THE DIAPASON AUGUST 2017

Oklahoma History Center Oklahoma City, Oklahoma Cover feature on pages 26–28 Our 20 under 30 Artists

MICHAEL HEY Class of 2016

“...crisp, clean, and enticingly communicative... scintillating.” (The Straits Times, Singapore)

CHRISTOPHER HOULIHAN Class of 2015

“Houlihan’s skillful interpretation...adds an orchestral sensibility while ultimately deepening one’s appreciation.” (Winnipeg Free Press, Canada)

SIMON THOMAS JACOBS Class of 2015

“Jacobs performs with great panache; his playing is rhythmically vital... conspicuous virtuosity.” (Organists’ Review, England)

JOSHUA STAFFORD Class of 2016

“...music-making of the highest order, delivered without affectation, obviously played with delight and musical intensity.”

(The Diapason )

www.concertartists.com 860-560-7800 www.concertartists.com / [email protected] THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 8, Choral music reviews Whole No. 1293 This month, we are pleased to resume providing reviews AUGUST 2017 of choral music in our Reviews department. Many of you Established in 1909 will recall James McCray, who provided this service for us Stephen Schnurr ISSN 0012-2378 for approximately four decades until early this year. We 847/954-7989; [email protected] have assembled fi ve professionals from the academic and www.TheDiapason.com An International Monthly Devoted to the Organ, church music worlds, representing the Catholic, Episcopal, the Harpsichord, Carillon, and Church Music Lutheran, and Presbyterian denominations, who will be In this issue sharing their wealth of knowledge about music for choirs. Our cover feature this month spotlights a 1936 Kilgen organ CONTENTS Karen Schneider Kirner is a staff member at Notre Dame given a new life in the Oklahoma History Center in Oklahoma FEATURES University, South Bend, Indiana, where she is assistant City. This fascinating project was spearheaded by the American 1863 E. & G. G. Hook Opus 322, Church of director of the Notre Dame Folk Choir and director of the Organ Institute at the University of Oklahoma. The organ has the Immaculate Conception, Boston, Notre Dame Handbell Choir. Richard Hoskins is director of survived more than 80 years in several locations, providing Massachusetts, Part 2 by Michael McNeil 18 music and organist for St. Chrysostom’s Episcopal Church, artistic enjoyment to countless people, and the new home for Chicago, Illinois. Derek Nickels is organist and choirmaster the organ assures this will continue for generations to come. Experiencing the Story: Oberlin’s 2017 Winter Term Trip to the Netherlands and at the Church of the Holy Comforter, Episcopal, Kenilworth, We continue Michael McNeil’s in-depth look at the historic Germany Illinois. Anne Krentz Organ is director of music ministries and monumental 1863 E. & G. G. Hook Opus 322, formerly by Jonathan Moyer 22 for St. Luke’s Lutheran Church, Park Ridge, Illinois, and our located in the now-closed Church of the Immaculate Concep- NEWS & DEPARTMENTS fi rst contributor in this issue, writing about two-part choral tion, Boston, Massachusetts. For the fi rst part of this series, Editor’s Notebook 3 selections. And Leon (Lee) Nelson, well known to our read- see our July issue, pp. 17–19. Jonathan Moyer of the Oberlin Here & There 3 ers for providing handbell music reviews for many years, will Conservatory of Music has provided us with a narrative of a Nunc Dimittis 8 also provide choral reviews; he is director of traditional music fascinating study trip undertaken by the Oberlin organ depart- Appointments 10 for Southminster Presbyterian Church, Arlington Heights, ment last January, visiting some of the most important organs Harpsichord News by Larry Palmer 12 Illinois. We are delighted to have these professionals share of the Netherlands and Germany. In the wind . . . by John Bishop 14 their perspectives and specialties with you as we all plan our Among our regular contributors, John Bishop, in “In the On Teaching by Gavin Black 16 church choir music through the year. Wind . . . ,” brings us up to date on the installation of the new REVIEWS organ in St. Thomas Church Fifth Avenue, New York City. Larry Choral Music 11 Website login procedure updated Palmer, in “Harpsichord News,” provides a sort of Christmas New Organ Music 11 As announced in our July issue, we are pleased to update our list of items your favorite harpsichordist (meaning you) may New Handbell Music 11 login procedure at our website (www.thediapason.com). Previ- wish to consider, from music scores to CDs to a book. Gavin ously, we all needed our subscriber number to access the website. Black, in “On Teaching,” takes a break from his discussion of NEW ORGANS 25 Now, you are able to login in once with the subscriber number helping students develop good fi ngering practices to lead us SUMMER CARILLON CALENDAR 29 and establish your own password. We trust you will fi nd this pro- through a list of short topics that include experiences from CALENDAR 30 cess much smoother and more inviting. Be sure to check out what occasions when it was necessary to sight-read and improvise. ORGAN RECITALS 33 is offered for you at our website: news items, PDFs of past issues, There’s always much to be gleaned from the pages of The calendar of events, and much more. Diapason, and we invite you to enjoy. Q CLASSIFIED ADVERTISING 34

THE Here & There DIAPASON AUGUST 2017 Events The Charlotte Chapter of the The New York Choral Society American Guild of Organists con- announces its 2017 NYChoral Sum- tinues its 2017 summer recital series, mer Sings with music director David Sundays at 7:00 p.m.: August 6, Alden Hayes and associate conductor Michael Wright, Sardis Presbyterian Church; Ciavaglia. These events consist of open 8/13, Stephen Gourley, Myers Park Bap- readings of choral masterworks for those tist Church; 8/20, Lester Ackerman, St. Oklahoma History Center Oklahoma City, Oklahoma Cover feature on pages 26–28 in attendance, Wednesdays at 7:00 p.m. Mark’s Lutheran Church. For informa- at the Church of the Holy Trinity, New tion: www.charlotteago.org. COVER York, New York: August 2, Carl Orff, American Organ Institute, University of Carmina Burana; 8/9, Joseph Haydn, Oklahoma, Norman, Oklahoma; Oklahoma Creation (highlights); 8/16, Felix Men- History Center, Oklahoma City, Oklahoma 26 delssohn, Elijah (highlights); 8/23, Wolf- gang Amadeus Mozart, Requiem. For Editorial Director STEPHEN SCHNURR information: www.nychoral.org. and Publisher [email protected] 847/954-7989

