′ Viola de Gamba University President Michael Carter trips from their shop in Eagleville, Ten- 8′ Doppel Floete 4′ Octave Ransdell Chapel and received permission to investigate nessee. The initial delivery on February 2 2⁄3′ Octave Quint Farrand & Votey organ the possibility of acquiring the instru- 20 brought many of the largest parts of 2′ Super Octave Redesigned and rebuilt by Milnar ment for the new chapel. As they vis- the organ, including the huge wooden Mixture III* Organ Company, 2007 ited the church and played the organ, Sub Bourdon pipes and wind chests. 4′ Trumpet they realized that the organ would serve Students and faculty joined the Milnar GREAT well as both a service organ to support crew in unloading its precious cargo SWELL 16′ Quintaton the university’s chapel services, and a from week to week as pipes and equip- 16′ Bourdon 8′ Open Diapason 12 8′ Open Diapason 8′ Gedeckt concert organ to support the academic ment arrived. The Central Kentucky ′ ′ program. Upon Moore’s and Roberts’ News Journal featured a front-page story 8Salicional 8 Gemshorn 8′ Stopped Diapason 4′ Octave recommendation, with the assistance of on the organ in its April 5, 2007 issue. 8′ Gemshorn 4′ Koppel Flute Dennis Milnar, the organ was purchased The installation was completed in 2 4′ Flute Harmonique 2⁄3′ Twelfth for $30,000. The university then engaged time for the dedication of Ransdell Cha- Cornet (?) ranks 2′ Fifteenth Milnar Organ Company to convert the pel on April 18, 2007. University Organ- 8′ Oboe V Fourniture console and relays to solid-state technol- ist Nevalyn Moore was at the console for 8′ Vox Humana* 8′ Trumpet ogy, rebuild, redesign, move, and install the momentous occasion. Later in the Tremolo III Scharf the instrument in Ransdell Chapel. summer, the Trumpet en Chamade ar- *To be added later 8′ Trumpet en Chamade The purchase of the organ at the early rived and was installed in the rear of the Unison Off CHOIR Great 16 stages of design for Ransdell Chapel chapel for antiphonal effect. The chapel 8′ Geigen Principal Great 4 enabled architects to provide adequate was also equipped with a Bechstein con- 8′ Dolce Chimes space and facilities to house the instru- cert grand piano built in 2002, and a new 8′ Concert Floete MIDI to Great ment. Groundbreaking for the chapel Yamaha upright piano in an adjoining 4′ Rohr Floete was on October 25, 2005. Two addi- class/rehearsal room. Both instruments 2′ Piccolo Harmonique SWELL tional stops were offered as gifts to the were gifts from friends of the university. 8′ Clarinet 8′ Open Diapason 8′ Stopped Diapason university for the organ. James and The organ was formally dedicated in a ′ Nevalyn Moore, Campbellsville Uni- recital by Nevalyn Moore on September PEDAL 8 Salicional 16′ Open Diapason 8′ Aeoline versity School of Music faculty, gave a 4, 2007. On the program were selections 16′ Bourdon 8′ Vox Celeste Zimbelstern, and Maynard and Jewel by Albert Travis, Johann Sebastian Bach, 8′ Violoncello 4′ Flute Harmonic Faye Roberts of Ocala, Florida, gave a Gordon Young, James Moore, Jean Lan- 4′ Gemshorn Trumpet en Chamade. glais, and Charles-Marie Widor. The Couplers 2′ Principal Excitement grew over the next year organ has since come to be admired in Great to Pedal III Plein Jeu and a half as Ransdell Chapel was being its new setting for its visual and musical Swell to Pedal II Sesquialtera Choir to Pedal 16′ Contra Fagotto built. As construction neared comple- beauty, and treasured for its capabilities ′ tion, Milnar began delivery of the organ and rich heritage. Q Swell to Great Sub Octaves 8 Trompette 8′ Oboe 4′ Clarion 8′ Trumpet en Chamade (Gt) Tremolo Lecture highlights: Unison Off Swell 16 The art of relocating pipe organs Swell 4 MIDI to Swell When funding isn’t available for a new organ, a well- planned organ relocation can be an attractive option CHOIR 8′ Rohrfl ute 8′ Dolce Introduction to scaling 8′ Unda Maris 4′ Spitz Principal 2 Understanding the basics of pipe scaling 2⁄3′ Nazard 2′ Blockfl ute 3 1⁄5′ Tierce Kimball organ restorations AIO 2009 III Cymbel ′ Company history and a demonstration of the restored 8 Krummhorn 8′ Trumpet en Chamade (Gt) 1931 Kimball organ at First Congregational Church Columbus, Ohio Tremolo Unison Off Choir 16 Shop tours and demonstrations at the Choir 4 Peebles-Herzog and Muller shops American Institute of Organbuilders MIDI to Choir Annual Convention Moore Zimbelstern PEDAL Featured organs and artists: 32′ Sub Bourdon 16′ Principal Paul Thornock conducts the St. Joseph’s Cathedral October 11–14 16′ Quintaton ′ choir in a DuruÀé Requiem performance (new Paul 16 Bourdon Crowne Plaza Hotel – Columbus North 8′ Octave Fritts organ); Stephen Buzard concert at King Ave. 8′ Flute United Methodist Church (new Buzard organ); reno- 8′ Cello vated 1902 Schuelke organ; post-convention tour of 4′ Super Octave Non-member and single-day attendees welcome! ′ organs by Kegg, Klais, Ruɱatti, Rieger, and Bedient. 32 Trombone 16′ Trombone 8′ Trumpet 4′ Clarion Schedule and registration form available at www.pipeorgan.org MIDI to Pedal 24 THE DIAPASON Sept 09 pp. 22-25 .indd 24 8/12/09 12:07:23 PM The 3-manual console was rebuilt with a software-based organ control system. Façade above stage Couplers for supplying details on changes that took necessary to have the organ speak at sev- now has fi ve feet of unobstructed space Great to Pedal 8, 4 place within the sanctuary, as well as Michael eral levels. Fortunately, it was an inside to develop its full sound and bounce off a Swell to Pedal 8, 4 Velting, for additional information on the his- room, and the organ enjoyed good tun- solid wall. The listener can not only hear Choir to Pedal 8, 4 tory of the organ. ing stability. this powerful stop but also feel its rever- Swell to Great 16, 8, 4 12. The entire Milnar team assisted in the The new home in Ransdell Chapel berating tone. This is also true for the 32′ Choir to Great 16, 8, 4 initial delivery. They were: Dennis Milnar, ′ Swell to Choir 16, 8, 4 Derek Milnar, Todd Milnar, Jeff Milnar, Greg gave us an area that is 58 feet wide and Trombone and the 16 Principal, which Great/Choir Transfer Milnar, Tim Murphy, Kevin McGrath, and 18 feet deep, with 26 feet of height. This were in the back of the old chamber be- Chris Brent. area has complete temperature and hu- hind the Swell box. Pistons 13. Of the original ranks, the following are midity control. The outside walls of the The organ now speaks with greater Generals: Thumb 1–6 & Toe 1–9 still in use in the organ: Open Diapason 8′, organ area consist of eight-inch thick clarity and the volume has increased by ′ 2 ′ Swell: Thumb 1–6 Octave 4 , Octave Quint (Twelfth 2 ⁄3 ), Super block, ridge insulation and a brick ex- at least 50 percent. To crown the organ, Great: Thumb 1–6 Octave (Fifteenth 2′), Mixture (Fourniture ′ ′ terior. The ceiling has two layers of 5/8- the parents of Professor Roberts do- Choir: Thumb 1–6 V), Salicional 8 , Stopped Diapason 8 , Gems- inch drywall and the concrete slab fl oor nated funds to add a beautifully made Pedal: Thumb 1–6 & Toe 1–6 horn 4′, Flute Harmonique 4′, Cornet (Ses- Swell to Pedal: Thumb & Toe quialtera II), Oboe 8′, Dolce 8′, Bourdon 16′, is about 12 feet above and behind the (A. R. Schopp’s Sons) Trumpet en Great to Pedal: Thumb & Toe and Violoncello 8′. stage. The sound projection is fantastic. Chamade. We mounted this on the rear Choir to Pedal: Thumb & Toe The architect provided us with new wall at the height of the main organ. The SFZ: Thumb & Toe Wesley Roberts is Professor of Music at Swell and Choir chambers. These virtu- large-scaled, fl ared copper reed has a Combination Adj.: Thumb Campbellsville University, where he teaches ally soundproof enclosures have six-inch warm strong sound that truly crowns the Cancel: Thumb piano, organ, and musicology, and has been thick insulated walls, with two layers of instrument without taking away from the a member of the faculty since 1982. He has 5/8-inch thick drywall on the inside with grandeur of the main organ. Expression presented concerts as pianist and organist another layer outside. The doors are To hear and see this instrument today Swell throughout the United States, in Europe and Choir in Asia, including premieres of works by the made of insulated steel, providing a most with its software-based organ control Dutch composers Hans Osieck, Johan van effective crescendo of sound. system (Peterson ICS-4000) and think Compass Kempen, and Kees Weggelaar, and the Ameri- Pipes that were once placed deep in the back to its beginning with a water pump 61-note manual can composers Tom Johnson and James W. chamber were placed in an unobstructed for air pressure and batteries to operate 32-note pedal Moore. He is the author of articles and reviews position. The 32′ Bourdon spoke under the magnets, speaks volumes about the in British, Dutch, and American journals, and the Choir and Great windchests and reigning king of instruments. Memory System co-author with Maurice Hinson of The Piano about 18 inches from a large bellows; it —Dennis Milnar Peterson ICS-4000 in Chamber Ensemble, 2nd Edition, pub- lished in 2006. Dr. Roberts has served as a vis- iting professor at the French Piano Institute Notes in Paris and at Shanghai Normal University, This article fi rst appeared in The Camp- and is currently organist at Calvin Presbyte- bellsville Review, Vol. 3, 2005–2007, and is rian Church in Louisville. The OHS Catalog reprinted by permission of its editor. 1. In 1998, the church was consecrated SHEET MUSIC ¡ BOOKS ¡ RECORDINGS a cathedral and its name changed to Christ From the builder Church Cathedral. 2. Including St. Martin of Tours Catholic When Christ Episcopal Church in Church in Louisville, Kentucky, which also Nashville, Tennessee, asked us to market Organ-isms purchased an organ from the fi rm in 1894. their Farrand & Votey organ for them, Anecdotes from the World of Farrand & Votey’s business was dissolved in we took the project to heart. The organ 1898, and Votey Organ Company was estab- had been under our care for almost 40 the King of Instruments lished. No sooner was the new company es- years, and this project became personal. tablished than it was purchased by Aeolian I thought we had a possible new by Jenny Setchell Organ Company. The changes were without home for it in Nashville, but that did not doubt prompted by Votey’s success as the in- Dozens of tales of the foibles ventor of the pianola in 1895, and his desire to materialize. Professor Wesley Roberts, explore its commercial possibilities. For more of Campbellsville University in Ken- and mishaps befalling the (sup- details on these developments, see tucky, read an advertisement of ours SEPTEMBER, 2009 25 Sept 09 pp. 22-25 .indd 25 8/12/09 12:07:43 PM Those Green Pastures Oswald G. Ragatz Introduction ton, Indiana to live near family members For more than forty years, Oswald in the Minneapolis area. Before the move, Gleason Ragatz served as chairman of the I enjoyed the chance to visit with Dr. Ra- organ department of the Jacobs School of gatz in his home in Bloomington. Full of Music at Indiana University. Witnessing stories and anecdotes, as always, he re- many changes through those years at In- counted concert escapades throughout diana University, Dr. Ragatz has also seen his forty years of concertizing across the many changes in the world of concert or- United States. What a joy it was to listen ganists in the years since his retirement as Dr. Ragatz relived these performances. from IU in 1983. The humorous tales of “Those Green Pas- When Dr. Ragatz retired in 1983, the tures” provide a candid review of his life organ department at Indiana University in the “not-so-fast” lane as a concert or- had a notable historic concert organ in ganist from the 1940s to the 1980s. the IU Auditorium, two respectable stu- —David K. Lamb dio organs, and eleven pipe organs in practice rooms for student use. Ragatz Glamour built the department to a level where it Just look at the typical shelves in your Oswald Ragatz with former students: David Lamb and Aline Otten could take its place along with the other drugstore or grocery and take note of the large university organ departments in the proliferation of magazines dealing with fi ed by communicating with people, from she had spent two days in a boring hotel United States. Currently, the organ de- the lives of our contemporary stars— a stage, with brush and canvas, with the while I practiced on the unfamiliar in- partment of the Jacobs School of Music Hollywood, TV, the Broadway stage, pro- pen (well, word processor), or with a mu- strument, we were at the recital, decked at Indiana University is one of the largest fessional sports, or almost any wanna-be sical instrument. (Ah yes, or with a voice! out, she in formal gown, and I, of course, institutions offering degrees in organ in who reports some event in his or her re- Now there’s the quintessential egoistic in full dress tails. I played, then came the the United States. cent life, preferably titillating. On the way medium for expression!) Yes! Born with obligatory receiving line, and I heard an With approximately 400 living IU past the checkout counter, you may sur- that ego, the desire for glamour. effusive lady greeting my wife, “It must alumni organists, former students of reptiously pause to read the latest scan- Let me tell you about my need to cre- be wonderful to be married to a man like Oswald Ragatz can be found all over dalous gossip in the tabloids. Let’s face ate glamour at an early age. (Remem- that!” I would have been fi lled with in- the United States and in several for- it, we are all to some degree or another ber, I am using the word glamour in the fl ated ego had I not looked at my wife’s eign countries, teaching and playing in voyeurs. So what is this all about? Well, broad sense.) At age fi ve, near death face at that moment, which exhibited churches and universities. Established it is our fascination with glamour, using with a very serious illness, I made my- boredom and actual distaste. Mary was by the Indiana University Alumni As- the word in the broad sense of something self totter out of bed and into the living herself a fi ne organist, and she well knew sociation, the Indiana Organists United being unusual, enticing, or provocative. room to play my little Christmas piece on the work that had enabled that “wonder- is an alumni club for graduates of the Often the subjects in these articles are in the piano for relatives who had brought ful man” to play that recital, and that he IU Organ Department. The IOU has some way or another in The Arts, and as Christmas gifts. Three years later I went had forgotten to put out the trash before established the Oswald G. Ragatz Dis- such are clad in an aura of glamour. But to some lengths to convince my third we left home two nights before, and that tinguished Alumni Award that has been just how real is this glamour? grade teacher that I could indeed play she could have played the program just presented at the biennial reunion of the I have spent a lifetime associated with something on the piano for a grade- as well if indeed not better. So much for Indiana Organists United. Organ alumni and competing with world-renowned school assembly. After a few years had adoring adulation! And it was shortly who have received the OGRDAA honor performers in the musical world, all the passed, I had become somewhat aware after that that I was gently informed by are William Entriken and Herndon Spill- while hoping to convince “them,” and of what went on out there in the world of said wife that unless it was to some really man in 2006, and Peter Richard Conte myself, that an organist can indeed legiti- the performing arts, and I would imagine neat place, where there was scenery, or and Jesse Eschbach in 2008. mately fl ourish in the area of the arts. But that I was already there. After practicing friends, or shopping to take up the tedi- In October 2008, at the age of 91, how did we get