President RICK SCHWER [email protected] 847/391-1048 Old West Church, Boston, Massachu- Consulting Editor JOYCE ROBINSON setts, Fisk organ (photo credit: Len Levasseur) [email protected] 847/391-1044 The Old West Organ Society con- Sales Director JEROME BUTERA [email protected] Wayzata Community Church, Wayzata, tinues its summer series of recitals at Old 608/634-6253 Minnesota, Hendrickson organ (photo West Church, Boston, Massachusetts, Circulation/ credit: Charles Hendrickson) Tuesdays at 8:00 p.m.: August 1, Khris- Subscriptions DONNA HEUBERGER [email protected] tian Erich Bauer-Rowe; 8/8, Thomas 847/954-7986 Wayzata Community Church, Way- Sheehan; 8/15, Gigi Mitchell-Velasco; zata, Minnesota, continues its summer 8/22, Laura Gullett; 8/29, Clara Gerdes. Designer KIMBERLY PELLIKAN organ recital series: August 2, Chris- For information: [email protected] 847/391-1024 topher Ganza; 8/9, Carolyn Diamond; www.oldwestorgansociety.org. 8/16, Kraig Windschitl. For information: Madonna della Strada Chapel, Chicago, Contributing Editors LARRY PALMER www.wayzatacommunitychurch.org. Illinois, Goulding & Wood organ St. Matthew’s By-the-Bridge Harpsichord Episcopal Church, Iowa Falls, Iowa, BRIAN SWAGER Catalina United Methodist Loyola University’s Madonna concludes its 2017 summer organ Carillon Church, Tucson, Arizona, concludes della Strada Chapel, Chicago, Illinois, recital series: August 20, James Ham- its 2017 Summer Siesta Concert Series: concludes its 2017 Summer Celebrity mann with Cheryl Growden Piana, JOHN BISHOP In the wind . . . August 5, James Gerber, Vierne, Sym- Series organ recitals: August 20, David clarinet. For further information: phonie I. For information: Hurd. For information: www.luc.edu/ [email protected]. GAVIN BLACK www.catalinamethodist.org. campusministry/sacramental_life/organ/. ³ page 4 On Teaching

Reviewers Anne Krentz Organ THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Jay Zoller Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. Leon Nelson 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, IL, and at additional mailing offices. at the rate of one copy for every fi fteen students. Such copies may be reused for other POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, courses or for the same course offered subsequently. Suite 201, Arlington Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles the validity of information supplied by contributors, vendors, should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 3 Here & There

³ page 3

Arthur Poister Competition participants, back row, left to right: Tyler Boehmer, Nathaniel Gumbs, Alcee Chriss, Josiah Hamill; front row, left to right: William Neil, Yunjung Lee, Janet Yieh, Judy Congdon, and Frederick Hohman.

Hill Auditorium, University of Michigan, The 2017 Arthur Poister Scholarship Competition in Organ Playing took Ann Arbor, Michigan (photo credit: Bryan Roy Perry place April 1 at St. Paul’s Episcopal Church, Syracuse, New York. First Prize was Dunnewald) awarded to Yunjung Lee of South Korea, a performance diploma student at South- of organbuilder Nora Williams, will ern Methodist University. Lee will play a winner’s recital in the autumn in Setnor The University of Michigan’s 57th receive its world premier performance Auditorium at Syracuse University. Second Prize was awarded to Alcee Chriss, III, a Annual Organ Conference, “The Music during the festival at First Presbyterian Doctor of Musical Arts degree candidate at McGill University and a member of The of Louis Vierne,” will take place Sep- Church, Kilgore, Texas, in a concert Diapason’s 20 Under 30 Class of 2016. His “Rising Star” recital will be scheduled tember 30–October 3 in Ann Arbor. The by David Baskeyfi eld and Thomas in the Malmgren Concert Series at Hendricks Chapel, Syracuse University, in the conference is presented in partnership Gaynor. Early registration is available spring of 2018. The four additional contestants who performed in the fi nals were: with the Cathedral Church of St. Paul through September 15. For information: Tyler Boehmer, a Master of Music degree candidate at the University of Kansas; in Detroit. Performances, lectures, and [email protected]; Nathaniel Gumbs, a Doctor of Musical Arts degree candidate at the Eastman School workshops will focus on the music of www.easttexaspipeorganfestival.com/. of Music and a member of The Diapason’s 20 Under 30 Class of 2017; Josiah Vierne and his time, including perfor- Hamill, a Master of Music degree candidate at Yale University; and Janet Yieh, also a mances of all six of his organ sympho- Master of Music degree candidate at Yale University and a member of The Diapa- nies. The conference will also include People son’s 20 Under 30 Class of 2017. The judges for the fi nal round were Judy Congdon, the fi nal round of the university’s organ Frederick Hohman, and William Neil. improvisation competition. Performers and presenters include Martin Jean, Vincent Dubois, Sarah Simko, Kola Owolabi, James Kibbie, Jason Alden, Nicole Keller, Lawrence Archbold, Michael Barone, Jeremy David Tarrant, and the choirs of the Cathedral Church of St. Paul and the Cathedral of the Most Blessed Sacrament, Detroit. For infor- mation: http://www.music.umich.edu/ performances_events/organconference/.

The Seventh Annual East Texas Pipe Organ Festival will be held November 5–9, 2017. This festival honors the life and career of Roy Perry (1906–78), and features the area’s Aeo- lian-Skinner pipe organs he designed and tonally fi nished. Thirteen full-length Ray Cornils recitals will be offered by recitalists Young Organist Cooperative group class: Kevin Birch, Demetrius Phofolos, Jason Alden, David Baskeyfi eld, Casey Ray Cornils will retire as minister of Thomas Latham, Benjamin Pajunen, Connor Reed, and Sophie Blair Cantwell, Jonathan Dimmock, Mark music for First Parish Church (United Dwyer, Thomas Gaynor, Paul Halley, Church of Christ), Brunswick, Maine, Frederick Hohman, Jan Kraybill, Alan August 31, and as municipal organ- Morrison, Raúl Prieto Ramírez, Michael ist for the city of Portland, Maine, on Shake, and Clark Wilson. Organ historian December 31. During his tenure of Bynum Petty will present lectures on the more than 30 years at First Church, organ fi rms of M. P. Möller and Henry Cornils built a program of fi ve vocal Pilcher’s Sons, and a newly commis- choirs and two handbell choirs. The sioned work by composer Charles Cal- vocal choirs accomplished international lahan, written for organ duet in memory ³ page 6

MANDER ORGANS

New Mechanical Action Organs

Young Organist Cooperative masterclass: Philip Pampreen, Marshall Joos, Noah Jacobs, Gillian Croteau, Emmeline Sevey, Colette Sevey, Adam Peithmann, and Adeline Parker

On March 25, the Young Organist Collaborative of Portsmouth, New Hamp- shire, sponsored a group class for fi rst-year organ students and a masterclass for continuing organ students who participate in the Collaborative. The classes were conducted at Christ Episcopal Church, Exeter, New Hampshire. Kevin Birch, a ³ St. Peter’s Square - London E 2 7AF - England member of the faculty of the University of Maine and music director of St. John’s Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Catholic Church in Bangor, Maine, taught the group class. Adam Piethmann, minis- Continuo Organs [e] [email protected] ter of music at First Congregational Church (United Church of Christ), Manchester, www.mander-organs.com New Hampshire, taught the masterclass. The Young Organist Collaborative, now in its 15th year, raises money to invest in the next generation of organists. To date, more than 100 young people from Maine, New Hampshire, and Massachusetts have taken Imaginative Reconstructions pipe organ lessons with the fi nancial help of the organization.

4 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker James D. Hicks Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Organist Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Atlanta, GA Califon, NJ

Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Wynford S. Lyddane Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Pianist/Instructor Brooklyn, New York San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Washington, D.C.

Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Organist/Conductor Organist Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Boston, Massachusetts Reno, Nevada U of Nebraska-Lincoln Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

Anna Myeong David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Organist/Lecturer Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Madison, Wisconsin Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ and Piano Viola and Organ & Timothy Allen University of Missouri-Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano and Organ Melody Steed, organ, Bethany College U of Alberta, King's U, Canada St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 30th year of operation Here & There

³ page 4 and Gueit; Douze morceaux de fonds Michael’s Music Service announces concert tours. In his 27-year tenure as de divers auteurs, including pieces by new sheet music restorations: Arrange- the tenth municipal organist of Port- Gauthier and Héry; and Treize morceaux ments for the Organ, by James Pearce, land, he worked with the Friends of the de fonds et offertoires avec pédale ad libi- is a collection of well-known works by Kotzschmar Organ for the renovation of tum, featuring pieces by Gauthier, Héry, Handel, Schumann, and Mendelssohn; the city’s 1912 Austin Organ Company and Paul for use in the liturgy. All pieces Rapsodia Italiana, by Pietro Yon, is from Opus 323, a fi ve-manual, 104-rank in the fi rst three parts, as well as three the collection, Twelve Divertimenti, and instrument. In addition to his concerts at in part four, may be played on manuals is subtitled “Italian Patriotic Hymns and Merrill Auditorium, Cornils developed a only, thus suitable for harmonium and Piedmontese Dances;” Agnus Dei, by comprehensive educational program to organ. The remaining ten works in part Georges Bizet, from L’Arlesienne, tran- promote the organ through in-classroom four call for the use of pedal. For infor- scribed by Gatty Sellars; and Nobody programs that explore the life and works mation: www.areditions.com. Knows the Troubles I’ve Seen, by Clar- of composers as well as the science of ence Kohlmann, arranged from the pipe organ sound production. Augsburg Music announces new well-known spiritual. For information: Psalms to Live By publications of choral music: “The Truth michaelsmusicservice.com. Will Make You Free,” by Anne Krentz Paraclete Recordings announces Organ; “A Mighty Fortress Is Our God,” a new CD release, Psalms to Live By by Aaron David Miller (available in full (0041, $32.99). This anthology collection and choral scores); “Harvest Gold,” by of three discs by Gloriae Dei Cantores Susan and David Cherwien; and a col- features Anglican psalmody recorded lection of anthems, St. Olaf Choirbook at the Church of the Transfi guration, for Women. For information: Orleans, Massachusetts. For informa- www.augsburgfortress.org. tion: www.paracletepress.com.