this way? First, one has to a piece on the piano, I’d slide off the um during her husband’s eight to twelve “Ozzie” made the move from Blooming- be born with an ego that can only be satis- bench and bow graciously to the imagi- hours of fi nal preparation practice, I nary audience as they acknowledged my could expect to make the trip alone. I efforts with thunderous applause. By the was surprised but not offended or hurt. The Cathedral of Christ the Light time I’d fi nished high school and was off I fully understood the reasoning. Many to college, a few of these fantasies had of the recitals in those days were not in O A K L A N D, C A L I F O R N I A indeed materialized into some reality, the glamour spots of the country, and though hardly to thunderous applause. anyway, I could now give my full atten- We are pleased to announce I was rapidly convincing myself that in- tion to the matter at hand, i.e., preparing the completion of the first deed I was becoming an important part for a creditable performance, if my wife phase of our organ project of the world of the arts, musical arts. were not along. with the Cathedral of Christ These green pastures on the other side With wry humor I often think of an the Light in time for the of the fence, in spite of demanding and episode that occurred early during our critical teachers, were looking greener years in Bloomington. The world-famous Mass of Dedication held on and greener. And so it came to pass that organist from Paris, Marcel Dupré, was September 25, 2008. The I actually had a job teaching in a uni- to play a concert on the organ in the IU remainder of the instrument versity and playing recitals (I didn’t call auditorium. The organ was in a miser- will be constructed in our them concerts yet, a matter of semantics) able state of disrepair. Dupré, accom- workshops over the and was making a living doing what I had panied by devoted wife, arrived by train dreamed of doing ever since at age three from Chicago, exhausted from a three- coming six months and when I banged on that toy piano in the month tour in the U.S. Mary and I took will be installed during play room. our guests to the auditorium to see the the late summer of But the imagined glamour now often organ. After fi fteen or more minutes on 2009. The completed seemed illusive. There were a number the organ bench, Dupré said in French instrument will feature of peripheral courses I had to teach, not to his wife, “I will not play. We go back to a few untalented and disinterested stu- Chicago!” To which Madame, assuming four manuals, 75 dents to coach, students who didn’t have that we yokels in the heartland of Amer- independent stops that necessary over-developed ego that ica wouldn’t understand French, replied (excluding borrows), 90 had to perform. And the instruments fi rmly, “PAPA, remember the check!” So ranks and 5,335 pipes. on which I was asked to play (for pay) much for the glamour of the grand tour, The design of the organ’s were often appalling monstrosities of even for the great and famous. unbelievable inadequacy. But there was This doesn’t mean that all concertizing twin façades was developed in collaboration with that applause after one had survived the is best to be forgotten. Au contraire, al- the Cathedral’s architect, Craig Hartman of torture of some miserable organ in Saint though I have spent many a dark night in Skidmore, Owings & Merrill, and will suggest a Something’s in South Somewhere, Kan- a hotel room hashing over my stupidity natural forest with numerous wooden pipes. sas. For a moment, as I had done when for having made such and such a mistake We are honoured to have been selected by the Cathedral of Christ the Light’s as a teenager I slid off the piano bench during a performance. André Watts, one in our living room, I could slide off the of the foremost American pianists, a cou- Organ Committee to design and build this significant new pipe organ for organ bench and experience that ego ple of years ago had a complete memory Oakland’s resonant new Cathedral. For more information, visit our website at satisfaction and could imagine that here slip during a performance of a Brahms the address below or the Cathedral’s website at www.ctlcathedral.org. indeed there was glamour. concerto with the IU Philharmonic. The orchestra had to stop, and Mr. Watts The downside of glamour went to the conductor’s podium to look ORGUES LÉTOURNEAU LIMITÉE It took experience and time to achieve at the score before the concert could some objectivity in all this. The ador- resume. He was so humiliated that he United States Canada ing wife of one of my teachers once didn’t even show up at the party/recep- 1220 L Street NW 16355 avenue Savoie remarked that they never took vacation tion given for him afterwards. Now let’s Suite 100 – No. 200 Saint-Hyacinthe, Québec trips because sooner or later they knew hear it for glamour, and for ego satisfac- Washington, DC J2T 3N1 they would be invited (paid) to play a tion! I once heard the late great tenor of 20005-4018 Tel: (450) 774-2698 concert at such and such a place. I as- the Metropolitan Opera, Lawrence Tib- Tel: (800) 625-PIPE Fax: (450) 774-3008 sumed that that was what life would be bett, during a concert in Denver Civic Fax: (202) 737-1818 [email protected] in that future real world. It was shortly Auditorium, crack badly on a high note. [email protected] www.letourneauorgans.com after my marriage that I took my wife After fi nishing the aria, he instructed the with me to a recital somewhere. After accompanist to play it again, he got to the 26 THE DIAPASON Sept 09 pp. 26-29 .indd 26 8/12/09 12:08:29 PM completely inoperable. Although it was mance. I was to play in the auditorium at a formidable program, being played for the University of Minnesota. For some an important convention, I had to make reason that I have forgotten, it was not all stop changes manually, grabbing stop possible to get to the organ the night be- knobs right and left as best I could, or fore I was to play. I think my train was just using the crescendo pedal. delayed by one of those Minnesota bliz- Playing the dedicatory recital on a new zards. (Remember trains?) But I was to organ in a church up the river above Mil- have all day in the hall before I was to waukee, the combination action on one play in the evening. Ah, but when I ar- or two of the manuals ceased to work a rived in the morning, lo and behold the couple of hours before recital time. I Minneapolis Symphony was rehearsing knew the workings of this particular make on the stage, and when the orchestra fi - of organ, and I was still tinkering with nally cleared out about noon, the stage the innards of the console when the au- crew roared in to remove chairs, etc., dience began to arrive. Ciphers are en- setting the stage up for the evening con- demic. This is very likely to happen with cert. I went into a formidable program a new instrument, since there are bits of that night with about two hours practice sawdust still in the reservoirs. Suddenly on a big organ. Needless to say, I did not in the middle of some piece one is play- play well, and I did not get a good review ing, a pipe will start to sound and can’t in the paper the next morning. People be shut off from the console. Depending arranging organ recitals just don’t get it! on the type of action, this may be taken care of by a torturous trip inside the organ And the vagaries of weather . . . proper—locating the sounding pipe, one But organ mechanics and bad tuning removes the mechanism that operates the were not the only enemies in one’s ca- Indiana University Oswald G. Ragatz Distinguished Alumni Award 2006 (l to r): pallet, blows out the offending moth, and reer. There is the weather. I was doing Marilyn Keiser, Bill Entriken, Oswald Ragatz, Herndon Spillman, & Larry Smith returns to continue the program. Or may- my fi rst nationally noted concert at the be one just pulls the pipe out of the pipe December meeting of the Deans and same high note, and he cracked again. As church in South Bend and a good three- rack, and that pitch on that stop is dead. Regents of the American Guild of Or- I said, let’s hear it for glamour. I’ll bet manual organ. But the gremlins were at Now that is not fun, especially when it is ganists, held that year in New York City. he had a few shots of good French wine work. Halfway through the program, the in the middle of the performance. Mary was going to go with me, since it back at the hotel that night. organ suddenly ceased to function, no was in New York, so we unwisely drove. sound, no mechanics, nothing. The lights . . . Or not We had barely left Bloomington when a Oswald Ragatz, organ technician were still on in the church, and I could So far I’ve recalled situations when I blizzard set in. It followed us all the way I doubt that, other than vocalists, any hear the blower motor growling away was able to control the problems one way to New York, laying 29 inches on the other performers in the musical world somewhere in the basement, so it was or another. But how about that church city by the time we got there. We were have to put up with as many variables not an outside power failure. My instinct in Greenwood, South Carolina? During staying at the Biltmore and managed to and hazards as does a concertizing or- told me it could be only one thing—the my practice that afternoon before the fi nd a garage for the car in the vicinity. ganist. In the fi rst place, there are tre- generator that provides low-voltage cur- recital, a trumpet pipe went way out of But the city was shut down—no cabs, no mendous differences in the instruments rent for the mechanical portion of the tune. Normally one out-of-tune pipe is cars, nothing. I supposed the subways one is expected to perform on. Organs instrument must not be functioning. no big deal. This was a big deal, however, were running, but they wouldn’t take vary from modest two-manual instru- This promised to be more than a simple because the program was to open with me to where I had to go, namely up- ments to huge instruments of four or fi ve screwdriver fi x. But I was cool. “We’ll Trumpet Voluntary by Henry Purcell, per Fifth Avenue to Temple Emanu-el, manuals. There is no standardization of have to take a brief intermission while and that particular pipe was sounded probably the most important synagogue console arrangements, how the stops are I check out the generator, and if I can’t often in the course of the work. I could in the city. I trudged on foot up Park Av- arranged, what mechanical aids are avail- fi x it, we will reconvene in the chapel tune it in a matter of minutes if I could enue and over to Fifth Avenue for two able, confi guration of console vis-à-vis down the corridor where there is smaller get into the organ chamber. But the door or three days to practice on the splendid, the bench, fl at or concave pedalboard, chapel organ.” A hasty trip to the blower was locked, and the custodian wouldn’t very large organ. After all that, there was even the range of the keyboards—61 room in the basement revealed that the open it for me. After loud protestations, a sparse attendance at the conclave. Usu- keys on most American instruments and belt from the blower motor to the low- I convinced him that he should call the ally the Guild offi cers come from all over 32 pedals to only 56 keys and 30 pedals voltage generator had indeed broken, Chairman of the Board of the church to the country to these biennial meetings, on many European organs. The voic- and no amount of tinkering on my part get permission to let me into the cham- but not that year to a city shut down by ing of the stops varies greatly from one would repair it. So it’s back up to the ber. But do you know what? The chair- the worst snowstorm in years. But I did builder to another. Even more important chapel, the audience (audiences at organ man declared that they didn’t let anyone get a number of good dates for the next is the basic tonal concept used by the recitals are seldom very large!) and solo- into the organ chamber but the service season because of the exposure. builder—early 20th-century Romantic, ist settle themselves, and I play my last representative, and of course he was In all fairness I should point out that French or German neo-Baroque, Amer- piece, a big French toccata as I remem- in Columbia. I’d been hired to come the city with its myriad Christmas lights ican “eclectic,” and whether electric or ber, on a seven-rank, two-manual organ. from Indiana to play this program, but I sparkling in the snow was spectacular, mechanical action. Is the organ in good I hoped my listeners were impressed; I couldn’t be trusted to make a simple tun- but that wasn’t quite the point of this sa- repair and tuning, or will the performer was just bored by the episode. ing adjustment to their precious organ! fari. A few years later I was again invited have to risk life and limb to climb around Over the years there were other me- I was furious, but anyway I played the to perform for the same big meeting, in the pipe chambers to spot tune, fi x a chanical problems—some small, some Trumpet Tune, squawking pipe and all. this time in Chicago. And I would play in cipher, or what not? Glamour? Survival very vexing. I was playing one of the Rockefeller Chapel on the campus of the is a more realistic term. A few examples featured recitals for a regional conven- The struggle for practice time University of Chicago. But would you of some of this will follow. tion of the American Guild of Organists Then there is the matter of practice believe that 23 inches of snow awaited us Early in my days of playing for a fee in Knoxville, Tennessee, on a fairly large time. As I mentioned earlier, the player in Chicago this time, with similar results (a very low fee), the embryonic man- instrument (but not a new organ by any must have at least eight hours with the on the attendance!? Both times I played agement service of the School of Mu- means). The combination action was instrument if possible before a perfor- very well, but big deal! There was no sic booked me to play a program for an exclusive club group of some sort in a town in northern Indiana. I wasn’t playing music of much consequence, but I did have to prepare it on the or- gan to be used, a miserable, antiquated disaster. I kept having major mechani- cal problems with the key action, and eventually I obtained a screwdriver from the custodian and indeed thought I had fi xed the problem. Came the evening, the seventy-fi ve or more guests in full dress swished up from their banquet in the basement. I started to play; oops, my “fi x” of the afternoon hadn’t held. I slipped off the bench, plaintively asking if someone could fi nd me a screwdriver. Miraculously a screwdriver was located, while the audience sat in embarrassed silence. (I should have made small talk or told jokes or something, but I didn’t have that much aplomb at that point in my life.) Having fi gured out the problem in the afternoon, I was able to quickly open the console case, poke around in- side at whatever it was that needed to be poked, played a chord or two just to see if indeed I had fi xed the problem (which I had). At that point the bejeweled au- dience rose from their stunned silence, and I received a standing ovation. Well, it wasn’t just as I had dreamed it would be in my teenage musings, but we take what we can get, and I fi nished the pro- gram in glory. It was a few years later and the scene was a big, rather new Presbyterian SEPTEMBER, 2009 27 Sept 09 pp. 26-29 .indd 27 8/12/09 12:08:49 PM Dr. Oswald G. Ragatz at the console of the 4/86 Schantz in the I.U. Auditorium at the Dr. and Mrs. Oswald G. Ragatz. The late Mrs. Ragatz was the fi rst organ graduate time of his retirement from the I.U. School of Music in 1983 of the Indiana University School of Music. cheering throng to be bowled over by my with the money pinned inside my suit chorale preludes when a blatant die- donor, Mrs. Heinz, swept in. So