Vance Harper Jones, Jeannine Jordan, and Pat Rowlett, director of music, First Presbyterian Church, New Bern, North Carolina (photo credit: Chris McMurray) Vance Harper Jones was honored by First Presbyterian Church, New Bern, Organs & Organists: Their Inside Stories North Carolina, for 40 years of service as organist of the church on May 11. The Musikverlag Dr. J. Butz announces choirs of the church hosted a dinner fol- publication of a new book by Jenny Setchell, lowed by a recital by Jeannine Jordan on Organs & Organists: Their Inside Stories, the church’s C. B. Fisk, Inc., Opus 89, All you (n)ever wanted to know. The 416- Kola Owolabi at Ebersmunster installed in 1986. page book features cartoons by Al Nisbet and more than 450 photographs. The ups Raven announces release of a new CD and downs of international concert organ- by Kola Owolabi, Jacques Boyvin: Four Publishers ist Martin Setchell are detailed, while 62 Suites from the Second Livre d’Orgue A-R Editions announces a new pub- other musicians worldwide confess their (OAR-997). Owolabi plays the suites on lication, Recueil de morceaux d’orgue, most embarrassing, infuriating, humiliat- the fi rst, third, fi fth, and eighth tones, edited by Harvey H. Miller (N 071, ing, hilarious, or uplifting situations with each comprising six to eight pieces, on $240). Recueil de morceaux d’orgue à anecdotes. The book is in English, with the 1732 Andreas Silbermann organ l’usage spécial des élèves de l’Institution a foreword by Christopher Herrick, and in the Abbey Church of St. Maurice, impériale des jeunes aveugles de Paris is available from Dr. J. Butz Musikverlag Ebersmunster, France. Kola Owolabi (1863), held in the collection of the (ISBN 987-3-928412-21-6, Catalog No. is associate professor of organ at the Museum of the American Printing The Organ Yearbook BuB 21) or the Organ Historical Society. University of Michigan, Ann Arbor. For House for the Blind in Louisville, Ken- For information: www.butz-verlag.de. information: www.ravencd.com. tucky, contains 54 organ compositions Laaber-Verlag announces publica- in Braille music notation written by four tion of The Organ Yearbook: A Journal blind organist-composers who taught at for the Players & Historians of Keyboard Recordings Organ Builders the Institution des Jeunes Aveugles in Instruments, Volume XLV (2016). The Paris: Gabriel Gauthier (1808–53), Mar- Yearbook had been under the guidance ius Gueit (1808–ca. 1865), Julien Héry of the late Peter Williams, who conceived (1820–98), and Victor Paul (1835–1902). the plans for this volume shortly before Gauthier and Gueit had been fellow stu- his death. Paul Peeters of Göteborg, dents, friends, and colleagues of Louis Sweden, has been selected as successor Braille (1809–52) at the school around to Williams, and this volume was com- the time Braille was fi rst developing his pleted under the direction of Peeters. six-dot writing system. The book contains ten essays by authors Recueil is divided into four parts: Les such as Peeters, James Wallmann, Pieter harmonies religieuses, a collection of Dirksen, Peter Planyavsky, Christian descriptively titled pieces by Gauthier Lutz, and others, as well as reviews that had appeared previously in ink print of books, music, and other materials St. Vitus Cathedral, Prague, Czech around 1853; Dix-huit offertoires de div- related to the organ. For information: Republic ers auteurs, featuring pieces by Gauthier www.laaber-verlag.wslv.de. The King of Instruments: A Voice Reborn Gerhard Grenzing of Barcelona, Confident pedal work Spain, has been chosen after an interna- Naxos announces release of a new tional competition to build a new organ comes with practice and recording by Stephen Cleobury, The for St. Vitus Cathedral, Prague, Czech the right shoes King of Instruments: A Voice Reborn. Republic. The new instrument cost- The disc features the Harrison & Har- ing $3 million will feature 97 stops of a rison organ of King’s College Chapel, specifi cation of French inspiration and on the Cambridge, UK, which was removed is scheduled to be playable in October from the chapel and renovated in 2016, 2019. Grenzing has built more than 135 pedals the most ambitious project for this organ organs and reconstructed more than 90 since the 1960s. The recording includes historical instruments. Projects include x Men’s & Women’s Organ Shoes works by Johann Sebastian Bach, Felix organs for the cathedrals of Madrid, Bar- Mendelssohn, Simon Preston, Harvey celona, and Brussels. For information: with suede soles and heels Grace, César Franck, and George Baker. www.grenzing.com. x Whole & Half For information: www.naxos.com. ³ page 8 Sizes in 3 Widths x Quick & Easy Returns

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Nunc Dimittis England. Additional studies were taken William Thomas Farrell, III, died at the Royal School of Church Music, April 27. He was born May 20, 1934, in Addington Palace, Croydon, England. San Antonio, Texas. He attended San James Metzler served as organist/ Antonio College, studying organ perfor- choirmaster/director of music at Trinity mance with Donald Willing. Episcopal Church, Toledo, Ohio, from Farrell’s interest in the organ would 1972 to 1996; Trinity Episcopal Cathe- change from performing to building, dral, Little Rock, Arkansas, from 1996 voicing, and maintenance of instruments, to 2006, where he was appointed Canon and he was accepted as an apprentice to of Music; and churches in Grand Rapids, Aeolian-Skinner Organ Company’s tonal Michigan, from 2006 until 2016. fi nisher, Roy Perry, who was based in Metzler received the Choir Master Kilgore, Texas. He also became affi li- certifi cate from the American Guild of ated with Jimmy and Nora Williams, the Organists, earning the highest score in regional installers for Aeolian-Skinner. the country, and he was awarded the S. Farrell assisted in the installation of the Lewis Elmer Award for the highest score fi rm’s pipe organs in San Antonio’s Cen- of all diploma candidates. He held a Fel- tral Christian Church and the Madison lowship diploma from the Cambridge Square Presbyterian Church, as well as James R. Metzler (England) Society of Musicians (FCSM); Southwestern University, Georgetown, a Fellowship diploma from the Guild William Thomas Farrell, III Texas, before relocating to New York (England) of Musicians and Singers (FGMS); a Fellowship diploma from the City in 1960. There, he was curator of Honourable Company of Organists (FHCO), Toronto; and an Honorary Fel- instruments at St. Patrick’s Cathedral, St. Paul’s Chapel, Columbia University, lowship diploma from the National College of Music and Arts (HonFNCM), and Philharmonic Hall (now David Geffen Hall), Lincoln Center for the Per- London, for services to music. In addition, he was a member of the Ameri- forming Arts, among others. Farrell would install the pipe organ in the resi- can Guild of Organists, the Organ Historical Society, and the Royal School of dence of Virgil Fox as well as assisting with many of Fox’s later recordings. Church Music. Returning to San Antonio in the early 1970s, Farrell maintained many instru- Metzler presented organ recitals in the United States and abroad, including ments in Texas, including the Aeolian-Skinner organ at the University of Texas, three in Westminster Abbey, London, two in St. Paul’s Cathedral, London, as now relocated to a church in Amarillo, and he tonally fi nished the fi rst large well as in Notre Dame Cathedral, Paris, which he considered to be the highlight analog organs built by Rodgers Instruments of Hillsboro, Oregon. In addition, of his performing career, Norwich Cathedral (UK), King’s College Chapel (Cam- he rebuilt instruments in New Orleans, Louisiana, and Tulsa, Oklahoma, also bridge University, UK), Westminster Cathedral, London, Worcester Cathedral providing tonal fi nishing and new installations in the United States for Fratelli (UK), Ely Cathedral (UK), St. Thomas Church Fifth Avenue, New York City, Ruffatti of Padua, Italy. Washington National Cathedral, and, most recently, at the Church of the Mad- Tom Farrell was predeceased just a few weeks before his death by his partner of eleine, Paris, in April 2017. Recordings of his organ and choral performances are 57 years, Louis A. Goedecke, himself a master craftsman in woodworking. Together, available at www.YouTube.com/TheCathedralOrganist. they had formed the Farrell Organ Company of San Antonio. As an educator, he taught on the music department faculties at Mitchell Col- lege, New London, Connecticut; the University of Toledo, Ohio; and at Grand James R. Metzler of Sylvania, Ohio, internationally known organist and cho- Valley State University, Allendale, Michigan. As a choral conductor, Metzler ral conductor, died suddenly May 19. He was born June 20, 1947, in Worcester, directed over 25 choral residencies to England, leading the music for more than Massachusetts. He began his musical career as a boy chorister in the Choir of 100 services in Westminster Abbey, St. Paul’s Cathedral, York Minster Cathe- Men and Boys at All Saints’ Episcopal Church in Worcester. While a member of dral, Canterbury Cathedral, Durham Cathedral, Salisbury Cathedral, Norwich the choir, he began lessons on the church’s Aeolian-Skinner organ. Cathedral, Guildford Cathedral, Southwark Cathedral, Chester Cathedral, Liv- Metzler earned a Bachelor of Music degree from Westminster Choir College, erpool Cathedral, St. Martin-in-the-Fields (Trafalgar Square), Ely Cathedral, Princeton, New Jersey, and a Master of Music degree from the Hartt School of Christ Church (Oxford), and St. George’s Chapel (Windsor). In August 1995, Music at the University of Hartford, Connecticut. He also pursued doctoral stud- he was privileged to direct the music for the British VJ Day 50th Anniversary ies in organ and musicology at the University of Michigan, Ann Arbor. His organ Commemoration Service in York Minster Cathedral. teachers included Henry Hokans, Robert Carwithen, Alec Wyton (improvisa- A funeral Mass was held at Our Lady, Queen of the Most Holy Rosary Cathe- tion), John Holtz, Marilyn Mason, and Martin Neary at Winchester Cathedral in dral, Toledo, Ohio, on May 24, 2017. Q

³ page 6 The Organ Clearing House Orgues Létourneau of Saint- recently completed restoration of the Hyacinthe, Québec, Canada, has signed mechanical action and coupler chassis a contract for the construction of an all- for the 1886 George Hutchings organ in new 35-rank pipe organ for Christ Epis- First Korean Church (formerly Pilgrim copal Church, Tuscaloosa, Alabama. Congregational Church), Cambridge, A sister instrument to their Opus 129 Massachusetts. The organ has 24 stops instrument at First Presbyterian Church on two manuals, including three reed in the same city, Létourneau’s Opus 132 ranks (Trumpet, Cornopean, and Oboe), will play an important role accompany- as well as a 16’ Double Open Diapason ing the liturgy at Christ Church with a in the Pedal. For information: 17-rank Swell division and a colorful www.organclearinghouse.net. Solo-Choir division, both under expres- sion. A compact three-manual console will be provided while the organ will be placed in a chamber at the side of the chancel; a second, smaller tone open- ing from the chamber will open to the nave directly. Following renovations of the church sanctuary, the installation of Létourneau’s Opus 132 and its casework will begin in January of 2018; completion is anticipated prior to Easter. For infor- mation: http://letourneauorgans.com. 1886 Hutchings organ, First Korean 1905 Schantz, St. Bernard Catholic Church, Cambridge, Massachusetts Schantz Organ Company Church announces the start of a project for St. Bernard Catholic Church, Akron, Ohio. The present work includes the com- Removal of this III/39, originally built plete rebuilding of the 1950s windchest by Schantz in 1905 for the then new mechanisms, slight layout modifi cations, church building occurred the fi rst week a new console and relay, a thorough of June. In its original confi guration, rebuilding of the 1905 pipework (includ- the organ had mechanical key action ing the facade), a new Swell Mixture, and and tubular-pneumatic stop action and a new Great/Pedal 16′/8′ Trumpet. offset chests. Schantz returned to the The organ is located high in the sec- church in 1916 and 1926, when the ond gallery of this historic ecclesiastical organ was converted to all tubular- edifi ce. The accompanying photograph pneumatic action. In the 1950s, a local is looking down the nave from the organ builder provided all new electro-pneu- gallery. For information: Létourneau Opus 132, Christ Episcopal matic action and a supply-house console www.schantzorgan.com. Church, Tuscaloosa, Alabama with relay. ³ page 10