I fi nally prowess. (But I did get a splendid review breast pocket, scared to death that I’d be sel horn announced the approach of a played my opening group, Mary played in the national journals.) robbed at the next corner. train, a freight train it was, and it must her group of Baroque pieces, on the By now I was no longer the “brilliant, have had a hundred cars. The organ was balcony organ, and we got through the And sartorial diffi culties young performer”—I’m quoting from a completely drowned out by the clatter of antiphonal Spanish numbers, although Matters of clothing can interfere with publicity brochure put out by my man- freight cars. There was nothing to do but the wiring was still not right. I had to re- one’s aplomb. In the middle of playing ager. I was now having to settle for be- stop and wait—and wait—and wait—un- member not to use the top manual of my the feature piece of a dedication concert ing a “well-known university professor,” til the train had passed. console because it would also play the of a big new organ in Dallas, the collar with a quote from the IU Press cover on I must add that I got one more chance balcony organ. I fi nished the program button of my dress shirt popped loose. my method book. One gets one’s jollies in Springfi eld. The last concert I played with a couple of big French numbers, And there was the time in Bloomington, wherever one can. after I had retired was in a fi ne large with, I thought, a burst of glory. when I had just settled myself on the church on an excellent big organ. I The audience stood in obeisance as bench after what I hoped had been a gra- . . . among others played the way an old pro should play af- Mrs. Heinz was ushered out, followed cious entrance on stage and was check- But the biggest hazard of all is human ter over forty years in the racket—excuse by the throng of admiring citizens. Mary ing stops, pedalboard etc., when I saw error, especially when compounded by me!, in the profession. A big round of ap- and I changed our shoes, the chapel that my trousers were unzipped. This unavoidable circumstances. Consider plause, much adulation at the reception emptied, we awaited someone to come necessitated my slithering back off stage Drury College in Springfi eld, Missouri. afterwards, etc. Ah, glamour! What a way greet us and take us to the reception that so that I could adjust my clothing—and The professor of organ at Drury was to conclude the concert career! But not was to be at the home of the University my aplomb. short, so the organ bench was cut low. I always. Consider the following tales. President. But no one came, and the And speaking of aplomb, there was have long legs and need a high bench. chapel was empty, and lights were being that time in Seoul, Korea. I was play- The bench was not adjustable, but no Life as a star dimmed. Fortunately, the band direc- ing the Copland concerto with the Ko- problem—I thought. I carry four inch- The University of Pittsburgh has a tor, whose offi ce was somewhere in the rean National Philharmonic. Just before thick, foot-long slabs of wood that could beautiful Gothic chapel on campus, bowels of the building, came through I was to go out on the stage, someone be put under the bench supports to raise given by the Heinz family. An impressive and rescued us. He drove us to the Pres- handed me a thick business-sized enve- it higher. Over the years I’ve done this organ, given by an elderly Mrs. Heinz, ident’s mansion. lope. With a quick glance I determined sort of thing dozens of times in similar was being installed in the chapel. The in- There was much hubbub from inside, that it was fi lled with American currency. situations. But this time I must have not strument consisted of two organs, a large and we were admitted by a liveried ser- Normally one is discreetly given a check been careful. In the middle of my big- three-manual instrument in the chancel vant who directed us to the cloakroom. either before or after a concert, or the gest number, having built up to a grand and a two-manual Baroque organ in the We wandered into the drawing room, no check is mailed to a manager. But not in climax, I allowed myself some theatri- balcony, which could be played sepa- one greeted us, a lot of people were in Korea! I’m in full dress, of course, and cal histrionics, throwing my shoulders rately by an organist at its own console, formal dress so our clothing didn’t make the breast pocket of the coat is small back vigorously. But too vigorously as it or from the big chancel organ—a com- us conspicuous. At the far end of the and at an angle. Should I leave several turned out! The bench slipped back just plicated wiring maneuver. My wife Mary room, Mrs. Heinz was grandly holding thousand dollars in cash on a chair back enough to cause the two boards to slip and I had been engaged to pay the auspi- court as she received congratulations on stage? Well, no. Should I carry the en- sideways. The bench tipped backwards cious dedication recital. her great gift to the university. Finally one velope with me as I make the grand en- precariously. I am still holding on to the We had resurrected some music by an of the men who had arranged for Mary trance and then lay it ostentatiously on big dramatic chord all the while trying to eighteenth-century Spanish composer and me to come saw us and wandered top of the console? Well, no. So the en- fi gure out how in the world I could reach actually composed for two organs. (Span- over, indicating that he thought one of velope is jammed into the small breast down and slip the boards back in place ish cathedrals often had dual organs, one the others had met us after the concert. pocket, I walk very stiffl y on stage, and while I’m still sitting on the bench, which on each side of the chancel.) Mary and Well, Mrs. Heinz stole that show. After take my bow with hand fi rmly pressed to of course was impossible. Nothing to do I went to Pittsburgh several days before a glass of punch, we indicated to one of my chest (over the bulging pocket). This but get off the bench without falling fl at, we were to play, which was fortunate be- our “hosts” that we were tired and want- operation, of course, had to be repeated readjust the boards, slide back on the cause the Möller organ company was still ed to go back to our hotel. I was furious. at the post-performance bow, which be- bench and go on, big dramatic moment working to get the complicated wiring I don’t really know what Mary felt. She cause I was in Korea I thought should of music shot to hell. worked out. Much of our planned prac- hadn’t wanted to do the concert in the be particularly low. I hoped that the In spite of this faux pas, I was invit- tice time was taken up with technicians’ fi rst place. I had cajoled. So as far as the audience fi gured that my hand over my ed to play again at Drury several years efforts to stop the music being played on Ragatzes were concerned, glamour did heart was expressing obeisance to Korea, later, and Drury got its revenge. The the balcony organ from also sounding on not reign in Pittsburgh that night! or to Copland, or to St. Cecilia. Why I main line of the Missouri Central rail- the chancel organ. But I can’t stop before relating one was paid in soiled American currency I road crosses through the Drury campus, The night fi nally came, the chapel was more horrendous event. This is the most will never know. Maybe it was scrounged going quite near the auditorium where packed with the musical and industrial unbelievable event of my whole forty- from the American military on the DMZ. I was playing. I had just begun to play elite of the city. I was ready to begin the fi ve year career as a concert organist. I spent the remaining time in Korea the fi rst of a group of several quiet Bach concert when an usher came rushing up And this time things turned out very well to the console to say that we had to wait indeed, but oh my, a lot transpired en because Mrs. Heinz hadn’t yet arrived. route to the forum—read on! So we waited, and waited, and after a The American Guild of Organists has half hour while the audience rustled im- a biennial convention in some major city The Diapason patiently, a great fl urry was heard and the in June. Being invited to be a recitalist at Visit Us Online: 2010 Resource Directory Organmaster Shoes www.organmastershoes.com The Right Shoe On The Pedals! Fast Service · Ship Worldwide • The only comprehensive directory of the organ and church Women’s Mary Jane x Whole & Half Sizes music fi elds Size 4-11, $50* x 3 Widths (N, M, W) Genuine Leather • Includes listings of associations, suppliers, and the products x and services they provide 3 • Printed in 5 ⁄4″ x 8″ format and mailed with the January 2010 issue of The Diapason Black Navy Men’s Classic Oxford White Bone Our Suede Leather Soles Deadline: November 2 Gold Silver help you feel what pedal Size 6.5-13, $58* your foot is touching! Size 14-16, $95* *plus postage To reserve advertising space, contact Jerome Butera Call To Order FREE catalog: (413) 773-0066, 9-5pm, Mon-Fri 847/391-1045; [email protected] 44 Montague City Rd., Greenfield, MA 01301 USA 28 THE DIAPASON Sept 09 pp. 26-29 .indd 28 8/12/09 12:09:06 PM tle vestibule. But there was another door So there followed the most important into the house proper, and of course, concert of my life, played in a big New another chain! This time I wasn’t able York church with every seat fi lled, and to maneuver the nail fi le; the mount was my most demanding and intimidating varnished in. So now what to do? It is former teacher somewhere in the midst, past one o’clock. along with most of the prominent organ- We left a note to the Bakers stuck un- ists of the country. der the door and walked several blocks And wonder of wonders, I played mar- to a thoroughfare, where we were fortu- velously. I’d been too involved with the nate enough to catch a cab back to the St. crises of the preceding 24 hours to get George Hotel. Looking very fatigued and stage fright. I even got a big round of ap- not a little disheveled, and with no lug- plause after one piece, the only applause gage, we checked in. The skeptical desk of the whole convention. (People, even clerk insisted that we pay in advance. All organists, didn’t applaud in a church in but one of our traveler’s checks were back those days.) Was it worth the struggle at the Bakers’, but my one check would and tension? Glamour was slowly ar- cover. I signed it and handed it to the riving, but we had made it just in time, clerk, who refused to accept it because so, yes, it was worth it; my career was in my fatigue I had penned in the wrong launched. (Not an especially high tra- date. So now it was scrounge through jectory, but a trajectory followed for the pockets and Mary’s purse to scrape up next forty years or so.) enough change to get us a small, very hot This exposé has been a very distorted room with a small electric fan mounted report of my life in the not-so-fast lane. Indiana University Oswald G. Ragatz Distinguished Alumni Award 2008 (l to r) up in the corner. We assumed that it These crises are from a handful of several fi rst row: Peter Richard Conte, Oswald Ragatz, & Jesse Eschbach; second row: was a room reserved for the “hot pillow hundred performances, some ordinary, a Christopher Young, Marilyn Keiser, & Larry Smith trade.” No toothbrush, no sleepwear, ex- few possibly notable. And I fi nally discov- hausted and full of anxiety, we fell into ered that there was a lot more to life than one of these events is the highest honor an I was picked up by them after the sta- the bed and actually slept until 7 am. playing organs here and there. But to re- organist can receive. Between 1,500 and dium concert, probably after 11 o’clock. I At that point we were awakened by the cap my introductory remarks: Things are 2,000 members of the profession from had had no food since lunch, so the Bak- sound of sirens and fi re trucks that were often not as glamorous as they appear to the United States and Canada and even ers gave me a key to their brownstone and arriving to extinguish a major confl agra- the outsider. Did I prove my point? Q from Europe attend the four-day events. dropped us off at a steak house near the tion in a warehouse across the street from It was 1956, and the convention was in St. George Hotel in Brooklyn. We would the hotel. Shortly thereafter a phone call Oswald G. Ragatz served as Professor of New York City when I got the bid. I was get a cab to the Bakers after we had eat- came from a contrite Robert Baker, and Organ and Chairman of the organ department to play at St. James’ on Madison Avenue en. It was well past midnight when we ar- we were soon ingesting breakfast in the at the School of Music at Indiana University on a large, new Möller instrument. Pipes rived at the brownstone and confi dently Baker dining room. from 1942–1983. Sadly, Mrs. Ragatz passed away in 1998 after a long illness. In recent were still being installed when I arrived, inserted the key into the front door lock. But it doesn’t stop there. My good years, Dr. Ragatz has written and published I thought for practice, the day before I But alas, clunk! In his great fatigue Bob suit hadn’t come back to the Bakers’ two mystery novels, Reunion With Murder was to play. But the builders did clear out Baker had put on the burglar chain when from the cleaners as promised, but we and Murder Twice Two, and his organ meth- at fi ve o’clock, and I was able to start to he locked up for the night. There was must be driven back to Manhattan and od book, Organ Technique—a Basic Course work. Mary and I were staying with very nothing to do but ring the doorbell. We up to St. James’ for my last run-through of Study, is in its fourth edition. His article, good friends, Mary and Robert Baker, rang, and we rang, and we rang. No an- of my program that was scheduled for 3 “Celebrating a milestone birthday: ‘Guardian who lived in a brownstone in Brooklyn. swer! It turned out that they had a big fan o’clock. An hour before I was to play, I Angel,’” appeared in the April 2008 issue of Bob Baker, along with Virgil Fox, was running in their bedroom and couldn’t was sitting in a sort of cubicle in a little THE DIAPASON. co-chairman of the whole event, a tax- hear the bell. Even the neighbors in the cleaning shop near the church when who ing and stressful job including, among adjoining brownstone had heard the bell, should walk in but my teacher from East- David K. Lamb is currently the Director of many other things, arranging a concert we later understood. man days. I had no pants on, of course. Music and Organist at First United Method- ist Church in Columbus, Indiana. Graduating in the NYU stadium with the New York So what to do? Mary had a metal Said trousers were from my wedding suit from IU in 1983, the year Ragatz retired, he Philharmonic and two organists playing nail fi le in her purse, and I was able to of twelve or more years before, and they completed the Doctor of Music degree in or- concertos. The Bakers and my wife Mary get my hand around the door. I actu- defi nitely showed their age, to say noth- gan at Indiana University in 2000. Currently left me at St. James’ for a long evening ally managed to remove the screws from ing of the wear and tear of a car trip from the AGO District Convener for the state of In- of practice while they went on to the sta- the mount holding the chain. Voila! We Indiana and eight hours on the St. James’ diana, Dr. Lamb is the founder and past presi- dium concert. opened the door and stepped into the lit- organ bench. dent of the Indiana Organists United. Yale University GRADUATE STUDY IN ORGAN PERFORMANCE at Yale Institute of Sacred Music and School of Music FACULTY Thomas Murray, Professor of Organ Martin Jean, Professor of Organ Jeffrey Brillhart, Organ Improvisation Walden Moore, Liturgical Keyboard Skills DEGREES OFFERED Master of Music Artist Diploma Doctor of Musical Arts Full tuition scholarships awarded to all Institute