8 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM ROOTED INNOVATION TRADITION AND TECHNOLOGY ELEGANTLY PAIRED

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Appointments Church, in Marquand Chapel, and at Berkeley Divin- Organ Performance David Briggs ity School. A member of The Diapason’s 20 Under at the 2014 national has been appointed 30 Class of 2017, Gumbs is a Doctor of Musical Arts convention of the artist-in-residence candidate at the Eastman School of Music, Roches- American Guild of at the Cathedral ter, New York. He completed undergraduate studies Organists. He has of St. John the at Shenandoah Conservatory and earned the Master recorded two CDs Divine, New York, of Music degree from the Yale Institute of Sacred (one at St. John New York, effective Music. Most recently, he has served as director of Cantius Church) on October 1. Briggs’s music and arts for Friendship Missionary Baptist the Biretta Books duties will include Church, Charlotte, North Carolina. (For further (Sony Classical) and recitals, participat- information, see the May 2017 issue, p. 21.) Pro Organo labels. ing in liturgies and Jonathan Rudy Rudy is a member special programs, Vaughn Mau- of The Diapason’s offering a series of ren has been 20 Under 30 Class of 2016. He leaves a position as masterclasses, and appointed artistic music director at First Cumberland Presbyterian David Briggs (photo credit: Mi- composing for the director of the Church, Cookeville, Tennessee. For information: chael Hudson) cathedral. Briggs Albert Schweitzer www.jonathanrudy.com. premiered his tran- Organ Festival scriptions of Mahler’s Second and Eighth Symphonies Hartford, Hart- Jonathan Ryan at St. John the Divine in 2013 and 2016. At the age ford, Connecticut. has been appointed of 17, Briggs earned his FRCO (Fellow of the Royal He succeeds the director of music College of Organists) diploma, winning all the prizes late David Spicer and organist for and the Silver Medal of the Worshipful Company of who founded the St. Michael and All Musicians. From 1981–84 he was organ scholar at competition and Angels Episcopal King’s College, Cambridge University, during which festival and served Church, Dallas, time he studied organ with Jean Langlais in Paris, Vaughn Mauren for 19 years as its Texas. He leaves a France. The fi rst British winner of the Tournemire fi rst artistic direc- position as associ- Prize at the St. Albans International Improvisation tor. Mauren is organist and choirmaster at St. James’s ate director of Competition, he also won fi rst prize in the Interna- Episcopal Church, West Hartford, Connecticut. He Jonathan Ryan (photo credit: music for Christ tional Improvisation Competition at Paisley. Briggs is a graduate of Trinity College, Hartford, and holds a Joanne Bouknight) Episcopal Church, has held positions at Hereford, Truro, and Gloucester graduate degree from Yale University. Among several Greenwich, Con- cathedrals. He has been artist-in-residence at St. new members elected to the festival’s board of direc- necticut. His work at Christ Church has included James Cathedral, Toronto, Canada, since 2012, and tors are Diane Meredith Belcher and Christopher helping to guide the music program’s nine choirs and will continue as consultant for the forthcoming organ Houlihan. For information: www.asofhartford.org. directing the church’s Royal School of Church Music restoration and play several concerts each year. Briggs (RSCM) program for children and youth choristers. is a composer of works ranging from full-scale orato- Jacob Reed has The chorister program is considered the largest Epis- rios to works for solo instruments. He has recorded been appointed organ copal parish choir program for children and youth in two DVDs and 35 CDs, many of which include his scholar for Grace the United States. Ryan will develop an RSCM pro- own compositions and transcriptions. For informa- Church, New York, gram at St. Michael and All Angels Church. tion: www.david-briggs.org. New York, effective Ryan earned his Bachelor of Music degree from the September 2017, Cleveland Institute of Music, Cleveland, Ohio, and Jonathan Gregoire where he will assist his Master of Music degree from the Eastman School has been appointed Patrick Allen, organ- of Music, Rochester, New York. He has been awarded organ scholar for St. ist and master of six fi rst prize awards in national and international Paul’s Parish, K Street, choristers, with all organ competitions, including the 2009 Jordan II Washington, D.C., aspects of the music International Organ Competition. He has performed for the academic year program. He is a Mas- throughout the United States and Europe, including 2017–2018. He leaves ter of Music student performances for conventions of the American Guild a position as organist Jacob Reed at the Yale Institute of Organists and the Organ Historical Society. He has and associate director of Sacred Music, New recorded two CDs: A Cathedral’s Voice (on the Raven of music at St. Andrew Haven, Connecticut, where he studies organ with label) and Infl uences (on the Acis label). Jonathan United Methodist Martin Jean. Raised in Chapel Hill, North Carolina, Ryan is represented by Karen McFarlane Artists, Inc. Church, Plano, Texas. where he began his organ studies with Van Quinn at For information: www.jonathan-ryan.com. Jonathan Gregoire He is a graduate of the Chapel of the Cross, he recently became the fi rst the Interlochen Arts student to receive a simultaneous Bachelor of Arts/ Greg Zelek has Academy, St. John’s University, and the University of Master of Arts in musicology from Yale University been appointed Kansas. He earned a doctorate degree from Arizona (double-major in mathematics), studying organ with principal organist State University, Tempe, Arizona. Most recently, Gre- Thomas Murray and harpsichord with Arthur Haas. for Madison Sym- goire was awarded the Artist’s Diploma from South- Over the past several years, he has performed across phony Orchestra, ern Methodist University, Dallas, Texas. He joins an the United States, Europe, and Canada. In addition Madison, Wiscon- active music program with music director Jeffrey to his solo, ensemble, and church service playing as sin, and curator of Smith where his primary tasks are to accompany the an organist, he has also performed frequently as a the Overture Hall choirs and play solo literature. The St. Paul’s organ soloist, accompanist, and chamber musician on piano, concert organ, scholar also assists in training the choristers in their harpsichord, and viola da gamba. Since becoming a built by Orgelbau schedule of rehearsals and services. student at Yale, he has been a member of the Yale Greg Zelek Klais. He suc- Temperament Viol Consort, instrumentalist and ceeds Samuel Nathaniel vocalist for the Yale Collegium Musicum, and fi rst Hutchison. The organ program of Overture Hall Gumbs has been harpsichordist for the Yale Baroque Opera Project. includes two annual recital series, a hymn- and carol- appointed direc- sing series, educational programs, and the Friends of tor of chapel Jonathan Rudy has been appointed director of the Overture Concert Organ, a 500-member organi- music for Yale musical arts and administration, a newly created posi- zation that supports the program. Zelek earned his University, New tion at St. John Cantius Catholic Church, Chicago, Bachelor of Music and Master of Music degrees from Haven, Connecti- Illinois, a parish of 2,500 families well known for its The Juilliard School of New York, New York, and is cut. He will work music and liturgy. Rudy is a candidate for the Doctor of presently completing work for the Artist Diploma with students, fac- Music degree in organ and sacred music at the Jacobs there. He is currently music director and organist for ulty, and guests to School of Music, Indiana University, Bloomington, the Episcopal Church of St. Matthew and St. Timothy coordinate music where he received his Master of Music degree. He in New York City. He is a member of The Diapa- for three worship- earned his Bachelor of Music degree from Valparaiso son’s 20 Under 30 Class of 2016. Zelek commences ing communities: University. Rudy received fi rst prize and audience his duties with a recital August 26. For information: Nathaniel Gumbs the University prize in the National Young Artist Competition in www.gregzelek.com. Q