students. *enerous stipends aYailaEle to Tuali¿ed applicants. Yale Institute of Sacred Music / 409 Prospect Street / New Haven, CT 06511 tel 0495 www.yale.edu/ism SEPTEMBER, 2009 29 Sept 09 pp. 26-29 .indd 29 8/12/09 12:09:25 PM Cover feature Berghaus Pipe Organ Builders, organ. The Great provides a myriad of Inc., Bellwood, Illinois combinations suited for a range of de- La Casa de Cristo Lutheran mands from the liturgical service to the Church, Scottsdale, Arizona solo organ repertoire. Opus 224 (2008) The Swell division contains 21 stops, 23 ranks, and is “double-stacked,” with From the organbuilder the complete principal chorus, muta- Overview tions, and reeds occupying the lower Berghaus opus 224 at La Casa de Cris- level. Flutes, strings, and celestes are to Lutheran Church contains 91 ranks, 94 mounted above. The principal chorus is stops, and 5,067 pipes over four manuals based on an 8′ Diapason of spotted met- and pedal. The instrument takes its place al, crowned with a 2′ IV-rank Plein Jeu. as one of the largest pipe organs in the The relatively low pitch of this mixture, state of Arizona. The majority of the in- combined with a narrow scale, allows the strument (Pedal, Great and Positiv) is lo- pipes to be blown full, which helps to cated on the mezzanine level at the front produce a clear principal tone. Further- of the sanctuary, on a concrete platform more, the mixture is voiced softly enough measuring 42 feet across. The enclosed to give the entire plenum a gentler qual- Swell is located above the musician’s gal- ity suitable for choral accompaniment. lery in a resonant chamber measuring 14 The III-rank Cymbale is designed as a by 18 feet, and the Antiphonal is divided tierce mixture and voiced to its full po- and elevated on two sides of the rear gal- tential to reinforce harmonics present in lery, fl anking the large rear window. the fi ery chorus reeds. It also blends well The casework is constructed from and can be used as a higher-pitched mix- light-golden, rift-cut oak. The design ture with the principal chorus. emulates contemporary shapes found The Viole de Gambe is made of 75% elsewhere in the sanctuary. The visually tin and slotted for optimum harmonic striking façade, including polished tin development. The combination of this Principals from the Pedal, Great, and stop with its 61-note Voix Celeste is Positiv divisions, takes its inspiration intended to produce true string tone, from the McDowell mountain range, Full view of mezzanine and Swell expression chamber and not tone associated with narrow located in the northeast corner of the principals or stringy hybrid stops. This Phoenix valley. A sense of depth is creat- approach allows us to keep each of the ed with the mountain-like arrangement tonal categories of the instrument sepa- of fl amed-copper 16′ Principal pipes rate and distinct. The Swell is also home from the Great and Pedal divisions. The to the softest rank of the organ, the façade also contains twelve non-speak- 8′ Flûte Conique, which when paired ing wood pipes, painted sage green, in with its celeste elicits a most haunting homage to the majestic Saguaro cactus timbre. Other fl utes in this division in- found in the region. Adding to the visual clude the 8′ Flûte à Cheminée, which display is the asymmetrical layout of the is wood in the bass and is extended to Trompette en Chamade, constructed 16′ pitch, and a 2′ Octavin, which goes with fl amed-copper resonators. The harmonic at no. 13. This 2′ fl ute is not twin Antiphonal façades echo the details intended to be used with the mixture, found in the main organ. but rather with the 8′ and or 4′ fl utes. However, it works equally well with the Tonal Approach principals, as the scale is moderate and We designed an eclectic instrument, the voicing is light. The battery of reeds taking cues from the American Classic consists of a full-length 16′ Basson, an and Romantic traditions, that would be 8′ Trompette and 4′ Clairon of French able to handle a comprehensive reper- construction, and an 8′ Hautbois featur- toire, including a wide range of expres- ing coned-in bells and parallel French sion, both dynamic and tonal. To that shallots. When combined with founda- end, there are no less than fi ve manual tion stops, the 8′ Hautbois becomes a 8′ principals, ten different 8′ and 4′ most useful solo voice, especially for fl utes, strings and hybrid (tapered) Partial view of mezzanine with sun sculpture music from the French symphonic stops of varying tone and construction. school. The Voix Humaine is of Ameri- The versatility of this instrument results can Romantic construction. from our ability to treat each of these The Positiv division is located adja- stops as a beautifully unique voice when cent to the Swell, which allows this divi- used alone, as well as having the abil- sion, along with the Swell, to accompany ity to blend well, thus creating new and the choir. Totaling 19 stops and 19 ranks, desirable tones when used in combina- the Positiv is based on an 8′ Prinzipal tion. This is evident in the Great, which constructed of 75% tin and is complete contains the standard French-Romantic through a 1′ IV-rank Scharf. The ranks foundation of Principal, String, Open of the plenum are narrower in scale than Flute, and Stopped Flute. in the other divisions and provide a good Given the challenge of creating a large secondary chorus to the Great, especially organ with only one expressive division, in Baroque music. The 8′ Gemshorn has it was clear from the onset of the project a very wide mouth with a low cut-up and that great care would have to be taken a 1/3 taper, giving it a string-like tone. in the tonal fi nishing process to ensure A complete Cornet decomposée includ- a seamless crescendo and to create an ing Septième comprises pipes of various organ with equally balanced manual divi- construction, from the 8′ Holzgedackt 2 sions. The ranks of the unenclosed Posi- made of poplar to the 2 ⁄3′ chimneyed tiv are designed and voiced to provide a Rohrquinte. There are three solo reeds remarkable degree of expressiveness, and in the Positiv division, including an imi- to serve as a tonal bridge between the tative 16′ English Horn, an 8′ Cromorne, Swell and the Great. The overall effect in and an 8′ Trumpet with English shallots. the crescendo is that of a seamless transi- The Antiphonal division comprises tion from ppp to fff without experiencing 9 stops and 10 ranks, and provides ad- staggering dynamic or color steps. ditional support for congregational sing- ing as well as interesting echo effects to Tonal Analysis the main instrument. Placed on oppos- The Great division consists of 19 ing sides of the gallery, the Antiphonal is stops, 22 ranks, and is mostly divided higher in elevation in comparison to the between two large slider chests, one Antiphonal main organ. The Antiphonal principals containing the principal chorus through are voiced in a mild fashion, to give a mixture, the other containing the fl ute diapason tone that is more subdued than 4′ Flûte Octaviante, and a II-rank Gross sense of surrounding the listener while and string stops. The 8′ First Principal its larger neighbor, yet is large enough to Kornet, constructed of large-scale open providing a supplemental role to the 1 1 is of generous scale, and is constructed be a lighter 8′ texture for the entire ple- fl utes at 5 ⁄3′ and 3 ⁄5′ pitches to enhance main instrument. This approach was pre- of 75% tin throughout. This creates a num. The principal chorus is completed the 16′ harmonic series. The 8′ Gamba is ferred to bombarding the listener with timbre that is simultaneously bright and with narrowly scaled mutations, and is of slender scale and is gently voiced to be sound from the gallery and purposely full, and gives it a singing quality that crowned by two mixtures: a full 2′ V-rank a blending stop. The 16′ and 8′ unit Kon- announcing the Antiphonal’s presence. 1 provides a strong foundation upon which Fourniture, and a sparkling ⁄2′ III-rank tra Posaune is a blending chorus reed Of note are the two solo fl utes: the 8′ the subsequent ranks are built. The 16′ Cymbale. The Flûte Harmonique is of German construction. The 16′ and 8′ Doppelfl öte and the 4′ Flauto Traverso Sub Principal is scaled proportionally large scale, with harmonic pipes starting Trompette en Chamade contains schiff- (harmonic), both made of poplar. The (smaller) to the First Principal and is ex- at no. 30, and is voiced with a very strong chen-style shallots, producing a sound organ’s heroic reed, the 8′ Trompette de tended to be available as an 8′ stop (Sec- increase in the treble. Other fl ute stops reminiscent of older Spanish trumpets, Fête, is located in the Antiphonal divi- ond Principal). This gives an alternative include a metal 8′ Bourdon, a harmonic yet it can be used as a crown for full sion as well. The Trompette de Fête fea- 30 THE DIAPASON Sept 09 pp. 30-32.indd 30 8/12/09 12:10:18 PM Berghaus Pipe Organ Builders, Inc., Bellwood, Illinois La Casa de Cristo Lutheran Church, Scottsdale, Arizona Opus 224 (2008) GREAT – Manual II (unenclosed, 90 mm wind pressure) 16′ Sub Principal (façade) 61 pipes fl amed copper and 75% tin 8′ First Principal (façade) 61 pipes 75% tin 8′ Second Principal (façade) 12 pipes (extension of 16′ Sub Principal) 8′ Flûte Harmonique 49 pipes 1–12 from Bourdon, harmonic @ f30 8′ Bourdon 61 pipes 52% tin 8′ Gamba 61 pipes 1–12 zinc, 13–61 52% tin 4′ Octave 61 pipes 52% tin 4′ Flûte Octaviante 61 pipes 52% tin; harmonic @ c25 2 2⁄3′ Twelfth 61 pipes 52% tin 2′ Fifteenth 61 pipes 52% tin 3 1⁄5′ Tierce 61 pipes 52% tin 1 1 1 5⁄3′ Gross Kornet II 88 pipes 5 ⁄3′ and 3 ⁄5′, 52% tin; c13 to g56 2′ Fourniture V 305 pipes 75% tin (15-19-22-26-29) 1 ⁄2′ Cymbale III 183 pipes 75% tin (29-33-36) 16′ Kontra Posaune 61 pipes 1–12 L/2, resonators zinc and 52% tin 8′ Trompete 12 pipes (extension of 16′ Kontra Posaune) Tremulant Zimbelstern 5 bells with adjustable delay, speed, and volume 16′ Trompette en Chamade 61 pipes 1–12 L/2, fl amed copper resonators 8′ Trompette en Chamade 12 pipes (extension of 16′) 8′ Trompette de Fête (Antiphonal) Jonathan Oblander in mezzanine interior SWELL – Manual III (enclosed, 80 mm wind pressure) 16′ Bourdon 24 pipes poplar (extension of 8′ Flûte à Cheminée) 8′ Diapason 61 pipes 1–12 zinc, 13–61 52% tin turbulence and the resulting wind noise. 8′ Viole de Gambe 61 pipes 1–12 zinc, 13–61 75% tin; slotted Pneumatic pedal and offset chests are 8′ Voix Celeste CC 61 pipes 1–12 zinc, 13–61 75% tin; slotted supplied with their own regulators and 8′ Flûte à Cheminée 49 pipes 40% tin, 1–12 from Bourdon concussion bellows. 8′ Flûte Conique 61 pipes 75% tin 8′ Flûte Celeste TC 49 pipes 75% tin Console 4′ Prestant 61 pipes 52% tin Design elements of the four-manual 4′ Flûte Ouverte 61 pipes 40% tin 2 ′ console were taken from architectural 2⁄3 Nasard 61 pipes 52% tin 2′ Octavin 61 pipes 75% tin; harmonic @ c13 themes found in the church. The con- 3 1⁄5′ Tierce 61 pipes 52% tin temporary English-style drawknob con- 2′ Plein Jeu IV 244 pipes 75% tin (15-19-22-26) sole is low profi le, and contains state of 1′ Cymbale III 183 pipes 75% tin (22-24-26) the art controls for the combination ac- 16′ Basson 61 pipes L/1, resonators of zinc and 52% tin tion and record/playback systems. Con- 8′ Trompette 61 pipes resonators of 75% tin trols were placed inside a drawer to the 8′ Hautbois 61 pipes resonators of 52% tin 8′ Voix Humaine 61 pipes 52% tin organist’s right in order that the console ′ be visually free of electronic clutter. The 4Clairon 61 pipes resonators of 75% tin Tremulant shell is made of light-golden, rift-cut oak 8′ Trompette de Fête (Antiphonal) to match casework. Drawknob jambs are 16′ Trompette en Chamade (Great) made of burled walnut. Keyboard cover- 8′ Trompette en Chamade (Great) ings are bone and feature top-resistant tracker touch. POSITIV – Manual I (unenclosed, 70 mm wind pressure) 16′ Quintaton 61 pipes 1–12 zinc, 13–61 75% tin Mezzanine pedal & unit chests Construction Timeline 8′ Prinzipal (façade) 61 pipes 75% tin ′ The creative journey to construct opus 8Gemshorn 61 pipes 1–12 zinc, 13–61 52% tin; 1/3 taper 8′ Holzgedackt 61 pipes poplar tures hooded resonators and is voiced on 224 began late fall 2007, with fi nal voic- ′ 4Oktav 61 pipes 75% tin 18 inches of wind. ing completed spring 2009. The organ 4′ Koppelfl öte 61 pipes 52% tin 2 The Pedal division comprises 26 was dedicated in a festival service or- 2⁄3′ Rohrquinte 61 pipes 52% tin stops and 17 ranks. The division is thor- ganized by Dr. Jennaya Robison, direc- 2′ Oktav 61 pipes 75% tin oughly complete to provide ample foun- tor of music, and played by Dr. Homer 2′ Blockfl öte 61 pipes 40% tin 3 ′ dation tone in a variety of timbres and Ashton Ferguson III. Dr. Weston Noble 1⁄5 Terz 61 pipes 52% tin 1 ′ volumes. Fortunately, few of the pedal conducted the combined choirs. The or- 1⁄3 Larigot 61 pipes 52% tin 1 ′ stops are borrowed, which gives tremen- gan was also featured at the 2009 Region 1⁄7 Septième 61 pipes 52% tin 1′ Scharf IV 244 pipes 75% tin (22-26-29-33) dous fl exibility to the division as a whole. IX AGO convention. 16′ English Horn 61 pipes resonators of zinc and 52% tin The principal chorus is based on an open Berghaus Pipe Organ Builders wishes 8′ Trumpet 61 pipes 52% tin metal 16′ Principal, scaled according to to thank the members of La Casa de 8′ Cromorne 61 pipes 52% tin classical principles (relative to the Great Cristo Lutheran Church, Scottsdale, Ari- Tremulant 8′ First Principal). The entire chorus zona, and the following individuals: Pas- 8′ Trompette de Fête (Antiphonal) provides a solid contrast to the Great and tor Andrew Garman, senior pastor; Dr. 16′ Trompette en Chamade (Great) gives excellent support without being Jennaya Robison, director of music; Dr. 8′ Trompette en Chamade (Great) woofy. When a more penetrating foun- Homer Ashton Ferguson III, organist; ANTIPHONAL – Manual IV (unenclosed, 75 mm wind pressure) dation is desired, the generously scaled and Dr. William Barnett, prior organist. ′ ′ 8Principal (façade) 61 pipes 1–12 fl amed copper, 13–61 75% tin 16 Open Wood is useful for larger com- Berghaus Pipe Organ Builders also 8′ Doppelfl öte (façade) 61 pipes poplar 1 binations. Of particular note is the 3 ⁄5′ V- wishes to thank members of its staff for 4′ Octave (façade) 61 pipes 75% tin rank Pedal Mixture. The fi rst rank of this their countless hours and dedication to 4′ Flauto Traverso 61 pipes poplar; harmonic @ c25 stop is a tierce (16′ series), constructed this instrument: 2′ Fifteenth 61 pipes 75% tin 1 ′ of 2/3 tapered pipes. Voiced gently, this President: Brian Berghaus 1⁄3 Fourniture IV 244 pipes 75% tin (19-22-26-29) ′ Tremulant rank dramatically enhances the 16 fun- Director of sales and marketing: ′ damental tone, while giving the overall David McCleary 16 Trompette de Fête 61 pipes hooded resonators, 18 inches wind pressure 16′ Trompette en Chamade (Great) plenum a pleasantly reedy tone. This Tonal design: Jonathan Oblander, 8′ Trompette en Chamade (Great) helps to further clarify the Pedal line in Kelly Monette contrapuntal textures. As with many of Head tonal fi nisher: Kelly Monette PEDAL (unenclosed, 90 mm wind pressure) our larger instruments, an 8′ Spitzfl öte is Reed specialist: Steven Hoover 32′ Untersatz 7 pipes poplar included to give a more pointed emphasis Structural and visual design: Steven 16′ Open Wood 32 pipes poplar to the Pedal line in softer combinations. Protzman 16′ Principal (façade) 32 pipes fl amed copper and 75% tin ′ ′ 16′ Sub Principal (Great) The reed chorus consists of a 32 and 16 Shop foreman: Jeff Hubbard ′ Bombarde constructed with pine resona- Logistics: Jean O’Brien 16 Subbass 32 pipes poplar 16′ Quintaton (Positiv) tors, and a large-scale 8′ Trompette with Construction / assembly / installation: ′ ′ 16 Bourdon (Swell) English shallots. A 4 Rohrschalmei is a Mark Ber, Mitch Blum, Stan Bujak, Kev- 8′ Octave (façade) 32 pipes 75% tin very characteristic reed useful for cantus in Chunko, Chris Czopek, Steve Drexler, 8′ Principal (Great) fi rmus solos. Trevor Kahlbaugh, Kurt Linstead, David 8′ Spitzfl öte 32 pipes 75% tin, 4/5 taper Mueller, Joe Poland, Daniel Roberts, 8′ Metallgedackt 32 pipes 52% tin Wind System and Chests Tim Roney, Paul Serresseque, Ron Skib- 8′ Bourdon (Swell) 4′ Octave 32 pipes 75% tin The vast majority of fl ue stops in this or- be, Jordon Smoots, Paul Szymkowski, ′ gan are placed on slider and pallet chests, Randy Watkins. 