10 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM Reviews

Choral Music the entire catalog for download and New Organ Music Toccata VIII för orgel, Thomas Åberg. This month, we begin a series of cho- printing: www.sjmp.com. NOTERIA AB Norbergs Musikförlag ral music reviews by our team of church Psalm 23 is the appointed psalm for Noteria Förlag Klockrike Nr. 1987. and academic musicians assembled for the Fourth Sunday of Easter, “Good Swedish organist/composer Thomas this purpose. This installment has been Shepherd Sunday.” White’s lovely Åberg has written quite a number of prepared by Anne Krentz Organ, who arrangement of this Psalm paraphrase toccatas. A loud B-fl at minor chord with serves as the director of music ministries uses a setting of the tune Resignation. added A-fl at and E-fl at opens the piece at St. Luke’s Lutheran Church, Park While not diffi cult, the piece is textur- with a clash on a secondary manual. Ridge, Illinois. ally interesting. The fi nal stanza is sung Immediately thereafter, on the Great in canon. The piece could be sung by a manual enters a repetitious eighth-note Nine Anthems for Two-part Mixed choir or as a duet for a funeral or memo- melody, which repeats itself, but also is Choir rial service. reiterated in the pedal, a thunderous Two-part mixed choral music is useful echo that reinforces the driving rhythm in many scenarios: for choirs with limited Pentecost of the opening. This is interrupted in numbers; middle school or high school Gracious Spirit Dwell with Me, K. measure 15 by a new section —fast (in choirs; ensembles that meet sporadically Lee Scott. Two-part mixed voices 16ths) repeating chords very low on the throughout the year; ad hoc choirs for and organ. Augsburg Fortress, 978- keyboard. These two contrasting ideas weddings or funerals. Directors of fully 6-0001-7568-9, $1.30. Available as a alternate throughout the entire toccata voiced SATB choirs are wise to include an digital download. in one guise or other. Exact repetitions occasional two-part mixed anthem in their Scott uses the Gregorian chant tune occur regularly, but subtle transfor- repertoire as well. These pieces generally Adoro te devote in this simple yet mations also take place, which make require less rehearsal, freeing up addi- powerful anthem invoking the Holy the player, or the listener, pay close tional time for more diffi cult repertoire, Spirit. This is a great piece for teach- With Majesty Resounding attention to hear the differences. The and, when well written, are quite satisfy- ing how to shape and sustain a vocal change of a natural to a fl at and back ing for both the singer and the listener. line. Both voice parts primarily sing the With Majesty Resounding—A Four again makes quite a difference in the Following is a list of nine such anthems melody, either in unison or in alterna- Movement Suite, op. 28, Dennis musical feeling. for use throughout the church year. tion. The women have a quiet “ah” Janzer. Contemporary Organ Rep- I had an interesting experience descant above the men’s melody on the ertoire, Wayne Leupold Editions, while playing this piece through. I Advent third stanza, and part of the fi nal stanza WL600286, $17.00. Available from was playing it very softly because of a The King Shall Come, Robert is sung in canon. While not noted in the www.wayneleupold.com. meeting going on in a nearby room and, Hobby. Two-part mixed voices, fl ute, score, the addition of several handbells, With Majesty Resounding was commis- unknown to me, a visiting clergyman and organ, with optional triangle, randomly rung, adds a nice touch at the sioned by Lon Schreiber for the dedica- came and sat for a while in the back of tambourine, and narration. Morn- beginning and the end of the piece. tion of the new Austin organ at First the sanctuary. After a period of medita- ingStar Music Publishers, MSM-50- Baptist Church, Washington, D.C. The tion, he came up to me and introduced 0053, $2.25. General four movements are: I. Majestic Trum- himself saying what perfect music it Based on the early American tune Creating God, Your Fingers Trace, pet—Behold the Majesty of the Lord; II. was for his meditations. Consolation, Hobby’s arrangement Ralph Johnson. Two-part mixed Pastorale—Let the Peace of Christ Rule The thunder was gone. In its place, works beautifully as a processional, voices and piano. Kjos Music Com- in Your Hearts; III. Scherzetto and Cho- despite the sometimes chromatic chords, using up to four narrators reading scrip- pany, Ed. 6366, $1.95. rale—With the Voice of Joy and Praise; IV. was a calm; the subtle repetitions were ture texts with Advent themes. Quiet Johnson’s anthem uses Jeffrey Row- Toccata—Shout for Joy. The movements like a mantra for him. Much of Åberg’s organ chords undergird the narration, thorn’s expansive text, four stanzas are lengthy, ranging from fi ve pages to music is this way. It captivates, enthralls, leading into the fi rst verse, which is devoted to “Creating God,” “Sustaining twelve, and complex enough that I would and elevates, the best of the sacred. I can- sung by the men of the choir. Men and God,” “Redeeming God,” and “Indwell- rate them medium to diffi cult. not recommend his music more highly. women alternate between melody and ing God.” The music is based on Wil- The fi rst and last movements are loud He is one of our very best composers for countermelody throughout. Prior to the liam Walker’s Southern Harmony tune and feature solo trumpets. From Janzer’s the organ, be it for church or concert, fi nal stanza there is an optional extended Prospect. The accompaniment is well registrational suggestions, it appears that and I would hope that every organist interlude for fl ute and organ that brings written pianistically, adding a layer of this music would be much easier to play could play at least one of his pieces. It in a snippet of Veni Emmanuel. The complexity to the simpler choral parts. on an organ that has a manual dedicated would leave you hungry for more! choral coda provides a stirring conclu- to solo trumpets at different pitches, —Jay Zoller sion to the piece. The Call, John Leavitt. Two-part although he says that it can also be played Newcastle, Maine equal or mixed voices and piano. GIA on two manuals. The fi rst movement is Christmas/Epiphany Publications, Inc., G-9197, $2.00. in the style of a trumpet tune and would Arise and Shine!, John R. Parad- George Herbert’s poem is given a easily work as one. The fi nal movement is New Handbell Music owski. Unison/two-part choir with fresh setting in this anthem by Leavitt. a toccata that builds in intensity by grow- Joy and Delight, arranged for 2 or keyboard and optional handbells Mixed meter, fl owing vocal lines, and ing in complexity, adding such directions 3 octaves of handbells with optional (3 octaves). Choristers Guild, an impressionistic piano accompani- as “With growing excitement” and “Add A3, by Brenda Austin. Choristers CGA1039, $1.95. ment all result in a beautiful arrange- bright registers,” and fi nally by calling for Guild, GCB983, $4.50, Level 1+ (E). Paradowski’s joyful anthem includes ment, suitable for general use and also louder stops: three pages from the end, This frolicking arrangement clearly a reproducible page for congregational for weddings. the “Solo Trumpet en Chamade,” then on lives up to the title. The original compo- use. The text is based on Isaiah 9:2, 6, the last page Solo Trumpets 16′, 8′, and sition uses several percussive techniques with a refrain: “Arise and shine! Your Come, Thou Fount of Every Blessing, 4′ and for the last two measures “Tutta la to keep the piece moving and spirited. light has come to all who dwell in dark- Hal H. Hopson. Two-part equal or forza fff.” Movement two is a gentle Ada- The melodic material is creative and ness. Arise and shine, for in our midst mixed voices and keyboard. Harold gio in 6/8 that as it fl ows along gives the provides a joyful, upbeat feeling from the light of Christ is with us.” This Flammer Music, a division of Shaw- organist plenty of time to show off some beginning to end. There is also a sepa- selection is easy to put together after nee Press, Inc., EA-5021, $2.50. of the sweeter sounds of the instrument. rate arrangement for 3, 4, or 5 octaves the Christmas holiday, for use in early The hymn tune Nettleton is set in The third movement in 12/8 is marked of bells, CGB984. The two editions are January. The handbell part adds to the a lively manner, with the melody traded “Playfully.” It bounces along at a rapid compatible for massed ringing. celebratory nature of the piece. back and forth between voices. Each pace, the melody often echoing itself, voice part has a separate counter-melody moving through quite a number of differ- El Shaddai, arranged for 3–5 octaves Lent that provides rhythmic and melodic ent keys, before returning to the original of handbells, by Susan E. Geschke. Just As I Am, Evelyn R. Larter. Two- interest. A good piece for any choir to key. It particularly needs three manuals Agape (a division of Hope Publishing part mixed voices, piano, and fl ute. have in its back pocket! for performance. Company), Code No. 2667, $5.25, Augsburg Fortress, 978-1-5064- Dennis Janzer says in his notes that Level 2+ (M). 0869-9, $1.80. Al Shlosha D’varim, Allan E. Naplan. the movements may be played inde- This popular Christian contemporary Larter has created a new melody for Two-part treble voices and piano. pendently, but that “since the toccata song by Michael Card and John Thomp- this well-known hymn text, setting it in Boosey & Hawkes, distributed by includes themes from each of the preced- son has held its own through the years, the key of E minor. A verse of the Welsh Hal Leonard Corporation, #HL ing movements, it is more climactic if the and is still beloved today. Beginning as hymn “I Hear Thy Welcome Voice” is 48004534, $2.10. entire Suite is performed in a concert set- a soft whisper, the legato ringing and inserted after the third stanza, with a Although the piece is designated ting.” However, with its obvious religious echo technique provide contrast before move to the parallel major. The piece for treble voices, it works beautifully overtones, it would serve well in church returning to the rhythmic energy of mal- returns to E minor for the fi nal stanza, with a mixed choir. The piece is sung settings too. lets and a bold, dramatic ending. although the coda, including both fl ute in Hebrew. The translation of the text If your instrument has suffi cient —Leon Nelson and choir, ends with a Picardy third. from the Pirkei Avot (Jewish morality resources, I recommend this music. Vernon Hills, Illinois laws) is, “The world is sustained by Easter three things, by truth, by justice, and by My Shepherd Will Supply My Need, peace.” Naplan has created two melo- Duchon’s Organ Pipes David Ashley White. Two-part voices dies that serve as partner songs. A key New Reeds & New Flues (any combination), C instrument, change provides upward momentum Additions & Repairs JL Weiler , Inc. and handbells (or keyboard). St. along with an increased intensity. The James Music Press, annual subscrip- work ends quietly with repetition of the 330/257-0491 Museum-Quality Restoration of Historic Pipe Organs jlweiler.com tion $139 covers unlimited access to word “hashalom.” [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 11 Harpsichord News