4Spillfl öte 32 pipes 52% tin 2′ Nachthorn 32 pipes 52% tin which we believe speak to the heart (and —Kelly Monette, David McCleary, 1 3⁄5′ Mixture V 160 pipes 52% tin (10-12-15-19-22) origins) of good organ building. Principals and Jonathan Oblander 32′ Contre Bombarde 12 pipes (extension of 16′ Bombarde) and fl utes in each division (sans Antipho- 16′ Bombarde 32 pipes resonators of pine nal), are placed on separate chests. This Photo credit: David McCleary 16′ Posaune (Great) helps to solidify each respective chorus. 16′ Basson (Swell) ′ We have insured absolutely steady wind Summary 8Trompette 32 pipes 52% tin 8′ Posaune (Great) by incorporating a large number of bel- Division Registers Stops Ranks Pipes ′ lows and schwimmers. By contrast, reeds Great 15 19 22 1332 4Rohrschalmei 32 pipes 52% tin Tremulant (slider chest stops only) are placed on electro-pneumatic chests, Swell 18 21 23 1403 ′ Positiv 16 19 19 1159 8Trompette de Fête (Antiphonal) allowing wind pressures to vary to suit 16′ Trompette en Chamade (Great) the tonality of each reed. Furthermore, Antiphonal 7 9 10 610 ′ Pedal 14 26 17 563 8Trompette en Chamade (Great) wood wind conductors are used through- Total 70 94 91 5067 out the organ, which helps to eliminate SEPTEMBER, 2009 31 Sept 09 pp. 30-32.indd 31 8/12/09 12:10:36 PM New Organs Ott Opus 110 Choir of First Presbyterian Church, Ypsilanti, Michigan Martin Ott Pipe Organ Company, signed to match the organ casework. The pipes are stamped opus 1260, and others St. Louis, Missouri drawknobs are within easy reach of the opus 1261. No original stoplist has been First Presbyterian Church, organist. The profi le is low so that the or- found, but the instrument was of modest Ypsilanti, Michigan ganist can communicate with the music size, about 17 ranks, with mechanical or director or, if necessary, the organist can tubular pneumatic action. This instru- From the builder conduct from the console. ment served the church faithfully for a In the spring of 2007, I made my fi rst Several ranks of pipes of the original half century. visit to First Presbyterian Church in Yp- Jardine organ survived and were avail- By the late 1940s, it was determined silanti. I was impressed by the beautiful, able for our use. These pipes served as a that a renovation was needed, and this historic church and the massive organ starting point for the tonal design of the was done in 1948 by the Lima Pipe Organ case dominating the front of the sanc- new instrument. This tonal design was a Company of Lima, Ohio. Consistent with tuary. The tall, rectangular room with new direction for our fi rm. While chal- the style of the times, a new electro-pneu- its fl at ceiling provides an acoustic that lenging, this proved to be very rewarding. matic action was installed. Only the pipes complements musical performances. The Choir consists exclusively of pipes and blower were retained from the Jar- The sanctuary and nave of the church from the original Jardine organ. The new dine original. It is not known how much had recently been renovated. The chan- Swell division serves as the link between tonal alteration was made, but there ap- cel platform was redesigned to be fl ex- the Romantic Jardine Choir division pears to have been an unsuccessful at- ible and provide ample space for the li- and the more robust Great division. Al- tempt at revoicing. It is probable that the turgical furniture, choir seating, a small though the organ can be lush and rich, extension of the Swell Bourdon to provide orchestra, and the new organ console. the sound is always clear. This enables some upperwork occurred at this time. The fi rst organ for First Presbyterian the organ to be used for congregational In its new form the organ survived Church was built in 1899 by George singing, choral accompaniments, instru- more than another half century. To Jardine & Son Organ Company of New mental ensembles, and solo organ works. make it more useful, the original Cor- York. It had 17 stops and 19 ranks di- With 40 ranks and four extensions, many nopean was replaced in 1977 with a vided over two manuals and pedal. This different styles of organ literature can be small-scale trumpet, and a three-rank original instrument was rebuilt in 1948; performed with stylistically appropriate mixture was added. the playing action was electrifi ed and the registration. We have enjoyed collabo- By the end of the 20th century, the pipes were rearranged. rating with consultants Dr. John Weaver organ was showing increasing mechani- While the original Jardine organ case and Dr. Gordon McQuere on the tonal cal problems, and its fundamental inad- Marianne and John Weaver remains intact, we added oak casework design and voicing. equacies increasingly limited the devel- 3 on both sides of the case. The end result Following are the craftsmen who built opment of an otherwise strong music 1⁄5′ Terz 1 is a three-sided organ case that retains this instrument, Opus 110: James Cullen, program and worship life at First Pres- 1⁄3′ Quinte 1 1⁄7′ Septime the original historical appearance. The William Dunaway, Marya Fancey, Larry byterian Church. Even so, the quality of ′ actual footprint of the organ is somewhat Leed, Aleksandr Leshchenko, Eileen much of the surviving Jardine pipework 2Plein Jeu IV 16′ Bombarde (EP) larger than the original Jardine. During McGuinn, Richard Murphy, Earl Naylor, was evident. 8′ Trompette the voicing process, it was apparent that Martin Ott, Sean Rice, Inna Sholka. An organ committee was appointed to 8′ Oboe Jardine the solid oak panels in the lower front of —Martin Ott study the situation, and it was deemed Tremulant the organ case were blocking the organ desirable to acquire a new instrument, sound. After routing a fl eur-de-lis design From one of the consultants while honoring the legacy of the Jardine CHOIR Manual I (enclosed) in many of the panels, the sound now In 1899, the eminent fi rm of George organ by incorporating as much as possi- 8′ Geigen Principal Jardine 8′ Stopped Diapason Jardine projects into the nave. Jardine & Son of New York City installed ble of the surviving pipework and retain- ′ The Choir division is located to the a new pipe organ in the Presbyterian ing the magnifi cent oak case. A contract 8Salicional Jardine 8′ Salicional Celeste Jardine left, the Swell division to the right in the Church at Ypsilanti, Michigan. Jardine was signed with the Martin Ott Pipe 4′ Octave Jardine lower case, and the Great division cen- had been a premier American organ Organ Company of St. Louis. The happy 4′ Harmonic Flute Jardine tered directly above. The Pedal division builder, with important instruments result of this project is an outstanding 2′ Flute Jardine is divided among the back and sides of throughout the northeast. But by the new instrument that, by incorporating 8′ Clarinet Jardine the organ. The Swell and Choir are un- end of the century the fi rm was near- the best of the Jardine organ, reminds us der expression. ing its end. In fact, the organ for Ypsi- of the spirit and generosity of visionary PEDAL (EP) 32′ Resultant The movable console has been de- lanti was perhaps its last. Some surviving members of the church a century ago. ′ ′ —Gordon McQuere 16 Open Diapason (ext 8 ) Jardine 16′ Bourdon (Gt) 16′ Subbass Jardine Martin Ott Opus 110 8′ Octavbass Jardine Electric slider windchest action with 8′ Bourdon (Gt) The Diapason some unit action 8′ Subbass (ext 16′) 35 registers, 40 ranks, 4 extensions 4′ Choral Bass 16′ Posaune 2010 Resource Directory GREAT Manual II (unenclosed) 16′ Bombarde (Sw) 16′ Bourdon (EP) (ext 8′) 8′ Posaune (ext 16′) 8′ Principal 8′ Bombarde (Sw) • The only comprehensive directory of the organ and 8′ Rohrfl ute 4′ Clarion (Sw) 8′ Bourdon (EP) church music fi elds 4′ Octave (EP) Indicates electro-pneumatic action 4′ Flute • Includes listings of associations, suppliers, and the 2′ Fifteenth COUPLERS 1 ′ Great to Pedal 8, 4 products and services they provide 1⁄3 Mixture IV 16′ Bombarde (Sw) Swell to Pedal 8, 4 8′ Trompete Choir to Pedal 8, 4 Swell to Swell 16, 4 Reserve advertising space now SWELL Manual III (enclosed) Swell Unison Off Deadline: November 2 8′ Viola di Gamba Swell to Great 16, 8, 4 8′ Viola Celeste T.C. Choir to Great 16, 8, 4 8′ Pommer Great to Great 4 To reserve advertising space, contact Jerome Butera 4′ Principal 4′ Gedackt Flute Jardine Check out Classifi ed Ads on 2 847/391-1045; [email protected] 2⁄3′ Nazat T DIAPASON website: 2′ Fifteenth HE 2′ Nachthorn www.TheDiapason.com 32 THE DIAPASON Sept 09 pp. 30-32.indd 32 8/12/09 12:10:51 PM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Robert Bates; Mount Clemens United Meth- Pickle Piano & Church Organs This calendar runs from the 15th of the month of odist, Mount Clemens, MI 5 pm NEW YORK issue through the following month. The deadline is Wilma Jensen, masterclass; Cathedral of St. Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Paul, St. Paul, MN 9 am issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped within 27 SEPTEMBER each date north-south and east-west. •=AGO chap- John Weaver; Bradford Congregational Unit- Christopher Babcock ter event, • •=RCCO centre event, +=new organ ed Church of Christ, Bradford, VT 3 pm WILLIAM AYLESWORTH dedication, ++= OHS event. Jeremy Filsell; St. Paul’s School, Concord, St. Andrew’s by the Sea, Information cannot be accepted unless it speci- NH 7:30 pm D. M. fi es artist name, date, location, and hour in writ- Barbara Bruns, Ray Cornils, Brian Jones, & Hyannis Port ing. Multiple listings should be in chronological order; Douglas Major; Methuen Memorial Music Hall, EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Methuen, MA 3 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Felix Hell; St. Teresa’s Church, Staten Island, the accuracy of calendar entries. NY 3 pm Andrew Henderson; Madison Avenue Pres- byterian, New York, NY 3 pm James Wetzel; Cathedral Church of St. John UNITED STATES the Divine, New York, NY 5:10 pm East of the Mississippi John Scott; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm Carol Williams; Camp Hill Presbyterian, 15 SEPTEMBER Camp Hill, PA 4 pm Janette Fishell; Provine Chapel, Mississippi Scott Dettra; Washington National Cathedral, College, Clinton, MS 7:30 pm Washington, DC 5:15 pm James Metzler; Park Congregational, Grand +R. Monty Bennett; Hawthorne Lane United Rapids, MI 12:15 pm Methodist, Charlotte, NC 3 pm Christopher Ganza; Church of St. Louis, King David Higgs; Trinity United Methodist, Talla- of France, St. Paul, MN 12:35 pm hassee, FL 4 pm Dean W. Billmeyer Paul Jacobs; First United Methodist, St. Jo- 16 SEPTEMBER seph, MI 4 pm University of Minnesota Kent Tritle; Church of St. Ignatius Loyola, Janette Fishell; Westminster Presbyterian, New York, NY 7:30 pm Springfi eld, IL 4 pm Minneapolis 55455 • [email protected] Helen Jensen & Stephen Self, Widor sym- 18 SEPTEMBER phonies; Nativity of Our Lord Catholic Church, Alan Morrison; Bomberger Hall, Ursinus Col- St. Paul, MN 2 pm lege, Collegeville, PA 4 pm Todd Wilson; Market Square Presbyterian, 28 SEPTEMBER Harrisburg, PA 8 pm Isabelle Demers; Capitol Hill United Method- Byron L. Blackmore THOMAS BROWN David Higgs; East 91st Street Christian ist, Washington, DC 8 pm UNIVERSITY Church, Indianapolis, IN 7:30 pm True North Brass; West Liberty State College, Crown of Life Lutheran Church PRESBYTERIAN CHURCH Paul Jacobs West Liberty, WV 8 pm ; Shryock Auditorium, Southern Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Illinois University, Carbondale, IL 7:30 pm John Sherer; Presbyterian Homes, Evanston, IL 1:30 pm 623/214-4903 ThomasBrownMusic.com 19 SEPTEMBER David Higgs, masterclass; East 91st Street 29 SEPTEMBER Christian Church, Indianapolis, IN 10 am James Wetzel; Trinity Church, New York, NY David Lamb; Gethsemani Abbey, Trappist, 1 pm KY 6:30 pm Brian Bartusch; Park Congregational, Grand David Chalmers Rapids, MI 12:15 pm DELBERT DISSELHORST 20 SEPTEMBER Catherine Rodland; Church of St. Louis, King Concert Organist Timothy Brumfi eld; Cathedral Church of St. of France, St. Paul, MN 12:35 pm GLORIÆ DEI CANTORES Professor Emeritus John the Divine, New York, NY 5:10 pm Wilma Jensen; Cathedral of St. Paul, St. Paul, University of Iowa–Iowa City Joel Bacon; St. Thomas Church Fifth Avenue, MN 7:30 pm Orleans, MA New York, NY 5:15 pm 30 SEPTEMBER Isabelle Demers; Cathedral Basilica of the Gillian Weir; St. Paul Cathedral, Pittsburgh, Sacred Heart, Newark, NJ 4 pm PA 7:30 pm J. Christopher Pardini, Mendelssohn works; Matthew Lawrenz; Cathedral of St. John the STEVEN EGLER Shadyside Presbyterian, Pittsburgh, PA 4 pm OHN ENSTERMAKER Evangelist, Milwaukee, WI 12:15 pm Central Michigan University J F Scott Dettra; Church of the Resurrection, Bur- First Presbyterian Church tonsville, MD 6 pm 2 OCTOBER TRINITY-BY-THE-COVE David Arcus; Front Street United Methodist, St. Thomas Choir, Choral Evensong; Christ Mt. Pleasant, Michigan 48858 Burlington, NC 4 pm Church Episcopal, New Haven, CT 5:30 pm SOLO Shelly-Egler Hector Olivera; Trinity United Methodist, Gerre Hancock; Holy Trinity Episcopal, RECITALS Flute and Organ Duo NAPLES, FLORIDA Sumter, SC 4 pm Gainesville, FL 7:30 pm Fred Swann; First United Methodist, Atlanta, Cameron Carpenter; Boone United Method- GA 2 pm ist, Boone, NC 7:30 pm Craig Cramer; St. Joseph Cathedral, Colum- Thomas Murray; Benson Great Hall, Bethel Organist / Pianist bus, OH 3 pm University, St. Paul, MN 7:30 pm CHRISTOPHER Chris Oelkers; John L. Hill Chapel, George- Michael Gailit town College, Georgetown, KY 3 pm 3 OCTOBER www.gailit.at GARVEN Choral Vespers; Neu Chapel, University of Gerre Hancock, workshop; Holy Trinity Epis- offi [email protected] copal, Gainesville, FL 10 am Organist & Music Director Evansville, Evansville IN 5 pm Konservatorium Wien University Church of the Good Samaritan John Walker; Madonna della Strada Chapel, 4 OCTOBER University of Music, Vienna Paoli, Pennsylvania Loyola University, Chicago, IL 3 pm Cameron Carpenter; Riviera Theatre, North Tonawanda, NY 2 pm 21 SEPTEMBER Gail Archer; Vassar College, Poughkeepsie, A Professional Card in Gail Archer; Shorter College, Rome, GA 8 pm NY 3 pm Chris Oelkers; St. Joseph’s R.C.C., Bowling Stephen Hamilton; St. John Lutheran, Lin- Green, KY 7 pm The Diapason Robert Glasgow denhurst, NY 4 pm For rates and digital specifi cations, Eugenio Fagiani; St. Thomas Church Fifth 22 SEPTEMBER Avenue, New York, NY 5:15 pm contact Jerome Butera In Memoriam Susan Beisner; Church of St. Louis, King of 847/391-1045 Gerre Hancock, with choral concert; Holy May 30, 1925–Sept. 10, 2008 France, St. Paul, MN 12:35 pm Trinity Episcopal, Gainesville, FL 5:30 pm [email protected] Andre Lash; Old Salem Visitor Center, Win- 23 SEPTEMBER ston-Salem, NC 3 pm Jared Osterman; Cathedral of St. John the Kristin Jones; First Presbyterian, Evansville Evangelist, Milwaukee, WI 12:15 pm IN 4:30 pm, Choral Evensong 5 pm Choral Evensong; Cathedral Church of the Ad- JAMES HAMMANN WILL HEADLEE 24 SEPTEMBER vent, Birmingham, AL 4 pm DMA-AAGO Jean-Baptiste Robin; Northminster Baptist, Janette Fishell; Nichols Concert Hall, Music 1650 James Street Jackson, MS 7:30 pm Institute of Chicago, Evanston, IL 3 pm University of New Orleans Syracuse, NY 13203-2816 25 SEPTEMBER 6 OCTOBER Chapel of the Holy Comforter (315) 471-8451 Felix Hell; Methuen Memorial Music Hall, Choral Evensong; St. James’ Church, New Methuen, MA 8 pm York, NY 5:30 pm Alan Morrison; First Presbyterian, Glens Gerre Hancock; Cathedral of St. John the Di- Falls, NY 7:30 pm vine, New York, NY 7:30 pm LORRAINE BRUGH, Ph.D. Cameron Carpenter; St. Bernard Roman Raymond Johnston; Church of St. Louis, A two-inch Catholic Church, Mt. Lebanon, PA 7:30 pm King of France, St. Paul, MN 12:35 pm Bradley Hunter Welch Associate Professor ; First Presbyterian, 7 OCTOBER Professional Card Elkhart, IN 7:30 pm Tavener, Requiem (U.S. premiere); Church of University Organist Robert Bates, masterclass; Metropolitan Unit- St. Ignatius Loyola, New York, NY 7:30 pm ed Methodist, Detroit, MI 10 am, recital 7:30 pm in The Diapason Ronald Sider; Camp Hill Presbyterian, Camp Valparaiso University Hill, PA 12:15 pm 26 SEPTEMBER Valparaiso, IN For information on rates and David Gallagher & Douglas Major, organ 8 OCTOBER www.valpo.edu specifi cations, contact: demonstrations; Methuen Memorial Music Hall, Gail Archer; Busch-Reisinger Museum, Har- Methuen, MA 10 am (for youth), 1 pm (for adults) vard University, Cambridge, MA 12 noon Jerome Butera Christopher Houlihan; Cathedral of St. Mi- 219-464-5084 [email protected] chael, Springfi eld, MA 7:30 pm 9 OCTOBER [email protected] David Higgs, masterclass; Trinity United Todd Wilson; Westminster Presbyterian, Al- 847/391-1045 Methodist, Tallahassee, FL 10 am bany, NY 7:30 pm SEPTEMBER, 2009 33 Sept 09 pp. 33-37.indd 33 8/12/09 12:11:35 PM •Olivier Latry; Holy Trinity Lutheran, Akron, 24 OCTOBER OH 8 pm David Enlow; Christ & St. Stephen’s Episco- ANDREW HENDERSON, DMA Harry H. Huber pal, New York, NY 5 pm D. Mus. 10 OCTOBER Musica Sacra Chorus & Chamber Orchestra; Al- Madison Avenue Presbyterian Church Douglas Cleveland, masterclass; Westmin- ice Tully Hall, Lincoln Center, New York, NY 8 pm New York, NY Kansas Wesleyan University, Emeritus ster Presbyterian, Dayton, OH 10 am University Methodist Church David Lamb; Basilica of St. Joseph, Bards- 25 OCTOBER www.andrewhenderson.net town, KY 1 pm Andrew Kotylo; Woolsey Hall, Yale Univer- SALINA, KANSAS sity, New Haven, CT 8 pm 11 OCTOBER James David Christie; Church of St. Ignatius Robert Plimpton; Aldersgate United Method- Loyola, New York, NY 4 pm ist, Wilmington, DE 4 pm Gail Archer; First Reformed Church, Pough- MICHELE JOHNS Nigel Potts; Cathedral of St. John the Divine, keepsie, NY 4 pm A.Mus.D Brian Jones New York, NY 5:15 pm Paolo Bordignon; St. Thomas Church Fifth Director of Music Emeritus Gerre & Judith Hancock; St. Thomas Church Avenue, New York, NY 5:15 pm Organ — Harpsichord Fifth Avenue, New York, NY 5:15 pm Thomas Trotter; West Side Presbyterian, The University of Michigan TRINITY CHURCH Choral concert; Church of St. Ignatius Loyola, Ridgewood, NJ 4 pm New York, NY 8 pm Ken Cowan; Thomson Alumnae Chapel, Wil- School of Music BOSTON Douglas Cleveland; Westminster Presbyte- son College, Chambersburg, PA 3 pm rian, Dayton, OH 4 pm Shadyside Chancel Choir; Shadyside Presby- Martin Jean; Valparaiso University, Valparai- terian, Pittsburgh, PA 4 pm so, IN 3 pm Anthony & Beard (Ryan Anthony, trumpet Ken Cowan; First United Methodist, Appleton, and Gary Beard, organ); Zion Lutheran, San- KIM R. KASLING JAMES KIBBIE WI 4 pm dusky, OH 4 pm D.M.A. The University of Michigan •Michael Unger; First Presbyterian, Arlington Michael Bloss, with trumpet; Park Congrega- Ann Arbor, MI 48109-2085 Heights, IL 4 pm tional, Grand Rapids, MI 7 pm St. John’s Univeristy Choral Vespers; Neu Chapel, University of 734-764-1591 FAX: 734-763-5097 13 OCTOBER Collegeville, MN 56321 Evansville, Evansville IN 5 pm email: [email protected] Olivier Latry; Cathedral of St. John the Divine, Karen Beaumont; St. Francis Church, Mil- New York, NY 7:30 pm waukee, WI 3 pm Helen Hawley; Park Congregational, Grand Carla Edwards; Kenilworth Union Church, Rapids, MI 12:15 pm Kenilworth, IL 5 pm David K. Lamb, D.Mus. David Lamb; Ransdell Chapel, Campbellsville University, Campbellsville, KY 12:20 pm 26 OCTOBER Director of Music/Organist Jeffrey Jamieson; Church of St. Louis, King Herndon Spillman; Cincinnati Museum Cen- of France, St. Paul, MN 12:35 pm First United Methodist Church ter, Cincinnati, OH 7:30 pm ORGAN CONSULTANT Carla Edwards; Presbyterian Homes, Evan- Columbus, Indiana 14 OCTOBER ston, IL 1:30 pm www.gabrielkney.com 812/372-2851 Harold Vetter; Cathedral of St. John the Evan- gelist, Milwaukee, WI 12:15 pm 27 OCTOBER Carol McNally; Park Congregational, Grand 15 OCTOBER Rapids, MI 12:15 pm Justin Hartz, Thomas Quinn, Mark Dimick, Melissa Plaman & David Lamb; First Presby- David Lowry others; Lebanon County Historical Society, Leb- terian, Franklin, IN 7 pm anon, PA Richard Litterst THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Ken Cowan; Savage Chapel, Union Univer- Faythe Freese, with instruments; University of sity, Jackson, TN 7:30 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 First Church of Christ, Scientist Alabama, Tuscaloosa, AL 7:30 pm Catherine Rodland & Brian Carson; Church of DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY St. Louis, King of France, St. Paul, MN 12:35 pm 16 OCTOBER Rockford, Illinois ROCK HILL, SC 29733 Olivier Latry; Trinity Evangelical Lutheran, 29 OCTOBER Camp Hill, PA 7:30 pm Choir of St. Luke in the Fields with period instru- Mark King; Zion Lutheran, Indiana, PA 7:30 pm ments; St. Luke in the Fields, New York, NY 8 pm Carolina Baroque; St. John’s Lutheran, Salis- bury, NC 7:30 pm BETTY LOUISE LUMBY 30 OCTOBER Tom Trenney 17 OCTOBER , recital and silent fi lm accompa- DSM • FAGO Edward Clark & Ezequiel Menéndez, chil- niment; Gloria Dei Lutheran, Bristol, CT 7 pm Daniel Sansone UNIVERSITY OF MONTEVALLO dren’s program; First Church of Christ, Farming- , with choir and orchestra; ham, CT 10 am Cathedral of Mary Our Queen, Baltimore, MD MONTEVALLO, AL 35115 Christopher Houlihan; Wapping Community 8 pm Church, South Windsor, CT 4 pm Olivier Latry; Verizon Hall, Kimmel Center, UNITED STATES Philadelphia, PA 3 pm, with pre-concert talk West of the Mississippi Fred Swann; Presbyterian Homes, Evanston, IL 7:15 pm James R. Metzler 15 SEPTEMBER A.S.C.A.P. 18 OCTOBER FELLOW, AMERICAN GUILD OF ORGANISTS Fred Swann; Wichita State University, Wichi- PARK CONGREGATIONAL CHURCH Gail Archer; First Church of Deerfi eld, Deer- ta, KS 7:30 pm 345 SADDLE LAKE DRIVE fi eld, MA 4 pm GRAND RAPIDS, MICHIGAN ROSWELL-ATLANTA, GEORGIA 30076 Aaron David Miller; Christ Church, Episcopal, 18 SEPTEMBER (770) 594-0949 Westerly, RI 4 pm Faythe Freese; Central Lutheran, Minneapo- Thomas Murray; Grace Episcopal, Utica, NY lis, MN 7:30 pm 4 pm MARILYN MASON David Lamb; St. Mary the Virgin, New York, 19 SEPTEMBER CHAIRMAN, DEPARTMENT OF ORGAN NY 4:40 pm Faythe Freese, workshop; Central Lutheran, Benjamin Kolodziej; St. Thomas Church Fifth Minneapolis, MN 9:30 am UNIVERSITY OF MICHIGAN Avenue, New York, NY 5:15 pm Fabio Ciofi ni & Jordi Verges-Riart, class on ANN ARBOR Cameron Carpenter; First Presbyterian Baroque 4-hands repertoire; Christ Episcopal, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Church in Germantown, Philadelphia, PA 3 pm Tacoma, WA 9:15 am, concert at 7:30 pm with awesome technique and a thrilling command of its daring writing.” Catherine Rodland; Duke University Chapel, •James Welch; Bethania Lutheran, Solvang, The American Organist, 1980 Durham, NC 5 pm CA 1 pm Joan Lippincott; First Presbyterian, Wilming- ton, NC 5 pm 20 SEPTEMBER Bach, Christmas Oratorio; Kettering Adventist Chanson; Shrine of St. Philippine Duchesne, Church, Kettering, OH 4 pm St. Charles, MO 3 pm A two-inch LARRY PALMER Huw Lewis; Calvin Christian Reformed Bruce Power; Christ Church Cathedral, Hous- Church, Grand Rapids, MI 8 pm ton, TX 3 pm Philip Scriven; First Presbyterian, Evansville, Carol Williams; Spreckels Organ Pavilion, Professional Card Professor of IN 4 pm Balboa Park, San Diego, CA 2 pm in The Diapason Organized Rhythm; Christ Church Cathedral, Harpsichord and Organ Nashville, TN 4 pm 24 SEPTEMBER Thomas Trotter; St. Louis Cathedral, New Or- Christopher Stroh, work by Cage; Basilica of For information on rates and Meadows School of the Arts leans, LA 6 pm St. Mary, Minneapolis, MN 7 pm specifi cations, contact: Brian DuSell; Madonna della Strada Chapel, SOUTHERN METHODIST UNIVERSITY Loyola University, Chicago, IL 3 pm 25 SEPTEMBER Jerome Butera VocalEssence; Central Lutheran, Minneapolis, Dallas, Texas 75275 20 OCTOBER MN 8 pm [email protected] Robert Ridgell; St. Paul’s Chapel, Trinity Wall 847/391-1045 Street, New York, NY 1 pm Musical Heritage Society recordings 26 SEPTEMBER Marilyn Keiser; Cathedral of St. John the Di- Carole Terry, masterclass; Trinity University, vine, New York, NY 7:30 pm San Antonio, TX 10 am William Porter; St. Paul Cathedral, Pittsburgh, PA 7:30 pm 27 SEPTEMBER John Scott; West Liberty University, West Lib- Douglas Cleveland; Second Presbyterian, St. Arthur LaMirande erty, WV 8 pm Louis, MO 4 pm LaMirande must be complimented upon investi- Thomas Trotter; First Presbyterian, Jackson, Carole Terry; Trinity University, San Antonio, gating music that few of his fellow organists have MS 7 pm TX 3 pm had the foresight to examine and to bring before the David Saunders; Church of St. Louis, King of Peter Planyavsky; Cathedral of the Mad- public.—American Record Guide France, St. Paul, MN 12:35 pm eleine, Salt Lake City, UT 8 pm Jean-Baptiste Robin; Our Lady of Lourdes 21 OCTOBER L’organiste traversa son programme entier avec Church, Sun City West, AZ 3 pm Scott Lamlein; St. Paul’s-on-the-Green, Nor- une authorité, une solidité technique et une fraîcheur Gail Archer; University of Arizona, Tucson, walk, CT 12:05 pm de registration qui, loin de faiblir en fi n d’exercice, AZ 4 pm accompagnèrent les deux rappels d’ailleurs accordé David Hatt, Mendelssohn Sonatas 2 & 5; St. sans la moindre hésitation.—La Presse, Montréal 23 OCTOBER Stephen Tharp; Christ United Methodist, Mary’s Cathedral, San Francisco, CA 3:30 pm 461 Fort Washington Avenue, Suite 33 Greensboro, NC 7:30 pm Douglas Cleveland; Piedmont College Cha- 1 OCTOBER New York, NY 10033 pel, Demorest, GA 7:30 pm John Schwandt, with wind symphony and 212/928-1050 [email protected] Charles Kennedy; Cathedral Church of the band; Paul F. Sharp Concert Hall, University of Advent, Birmingham, AL 12:30 pm Oklahoma, Norman, OK 8 pm 34 THE DIAPASON Sept 09 pp. 33-37.indd 34 8/12/09 12:11:57 PM Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 2 OCTOBER 12 OCTOBER Peter Richard Conte; Paul F. Sharp Con- Stephen Hamilton, church music repertoire cert Hall, University of Oklahoma, Norman, OK class; Faith Lutheran, Clive, IA 7 pm LEON NELSON DOUGLAS O’NEILL 8 pm Cathedral of the Madeleine James Welch; Valley of the Flowers United 16 OCTOBER University Organist Church of Christ, Vandenberg Village (Lompoc), David Hatt; Trinity Episcopal, Reno, NV 12 North Park University Salt Lake City, Utah CA 7:30 pm noon Chicago, Illinois [email protected] 801/323-9850 3 OCTOBER 17 OCTOBER R. Jelani Eddington, with narrator; Paul F. Jeannine Jordan, organ skills workshop; Sharp Concert Hall, University of Oklahoma, Shepherd of the Sierra Lutheran, Gardnerville, Norman, OK 10:30 am NV 9 am Stephen G. Schaeffer Choral concert; Paul F. Sharp Concert Hall, DOUGLAS REED University of Oklahoma, Norman, OK 2 pm 18 OCTOBER Recitals – Consultations Donald Dumler; Grayce B. Kerr Gothic Hall, Craig Cramer; Christ the King Lutheran, UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent University of Oklahoma, Norman, OK 6 pm Houston, TX 6 pm Clark Wilson, silent fi lm accompaniment; Paul +Jeannine Jordan; Shepherd of the Sierra EVANSVILLE, INDIANA Birmingham, Alabama F. Sharp Concert Hall, University of Oklahoma, Lutheran, Gardnerville, NV 3 pm www.AdventBirmingham.org Norman, OK 8 pm Bede Parry; St. Mary’s Cathedral, San Fran- cisco, CA 3:30 pm 4 OCTOBER James David Christie; First Congregational, John Obetz; Community of Christ Auditorium, Los Angeles, CA 4 pm ROBERT L. Stephen Tappe Independence, MO 3 pm Carol Williams; Spreckels Organ Pavilion, Jelani Eddington, John Schwandt, & Clark Balboa Park, San Diego, CA 2 pm Organist and Director of Music Wilson, with piano and instruments; Paul F. SIMPSON Sharp Concert Hall, University of Oklahoma, Saint John's Cathedral 19 OCTOBER Christ Church Cathedral Norman, OK 8 pm Michael Unger; Atonement Lutheran, Over- Denver, Colorado Cherie Wescott 1117 Texas Avenue ; Christ the King Catholic land Park, KS 7:30 pm www.sjcathedral.org Church, Oklahoma City, OK 4 pm Houston, Texas 77002 Bach, Cantata 147; Christ the King Lutheran, 23 OCTOBER Houston, TX 6 pm Fred Swann; Kingsway United Methodist, Jonathan Young; Lagerquist Hall, Pacifi c Lu- Springfi eld, MO 7 pm theran University, Tacoma, WA 3 pm Clive Driskill-Smith; All Saints’ Episcopal, Choral Festival; St. Mary’s Cathedral, San Beal Thomas Fort Worth, TX 7:30 pm Francisco, CA 4 pm Joe Utterback Faye De Long; Trinity Episcopal, Reno, NV Mount Calvary Church David Gell; Trinity Episcopal, Santa Barbara, COMMISSIONS & CONCERTS 12 noon CA 3:30 pm Baltimore James Welch; St. Andrew’s Episcopal, Ojai, 732 . 747 . 5227 24 OCTOBER [email protected] CA 4 pm VocalEssence; Basilica of St. Mary, Minne- apolis, MN 8 pm 5 OCTOBER Stephen Hamilton, with Topeka Symphony, Michael Unger; St. Edmund’s Episcopal, San Marino, CA 8 pm Copland Organ Symphony; White Concert Hall, David Wagner Topeka, KS 8 pm DMA Kevin Walters 6 OCTOBER Madonna University Paul Jacobs; Laurel Heights United Method- 25 OCTOBER M.A., F.A.G.O. ist, San Antonio, TX 7:30 pm Janette Fishell; Augustana Lutheran, West Livonia, Michigan St. Paul, MN 7 pm [email protected] Rye, New York 9 OCTOBER David Goode; Grace and Holy Trinity Cathe- David Hurd, workshop; St. Paul’s Episcopal, dral, Kansas City, MO 3 pm Fayetteville, AR 7 pm Fred Swann, with choral festival; Evangel Uni- Richard Coulter; Trinity Episcopal, Reno, NV versity, Springfi eld, MO 6 pm 12 noon Stephen Hamilton; First Presbyterian, To- peka, KS 3 pm KARL WATSON Cherie Wescott 10 OCTOBER Clive Driskill-Smith; St. Paul’s Cathedral, Concerts • Masterclasses • Coaching Hector Olivera; Yavapai College, Prescott, Oklahoma City, OK 5 pm SAINT LUKE’S AZ 7:30 pm David Higgs; Cathedral of the Madeleine, Salt 405/942-3958 Robert Bates; Messiah Lutheran, Redwood Lake City, UT 8 pm METUCHEN e-mail: [email protected] City, CA 7 pm Ty Woodward; American Lutheran, Prescott, AZ 2:30 pm 11 OCTOBER •Anthony Hammond; St. Mary’s Cathedral, Gail Archer; Luther College, Decorah, IA San Francisco, CA 3:30 pm 4 pm Carol Williams; Spreckels Organ Pavilion, Davis Wortman Stephen Hamilton; First United Methodist, Balboa Park, San Diego, CA 2 pm RONALD WYATT Clear Lake, IA 4 pm John Weaver; First Presbyterian, Rochester, 29 OCTOBER St. James’ Church Trinity Church MN 4 pm Clive Driskill-Smith; Tarrytown United Meth- Carol Williams; First United Methodist, Lub- odist, Austin, TX 7:30 pm New York Galveston bock, TX 5 pm Carole Terry; Cathedral of the Madeleine, Salt 30 OCTOBER Lake City, UT 8 pm Mary Preston; St. Mark’s Cathedral, Shreve- •Choral Fest; Santa Ynez Valley Presbyterian, port, LA 7:30 pm Charles Dodsley Walker, FAGO Santa Ynez, CA 3 pm Todd Wilson, recital and silent fi lm accom- Olivier Latry; First United Methodist, Holly- paniment; St. John’s Episcopal, Jackson, WY Artist-in-Residence Founder/Conductor wood, CA 4 pm 7 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458 Cathedral of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 S #0936 - Concerts from Chicago…selected performances ORGAN DUO E recorded in conjunction with the 2006 National Biennial 3355 Queen Mary Road, Apt 424 P Convention of the American Guild of Organists. Montreal, H3V 1A5, P. Quebec Canada T #0937 - At Rockefeller Chapel…performances from (514) 739-8696 E inaugural season concerts featuring the University of M Chicago’s recently renovated 1928 Skinner organ. Fax: (514) 739-4752 Iain Quinn Maxine Thevenot [email protected] Director of Cathedral Associate Organist- B Music & Organist Choir Director #0938 - Shifting Accents…a sample of some of the E different ‘voices’ with which recently installed R instruments in the United States speak. DAVID SPICER First Church of Christ 2 #0939 - Listen to This!…the collaborative efforts Wethersfi eld, Connecticut Carol Williams of performers and recording engineers, and the 0 splendid sonorities of Àne instruments in good rooms, 0 work in accord to reveal unusual repertoire. San Diego Civic Organist 9 From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford SEPTEMBER, 2009 35 Sept 09 pp. 33-37.indd 35 8/12/09 12:12:17 PM 31 OCTOBER Thomas Leech; St. Paul’s Cathedral, London, 4 OCTOBER Tom Erickson, silent fi lm accompaniment; UK 4:45 pm Felix Hell; Kath. Kirche St. Joseph, Bonn- T.B. Sheldon Performing Arts Theatre, Red Simon Johnson; Westminster Abbey, Lon- Beuel, Germany 3 pm Organ Recitals Wing, MN 7 pm don, UK 5:45 pm Pascale Rouet, with percussion; Evreux Ca- James Welch, Halloween concert; St. Mark’s thedral, Evreux, France 5 pm SCOTT ATCHISON & NICOLE MA- Episcopal, Palo Alto, CA 8 pm 22 SEPTEMBER Ben Giddens; St. Paul’s Cathedral, London, Clark Wilson, silent fi lm accompaniment; Walt UK 4:45 pm RANE, with Tom Hooten, Kevin Lyons, Angus Sinclair; St. Paul’s Cathedral, London, Michael Tiscione, trumpets, Richard Deane, Disney Concert Hall, Los Angeles, CA 7:30 pm ON, Canada 12:15 pm 5 OCTOBER horn, Colin Williams, Mark McConnell, George Curran, trombones, and John Law- 25 SEPTEMBER Felix Hell; Basilika St. Lambertus, Düsseldorf, INTERNATIONAL Germany 7:30 pm less, timpani, Peachtree Road United Meth- Felix Friedrich; Cathédrale de Lausanne, odist Church, Atlanta, GA, February 8: A Lausanne, Switzerland 8 pm 6 OCTOBER Mighty Fortress, Nelhybel; Tune for the Trum- 15 SEPTEMBER pet, Atchison; Celestial Surroundings, Bellor; 26 SEPTEMBER Carol Williams; Alton Parish Church, Hamp- Stephanie Burgoyne & William Vandertuin; shire, UK 8 pm Rhapsodia Sacra, Schmidt; Conclusio (The St. Paul’s Cathedral, London, ON, Canada 12 Margherita Gianola, with soprano; Abbazia di Seven Last Words of Christ from the Cross), S. Silano, Romagnano Sesia, Italy 9 pm Andrew Mackriell; St. Paul’s Cathedral, Lon- noon don, ON, Canada 12:15 pm Schütz, arr. Moore; Salvum Fac Populum Nicolas Kynaston; St. Albans Cathedral, St. Tuum, op. 84, Widor; Toccata (Symphonie V), Albans, UK 5:30 pm 16 SEPTEMBER 7 OCTOBER Widor; Entry of the Queen of Sheba, Beau- Peter Richard Conte; Eglise des Saint-An- Felix Friedrich, Thomas Lennartz, & Hans- Felix Hell; Kath. Kirche St. Cyriakus, Franken- drot; Dream Pantomime (Hansel and Gretel), ges-Gardiens, Lachine, QC, Canada 7:30 pm jürgen Scholze; Kathedrale, Dresden, Germany thal-Eppstein, Germany 7 pm Humperdinck, arr. Mays; Bugler’s Holiday, 8 pm Anderson; Festival Procession, Strauss, ed. 27 SEPTEMBER Susan Landale; Hallgrimskirkja, Reykjavik, 10 OCTOBER Reger; Festmarch (Tannhäuser), Wagner, arr. Frederick Mooney Iceland 7:30 pm ; Katharinenkirche, Oppen- Felix Hell; Kirche St. Georg, Berka, Thürin- Szymanski. heim, Germany 6 pm gen, Germany 7 pm 17 SEPTEMBER Enrico Pasini, with fl ute; Santuario di Sant’ JAMES RUSSELL BROWN, Greenstone Jacques van Oortmerssen; Dom, Freiberg, Euseo, Serravalle Sesia, Italy 9 pm 11 OCTOBER (Pullman) United Methodist Church, Chica- Germany 8 pm Saki Aoki; Evreux Cathedral, Evreux, France Arthur LaMirande; St. John’s Anglican Cathe- go, IL, May 3: Voluntary in g, Greene; Allein Birger Marmvik; St. Margaret Lothbury, Lon- 5 pm dral, Hong Kong, China S.A.R. 7:30 pm Gott in der Höh sei Ehr, BWV 715, Liebster don, UK 1:10 pm Martin Setchell; St. Paul’s Cathedral, London, Timothy Wakerell; St. Paul’s Cathedral, Lon- Jesu, wir sind hier, BWV 731, Bach; Allegret- UK 4:45 pm don, UK 4:45 pm to (Sonata IV, op. 65), Mendelssohn; Chorale 18 SEPTEMBER Ourania Gassiou; Westminster Abbey, Lon- Variations on St. Elizabeth, Ferko; Andantino, Martin Strohhäcker; Kirche, Herzogswalde, don, UK 5:45 pm 13 OCTOBER Bédard; Sonata II, Hindemith; Te Deum, op. Germany 7:30 pm Maxine Thevenot; L’eglise des Saints-Anges William Lupton; St. Paul’s Cathedral, London, 58, no. 12, Reger. Monica Melcova; Cathédrale de Lausanne, Gardiens, Lachine, Montreal, QC, Canada 3 pm ON, Canada 12:15 pm Lausanne, Switzerland 8 pm STEPHANIE BURGOYNE & WILLIAM Winfried Englhardt & Elisabeth Sperer; 28 SEPTEMBER 14 OCTOBER VANDERTUIN, St. Jude’s Anglican Church, Chiesa di S. Maria, Valduggia, Italy 9 pm Enrico Pasini, with fl ute; Chiesa dei SS. Giu- Thomas Trotter; Croydon Parish Church, Brantford, ON, Canada, May 1: Trio Sonata Thierry Escaich, with Sequenza; Evreux Ca- lio ed Amatore, Cressa (NO), Italy 9 pm Croydon, UK 7 pm in g, D. Purcell; Variatie en Fuga on a Folk thedral, Evreux, France 8:30 pm Song, Mudde; Ragtime, Callahan; Toccata in 29 SEPTEMBER 17 OCTOBER f, Young; Intrada (Sinfonietta), Bedard. 19 SEPTEMBER Janet Peaker; St. Paul’s Cathedral, London, Lionel Rogg, masterclass; St. Saviour’s Mario Penzar; Kirche, Nassau, Germany ON, Canada 12:15 pm Church, St. Albans, UK 10 am, recital 5:30 pm PHILIP T. D. COOPER, First Congrega- 7:30 pm tional Church, Oroville, CA, March 29: Toc- Matthias Schneider; Kirche, Herzogswalde, 1 OCTOBER 18 OCTOBER cata ex C Dur, Allein zu dir, Herr Jesu Christ, Germany 7:30 pm Bo Ingelberg; St. Margaret Lothbury, London, Jozef Sluys; Cathedral of SS. Michael and Fuga ex G Dur, Magnifi cat sexti toni, Pachel- Mario Duella & Pierangelo Ramella, with UK 1:10 pm Gudula, Brussels, Belgium 4 pm bel; Herr Jesu Christ, meins Lebens Licht, chorus; Chiesa di S. Maria della Pace, Pralungo, Robert Patterson; St. Paul’s Cathedral, Lon- Herr Gott, dich loben alle wir, Buttstedt; Italy 9 pm 2 OCTOBER don, UK 4:45 pm Wenn wir in höchsten Nöten sein, Fuga ex C Wladimir Matesic; Cathédrale de Lausanne, Dur, Vetter; Ciacona ex C Dur, Eckelt; Ein 20 SEPTEMBER Lausanne, Switzerland 8 pm 19 OCTOBER feste Burg ist unser Gott, Vom Himmel hoch Christoph Krummacher; Kirche, Crostau, Arnaud van de Cauter, with fl ute, horn, and da komm ich her, Ricercar ex c moll, Magni- Germany 7:30 pm 3 OCTOBER percussion; Our Lady of the Chapel, Brussels, fi cat septimi toni, Pachelbel; Vom Himmel Gabriel Marghieri; Chiesa di S. Michele Ar- Frederick Mooney; Dom, Fulda, Germany Belgium 8 pm hoch, da komm ich her, J. B. Bach; Fuga XII cangelo, Cavaglià, Italy 9 pm 12:05 pm à 4 sexti toni, Fuga XIX à sexti toni pro organo Pierre Henri Houbard; Evreux Cathedral, Carol Williams; St. Mary’s Church, Hemsby, 20 OCTOBER pleno (Musikalische Geräumigkeit), Cooper; Evreux, France 5 pm Great Yarmouth, UK 7:30 pm Louis Robilliard; Our Lady of Laeken, Brus- Liebster Jesu, wir sind hier, Walther; Liebster sels, Belgium 8 pm Jesu, wir sind hier, BWV 731, Praeludium Joel Vander Zee; St. Paul’s Cathedral, Lon- und Fuga in C Dur, BWV 545, Bach. don, ON, Canada 12:15 pm ORGAN BUILDERS CRAIG CRAMER, St. Mark’s Cathedral, 21 OCTOBER Seattle, WA, May 1: Toccata in C, BWV 566, Michael Schönheit; Cathedral of SS. Michael Partite diverse sopra: Sei gegrüsset, Jesu gütig, L. W. BLACKINTON THE NOACK ORGAN CO., INC. and Gudula, Brussels, Belgium 8 pm BWV 768, Concerto in G, BWV 592, Christ and associates, inc. MAIN AND SCHOOL STREETS lag in Todesbanden, BWV 625, Jesus Chris- GEORGETOWN, MA 01833 22 OCTOBER www.noackorgan.com tus, unser Heiland, der den Tod überwand, 380 FRONT ST. François Houtart; Abbey of La Cambre, Brus- BWV 626, Christ ist erstanden, BWV 627, EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America sels, Belgium 8 pm Erstanden ist der heil’ge Christ, BWV 628, Erschienen ist der herrliche Tag, BWV 629, 23 OCTOBER Heut’ triumphiret Gottes Sohn, BWV 630, martin ott pipe Wolfgang Kogert; Cathedral of SS. Michael organ Fantasia and Fugue in g, BWV 542, Bach. company and Gudula, Brussels, Belgium 8 pm inc. ROBERT DELCAMP & DANIEL 24 OCTOBER STIPE, St. Luke’s Chapel, University of the 1353 Baur Boulevard Momoyo Kokubu; Our Lady of the Finistère, St. Louis, MO 63132-1903 South, Sewanee, TN, March 5: Sinfonietta for 314-569-0366 Phone Brussels, Belgium 10:30 am Organ Duet, Bédard; Concerto for Two Or- 314-504-0366 Cell Peter van Dijk; Protestant Church of the Bo- Martin Ott 314-569-3879 Fax gans, Blanco; Interlude (Sonata à deux), Lit- ofÄ[email protected] tanic, Brussels, Belgium 11:30 am Orgelbaumeister www.ottpipeorgan.com aize; Bombardo-Carillon for Four Feet, Alkan; Salvatore Gioveni; St.-Jacques sur Couden- Hymne Op. 78 for Organ and Piano, Jongen; berg, Brussels, Belgium 2:30 pm Concerto for Organ and Piano, Peeters. NEW INSTRUMENTS Stijn Hanssens, with tenor; Magdalenachurch, Brussels, Belgium 3:30 pm MAINTENANCE STEVEN EGLER, with Frances Shelly, RESTORATIONS Parkey 25 OCTOBER fl ute, Fairmount Presbyterian Church, 974 AUTUMN DRIVE OrganBuilders Marie-Claire Alain; Cathedral of SS. Michael Cleveland Heights, OH, May 3: Sonata in C, Telemann; The Dove Descending, Roush; ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs and Gudula, Brussels, Belgium 4 pm ABR 847-395-1919 Romance and Scherzo (Suite, op. 34), Widor; F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Martin Ford; St. Paul’s Cathedral, London, UK PIPE ORGANS FAX 847-395-1991 Suite 150-285 Fax 770-368-3209 Ein’ feste Burg ist unser Gott (Cantata No. www.fabryinc.com 4:45 pm Duluth, Georgia 30096 www.parkeyorgans.com 80), Bach, transcr. Near; Ornament of Grace, 27 OCTOBER Sanders; Sonata da Chiesa for Flute and Or- David Greenslade; St. Paul’s Cathedral, Lon- gan, Locklair. don, ON, Canada 12:15 pm Pipe Organ Craftsmen & Builders JOSEPH FITZER, Immaculate Concep- Hupalo GF 29 OCTOBER tion Church, South Chicago, IL, April 26: 1785 Timothy Drive, Unit 4 Dick Klomp; St. Margaret Lothbury, London, March in G, Moir; Canzona after the Epistle, & San Leandro, CA 94577 UK 1:10 pm Toccata and Ricercare after the Creed, Can- Repasky Tel: 510 483 6905 www.hupalorepasky.com 4820 Bristol Valley Road, 14424-9309 sound INSPIRATION ORGANBUILDING & RESTORATIONS 3165 Hill Road Acoustical Design & Testing • Organ Consultation & Eagleville, TN 37060 Inspection • Organ Maintenance & Tuning • Sound & Video (615) 274-6400 Dennis, Derek, Jeff, Todd and System Design, Evaluation & Training Greg Milnar and Associates www.riedelassociates.com • (414) 771-8966 email: [email protected] www.milnarorgan.com E-mail: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Advertise in A. David Moore, Inc. _The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] 36 THE DIAPASON Sept 09 pp. 33-37.indd 36 8/12/09 12:12:31 PM zona after the Communion (Fiori Musicali, Linden grüne, Sweelinck; Alléluias sereins ludium in e, Brunckhorst; Sei gegrüsset, Jesu mélite, Françaix; Mosaïques, Lee; Prélude et 2nd Mass), Frescobaldi; Offertory on O Filii d’une âme qui désire le ciel (L’Ascension), gütig, BWV 768, Bach. Fugue, Conte. et Filiae, Lebègue; Christ ist erstanden, BWV Messiaen; Chorale (Symphonie romane, op. 627, Bach; Prélude, Canon, Canzona (Pièces 73), Widor; Canon in b (Studien für den Ped- MASSIMO NOSETTI, Eglise Sainte- JOHN SKELTON, First Presbyterian en style libre), Vierne; Sequence in a, Karg- al-Flügel, op. 56), Schumann; Finale (Sym- Anne, Ottawa, ON, Canada, May 8: Bell- Church, Pittsburgh, PA, April 23: Sonata No. Elert; Ave Maria, Mauro-Cottone; Passaca- phonie I, op. 14), Vierne. Rondo, Morandi, transcr. Best; Ciaccona in d 3 in A, op. 65, Mendelssohn; Valet will ich dir glia, West. (Partita for violin, BWV 1004), Bach, transcr. geben, BWV 736, Liebster Jesu, wir sind hier, BRIAN LUCKNER, Shrine of Our Lady Matthey; Trois Pièces, op. 29, Pierné; Leg- BWV 730, 731, Toccata, Adagio and Fugue SIMON HARDEN, St. Lawrence Jewry, of Guadalupe, La Crosse, WI, May 17: Prae- ende, op. 132, no. 1, Bossi; Andante rustico in C, BWV 564, Bach; Kleine Partita on Es London, UK, May 5: Canzona in C, BuxWV ludium in G, Bruhns; Ave Maris Stella, III (Sonata Seconda), Yon; Fileuse, op. 67, no. 4, ist ein Ros’ entsprungen, Heiller; Postlude in 166, Buxtehude; Praeludium in e, Bruhns; (op. 18, no. 8), Dupré; Ave Maria, Near; Pre- Mendelssohn, transcr. Remondi; Toccata de la D, Smart. Allein Gott in der Höh sei Ehr, BWV 664, lude and Fugue in E-fl at, BWV 552, Bach; Libération, Saint-Martin. Bach; Dulcedo cordis mei, Schlee; Wir Paean, Leighton; Voluntary in A (op. 7, no. MICHAEL WAYNE SMITH, First glauben all an einen Gott, BWV 680, Bach; 1), Stanley; Allegro (Deuxième Symphonie, KOLA OWOLABI, First Presbyterian Presbyterian Church, Pittsburgh, PA, April Deuxième fantaisie, Alain; Toccata in d, op. 20), Vierne. Church, Pittsburgh, PA, May 7: Sonata No. 30: Prelude and Fugue in a, BWV 543, BuxWV 155, Buxtehude. 4 in B-fl at, Mendelssohn; Prelude, Ada- Schmücke dich, o liebe Seele, BWV 654, ALISON LUEDECKE, with Bill Owens, gio et Choral varié sur le Veni Creator, op. Bach; Saraband for the Morning of Easter, HEATHER HERNANDEZ, Faith Luther- trumpet, St. Gregory’s Episcopal Church, 4, Durufl é. Howells; Sonate I, Hindemith; Libertango, an Church, Phoenix, AZ, April 25: Celebration Long Beach, CA, March 15: Prelude to Te Reminiscence, Piazzolla, arr. Smith; Fantasia Fanfare (Three Festive Pieces), Best; Canzon Deum, Charpentier; Sonata in D, Corelli; H. RICARDO RAMIREZ, Cathedral of the on ‘Lucis Creator’, Papadakos. in c, KN 147/11, Weckmann; Allein Gott in Concerto in a, BWV 593, Bach; Sonata Pri- Sacred Heart, Rochester, NY, May 1: Prélude der Höh sei Ehr, BWV 662, Bach; Chaconne, ma Per Trombetta Sola, Viviani; Toccata in et Fugue sur le nom d’Alain, op. 7, Prélude sur NEIL STIPP, Cathedral of Our Lady of L. Couperin, transcr. Bonnet; Andante in F, a, Sweelinck; Sonata Seconda Per Trombetta l’Introit de l’Épiphanie, op. 13, Fugue sur le the Angels, Los Angeles, CA, April 15: Ar- K. 616, Mozart; Verset de Procession, Boëll- Sola, Viviani; Pavane, Byrd; Tiento X, Primer thème du Carillon des Heures de la Cathédrale rival of the Queen of Sheba (Solomon), Han- mann; Scherzetto (Twelve Pieces for Organ), Tono, de Arauxo; O Voy, Roman; Si n’os Huvi- de Soissons, op. 12, Méditation, op. post., Suite del, arr. Maynard; More Palatino, Sweelinck; Quef; Mariales, Hakim; Prelude, Fugue et era Mirado, Anonymous; Sentirete Una Can- pour orgue, op. 5, Scherzo pour orgue, op. 2, Fantasy, Variations on an American Hymn Variation, op. 18, Franck; Carillon de West- zonetta, Merula; Suite in D, Clarke. Prélude, Adagio et Choral Varié sur le thème Tune, Stipp; Prelude and Fugue on the Theme minster (Troisième Suite, op. 54), Vierne. du Veni Creator, op. 4, Durufl é. B-A-C-H, Liszt. PETER K. MILLER, Westminster Pres- CALVERT JOHNSON, organ and piano, byterian Church, Decatur, IL, May 24: Christ DOROTHY YOUNG RIESS, First Chris- JOHN CHAPPELL STOWE, Sinsinawa with David Kuehn, violin, First Presbyterian ist erstanden, Christus resurrexit (Buxheimer tian Church, Las Vegas, NV, May 17: Prelude, Mound, Sinsinawa, WI, May 3: Prelude and Church, Marietta, GA, March 31: Longing Orgelbuch), transcr. Booth; Ricercar #3 in Fugue and Chaconne in C, Buxtehude; Toc- Fugue in D, BWV 532, Bach; Ave Maris Stella, for Beloved Jerusalem, Think, When Once F, Ricercar #4 in F, Fogliano; In dulci jub- cata and Fugue in d, BWV 565, Bach; Ave de Grigny; Elevatione, Postcommunio, Mar- the Dimness Clears, Sweetest Jesu, Gladly ilo (Orgel Tabulaturbuch), Sicher; Canzona Maria, Bach-Gounod, arr. Riess; Prelude in tini; Schmücke dich, O liebe Seele, O Gott, Will I Journey, Grant Me, God, a Little francese, de Macque; Psalm 140, Sweelinck; f, op. 35, Mendelssohn, arr. Bossart; Pilgrim’s du frommer Gott (Chorale Preludes, op. 122), Space (11 Norwegian Religious Folktunes), Canzona a quarti toni, Erbach; Tiento de Chorus, Wagner, arr. Liszt; Introduction and Brahms; Tidings, Pinkham; Prelude, Adagio, Sommerfeldt; Elegi, Wallin; Gammal fä- medio registro de baxon de 1 tono, Correa Passacaglia in d, Reger; Liebesfreud, Kreis- and Toccata, Fleury. bodpsalm, Lindberg; Laudamus te, Bury Me de Arauxo; Toccata Quinta sopra i Pedali ler, arr. Riess; Canzonetta (First Symphony), Eas’ or Wes’, Jubilate (Sacred Idioms of the del Organo e senza (Il secondo libro di Toc- Young, arr. Riess; 24th Caprice for Pedal Solo, TODD WILSON, Trinity International Negro), Sowande; Vocalise: Suite for Trum- cate d’Intavolatura di Cembalo e Organo), Paganini, arr. Riess; Resurrection (Sympho- University, Deerfi eld, IL, April 26: Toccata pet, Willis. Frescobaldi; 12. Ricercar in C (Ricercar Tab- nie-Passion, op. 23), Dupré. and Fugue in d, BWV 565, Abide with us, ulatura), Steigleder; Praeambulum in F, WV Lord Jesus Christ, BWV 649, My soul doth CHRISTIAN LANE, Peachtree Road 39, Canzona in F, Christ lag in Todesbanden, CAROLYN SHUSTER FOURNIER, La magnify the Lord, BWV 648, Lord Jesus, art United Methodist Church, Atlanta, GA, May Scheidemann; Canzona in G, Komm heiliger Madeleine, Paris, France, April 5: Fantaisie et thou come from heaven?, BWV 650, Passaca- 10: I Know That My Redeemer Lives, Come Geist, Herre Gott, Tunder; Allein Gott in der fugue en sol mineur, BWV 542, Bach; Prélude, glia in c, BWV 582, Bach; There is a happy Away to the Skies (Sacred Sounds), Shearing; Hoh sei Ehr, Hasse; Herr Jesu Christ, ich Petit Canon, Improvisation, Pièce sur des airs land, I love thee, my Lord, Shearing; Allegro Prelude and Fugue in a, BWV 543, Bach; Pre- weiss gar wohl, BuxWV 193, Buxtehude; Wir populaires fl amands, Boulanger; Fugue en mi vivace, Adagio, Toccata (Symphony No. 5, lude on Lasst Uns Erfreuen, Muhly; Unter der glauben all an einen Gott, Pachelbel; Prae- bémol mineur (Trois Pièces), Ibert; Suite car- op. 42), Widor. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, 3262!Nbejtpo!Tusffu-!Cfmmxppe-!JM!71215 !819.655.5163!¦!gby!819.655.5169 enddmfbszAcfshibvtpshbo/dpn!¦!xxx/cfshibvtpshbo/dpn Visit The Diapason website: www.TheDiapason.com CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 20.00 ______Display Classifi ed, per word 1.30 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($25 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine. SEPTEMBER, 2009 37 Sept 09 pp. 33-37.indd 37 8/12/09 12:12:46 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37. POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS A. E. Schlueter Pipe Organ Company is Harpsichord Technique: A Guide to Expres- Aging of Organ Leather by Harley Piltingsrud PRO ORGANO (a CD label of Zarex Corpo- searching for an experienced full-time pipe organ sivity, Second Edition, by Nancy Metzger. tells how to test and select organ leathers for lon- ration) is pleased to announce the fi rst in its installation specialist (NOTE: This is not an entry- Book, organ, harpsichord CDs at author’s gevity of 60 years or more. Treats other aspects series of new DVD video / CD audio dual-disc level position); individuals applying should have website, best prices. www.rcip.com/ of leather production and the history of testing for products: Praise the Eternal Light, with Gerre extensive experience in the installation process musicadulce. longevity. New 48-page edition in 1994, $9.95 + Hancock. The 68-minute program, produced in of large pipe organs of 50 stops and above. A $4.50 shipping for entire order (within USA). Or- full HD and Dolby Surround Sound, features im- full benefi t package is available, salary based on der online at www.ohscatalog.org. provisations upon the windows of Cathedral of experience and qualifi cations. Send résumé by St. Joseph in Hartford, Connecticut. Available fax to 770/484-1906 or e-mail to aeschlueter@ The Organ Historical Society has released at special introductory price of $20 (plus post) pipe-organ.com. Historic Organs of Indiana, 4 CDs recorded at Historic Organ Surveys on CD: recorded by phone, FAX, or mail order with MasterCard/ the OHS National Convention in Central Indiana during national conventions of the Organ His- Visa. Call 1-800/336-2224 (USA/Canada) or in July, 2007. Nearly 5 hours of music features torical Society. Each set includes photographs, 574/271-9151. FAX 574/271-9191. Mail: PRO MISCELLANEOUS 31 pipe organs built between 1851–2004, by stoplists, and histories. As many organists as ORGANO / ZAREX, PO Box 8338, South Bend Aeolian-Skinner, Skinner, Henry Erben, Fel- organs and repertoire from the usual to the IN 46660-8338. Item #7233. gemaker, Hook & Hastings, Kilgen, Kimball, unknown, Arne to Zundel, often in exceptional Large music library for sale. CDs (classical, performances on beautiful organs. Each set and many more builders. Performers include organ), organ books, methods, sheet music, includes many hymns sung by 200–400 musi- REED ORGANS collections, etc. All in good to excellent shape. Ken Cowan, Thomas Murray, Bruce Stevens, cians. Historic Organs of Indiana, 31 organs Prices 50% or less of original. For list, contact Carol Williams, Christopher Young, and others. on 4 CDs, $34.95. Historic Organs of Louisville FOR SALE [email protected]. A 40-page booklet with photos and stoplists is (western Kentucky/eastern Indiana), 32 organs included. OHS-07 4-CD set is priced at $34.95 on 4 CDs, $29.95. Historic Organs of Maine, Mason and Hamlin, three manual and pedal. (OHS members, $31.95) plus shipping. Visit the 39 organs on 4 CDs, $29.95. Historic Organs OHS Online Catalog for this and over 5,000 oth- $9,500, including blower. Rare. A.D. Moore Inc., PUBLICATIONS/ of Baltimore, 30 organs on 4 CDs, $29.95. 802/457-3914. RECORDINGS er organ-related books, recordings, and sheet Historic Organs of Milwaukee, 25 organs in music: www.ohscatalog.org. Wisconsin on 2 CDs, $19.98. Historic Organs of New Orleans, 17 organs in the Bayous to Sonata IV by Eugene Thayer is the short- Natchez on 2 CDs, $19.98. Historic Organs of PIPE ORGANS est and least technically demanding. It was The OHS Catalog is online at www.ohscatalog. San Francisco, 20 organs on 2 CDs, $19.98. FOR SALE the fi rst not to contain patriotic themes and org. More than 5,000 organ and theatre organ Add $4.50 shipping in U.S. per entire order the movements may be played separately. CDs, books, sheet music, DVDs and VHS vid- from OHS, Box 26811, Richmond, VA 23261, 1964 M.P. Möller pipe organ. 36-rank American michaelsmusicservice.com; 704/567-1066. eos are listed for browsing and easy ordering. by telephone with Visa or MasterCard 804/353- Classic specifi cation including two célestes, two Use a link for adding your address to the OHS 9226; FAX 804/353-9266. enclosed divisions and 32′ reed. Three-manual Catalog mailing list. Organ Historical Soci- Refl ections: 1947–1997, The Organ Depart- console. No casework or façades; instrument is ety, Box 26811, Richmond, VA 23261. E-mail: in good condition but will need releathering. Ask- ment, School of Music, The University of Michi- [email protected]. Peterson Electro-Musical Products, Inc. an- gan, edited by Marilyn Mason & Margarete nounces a series of one- to three-minute vid- ing $50,000 “as is” or can be rebuilt with some Thomsen; dedicated to the memory of Albert eos demonstrating some of the most popular modifi cations. Available immediately. For more Stanley, Earl V. Moore, and Palmer Christian. CD Recording, “In memoriam Mark Bux- features of the ICS-4000™ pipe organ control information, contact Létourneau Pipe Organs at Includes an informal history-memoir of the organ system. These videos show organists and organ [email protected] or 888/774-5105. department with papers by 12 current and former ton (1961–1996).” Recorded at Église Notre- builders how easy it is to do such tasks as set faculty and students; 11 scholarly articles; remi- Dame de France in Leicester Square, London, up the programmable crescendo, use the built- niscences and testimonials by graduates of the between 1987 and 1996. Works of Callahan, in record/playback system, utilize Peterson’s 11-rank Wicks pipe organ. $4,400. 248/471- department; 12 appendices, and a CD record- Widor, Grunewald, Salome, Ropartz, and Boëll- proprietary “Organist Folders™” system, and 1515; 586/202-9960. ing, “Marilyn Mason in Recital,” recorded at the mann, along with Buxton’s improvisations. $15 save piston registrations onto a USB fl ash drive National Shrine of the Immaculate Conception postpaid: Sandy Buxton, 10 Beachview Cres- memory stick. Over a dozen videos are presently in Washington, DC. $50 from The University of cent, Toronto ON M4E 2L3 Canada. 416/699- available, with more to follow soon. Visit www. Continuo organ, 8′, 4′, 2′; 8′ principal c1–g3; Michigan, Prof. Marilyn Mason, School of Music, 5387, FAX 416/964-2492; e-mail hannibal@ PetersonEMP.com, then click on “ICS-4000 In- playable at A-440 or A-415; portable. $39,000. Ann Arbor, MI 48109-2085. idirect.com. structional Videos.” A. David Moore Inc., telephone: 802/457-3914. glück newyork orgaNbuilders 170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038 2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com 3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com 38 THE DIAPASON Sept 09 pp. 38-39.indd 38 8/12/09 12:13:34 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37. PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES Furst organ, 2 manual, 14 rank. $5000. You Kilgen bench—includes modesty valance. Austin actions: Come to the source. Fast de- Releathering all types of pipe organ actions dismantle and remove. Many extras. Call for de- Blonde oak fi nish; in good condition. Book: Elec- livery. Guaranteed. 860/522-8293; www.austin and mechanisms. Highest quality materials and tails. 717/359-4363. tronic Musical Instruments, by R. H. Ward, pub- organs.com. workmanship. Reasonable rates. Columbia lished 1954. 330/821-3875 (evenings). Organ Leathers 800/423-7003. www.columbia organ.com/col. Last Aeolian-Skinner built (1971) with many Aeolian/Robert Morton-style maroon leather recent upgrades. Excellent condition. Three new Consoles, pipes and numerous miscellaneous is now available from Columbia Organ keyboards, 33 stops, 46 ranks. Contact First parts. Let us know what you are looking for. Leathers! Highest quality. 800/423-7003, THE DIAPASON’s website now presents featured Presbyterian, Grand Forks, ND, attn: Gretchen, E-mail [email protected] (not comcast), www.columbiaorgan.com. artists in its SPOTLIGHTS section—with pho- 701/775-5545 or gretchen@fi rstpresgf.org. phone 215/353-0286 or 215/788-3423. tos, biographies, and contact links. Visit www. TheDiapason.com to view details: in the left- Portative organ: Designed for small choral or Highest quality organ control systems since hand column, under Spotlights, click on Fea- baroque ensembles. Four stops: 8′, 4′, 2′, and Spencer blower—Century motor, 2 HP single 1989. Whether just a pipe relay, combination tured Artists. 1-1/3′, with the last two divided into bass and tre- phase capacitor start, 60 cycles, 1750 rpm; volts: action or complete control system, all parts ble registers and an adjustable point of division 115/230. $750. 330/821-3875 (evenings). are compatible. Intelligent design, competitive (b24/c25 or c25/c#26). Adjustable pitch between pricing, custom software to meet all of your re- Tours of the World’s Largest Pipe Organ in At- A=440 Hz and A=415 Hz. Quartersawn white oak quirements. For more information call Westa- lantic City’s Boardwalk Hall are now available by case. Available immediately. For more informa- Atlantic City Organ Company—3-rank Wicks, cott Organ Systems, 215/353-0286, or e-mail reservation. The two-hour docent tours include tion, contact Létourneau Pipe Organs at mail@ $4000 or best offer; 16′ Kilgen/OSI Gemshorn [email protected]. the ballroom Kimball organ and the 33,000+ pipe letourneauorgans.com or 888/774-5105. with chests, $2500; Kilgen 8′ Concert Flute (dop- Midmer-Losh organ, with its 7-manual console pel, harm), $600; 2′ Harmonic Piccolo, $500; OSI and 5-manual portable console. Tourgoers will 8′ Harmonic Trumpet (parallel shallots), $1,000. Austin actions recovered. Over 40 years ex- see the 64′ pedal stop, the immense 32′ Diapa- 8-rank Wangerin near Detroit is seeking a good 609/641-9422; [email protected]. perience. Units thoroughly tested and fully guar- sons, and areas of the organs not open to the ca- home. I am in good condition and will bring joy anteed. Please call or e-mail for quotes. Tech- sual visitor. Tours cost $20, which goes directly to my new owner. Owner is asking $3,500 and nical assistance available. Foley-Baker, Inc., 42 to support the restoration of these instruments; buyer to remove. For information please contact 4-manual console, circa 1964, by Reuter, N. River Road, Tolland, CT 06084. Phone 1- children under 12 are admitted free. For reserva- 248/356-0896 or [email protected]. good condition, $3600; Steinway 7′ square pi- 800/621-2624. FAX 860/870-7571. foleybaker@ tions: [email protected]. For information: ano, circa 1882, great shape, $4500. Colorado; sbcglobal.net. www.acchos.org. 1960s Walcker (German) 14-rank tracker 303/671-6708. organ. Open toe voicing on 2″ wind pressure. Reverse console built into case. Footprint is 6′ Need help with your re-leathering Postal regulations require that mail wide by 11′6″ deep (including console and pedal Request a free sample issue of The Diapason project? All pneumatics including to THE DIAPASON include a suite num- stops), 9′10″ tall. All encased with 4′ Principal for a student, friend, or colleague. Write to the Austin. Over 45 years experience ber to assure delivery. Please send ′ ′ Editor, The Diapason, 3030 W. Salt Creek façade. Manual I—8 Gedackt, 4 Octave, II Ses- (on the job assistance available). all correspondence to: THE DIAPASON, quialtera, II–III Mixture. Manual II—8′ Gemshorn, Lane, Suite 201, Arlington Heights, IL 60005; 615/274-6400. 4′ Rohrfl ote, ′2 Principal, 1-1/3′ Quinte. Pedal— or e-mail: [email protected]. 3030 W. Salt Creek Lane, Suite 201, 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and Arlington Heights, IL 60005. in use regularly. Asking $16,500. For recordings and pictures contact [email protected]. ATTENTION ORGANISTS! Have you ever ALL REPLIES panicked when a cipher occurred, and just THE DIAPASON’s classified ads are couldn’t fi nd your way fast enough through TO BOX NUMBERS MISCELLANEOUS now available on THE DIAPASON the chamber to locate that renegade pipe? that appear website—including photographs and FOR SALE We have the answer! The GPPS (Global convenient e-mail links directly to the Pipe Positioning System) displays the without an address sellers! Visit www.TheDiapason.com path to the offending pipe, along with all 1955 3-manual Reuter electric stop-tab con- should be sent to: and in the left-hand column, look for sole, bench, pedalboard. Mechanical “hold-set” the turns necessary on the walkboards, SPOTLIGHTS, then click on Classified combination action. Light oak with walnut inte- etc. The GPPS device sits handily on your THE DIAPASON Advertisements. Follow the links to the rior. Choir/Echo, 7/10 tabs, Great, 6, Swell, 12, console or is available as an app for your 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click Pedal, 7. Three expression shoes. Located in smart phone. Box GPPS-Con, The Diapa- the e-mail button to contact the sellers. downtown Atlanta, GA. Inquiries get price quote son; [email protected]. Arlington Heights, IL 60005 What could be easier? and pictures. [email protected]. Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930 GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852 Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl SEPTEMBER, 2009 39 Sept 09 pp. 38-39.indd 39 8/12/09 12:14:02 PM KKararenen McFMcFarlanearlane ArArtististsts 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Michael Unger AGO National Competition Winner Available 2008-2010 Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode* Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011 Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* CHOIRS AVAILABLE The Choir of Saint Thomas Church, NYC John Scott, Director March 16-23, 2009 Spring 2010 The Choir of New College Oxford, UK Edward Higginbot tom, Director Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* April 10-25, 2010 The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director Spring 2011 European artists available 2008-2009 and 2009-2010 Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney WEB SITE: www.concertorganists.com ThomasGillian Trotter*Weir* GillianTodd Wilson Weir* ChristopherTodd Wilson Young Christopher Young