Christmas in August For a Texan yearning to make a sum- mer escape from the hot, humid city to the coolly refreshing mountains of New Mexico, generally an August reference to Christmas would signify the request for both red and green chile sauces as accompaniments to those very special New Mexican blue corn enchiladas! However, for a musically employed person, the same word well might serve Two chiles, red and green as a reminder that it is high time to fi nalize those repertory choices for the fall and winter programs for which one is responsible. Additions to our list of such musical possibilities may be found in a recent publication from Concordia Publishing House: volume two of Christmas Ayres and Dances: Sixteen Easy to Moderate Carols for Organ, Chamber Organ, Harpsichord, or Piano, by J. William Greene. (Greene is a name already familiar to readers of this column: for Stephen Dodgson and Jane Clark (courtesy of Jane Clark) information about his fi rst volume of similar seasonal keyboard arrange- ments, see The Diapason, June 2015.) Probably the most popular of the newly published works will be “Antioch Carillon” (Joy to the World) and “Bell Fugue” (Jingle Bells), the two pieces that serve as bookends for the 43-page volume. Concerning the “Bell Fugue,” Christmas Ayres and Dances, Volume 2 I contacted the composer to ascertain whether or not there might be two for such a varied set of keyboard instru- naturals missing from the score? He ments it is quite possible, in some mea- responded that indeed he did wish sures, to thin the texture when playing to have naturals before the Fs on the on a harpsichord (while observing the Stephen Dodgson: 24 Inventions for fourth beats of measures 25 (bass) and composer’s notations exactly as writ- Harpsichord 33 (treble). So, dear readers, write ten if performing on piano or organ). these corrections into your own scores Extended chains of parallel triads do celebrated for his idiomatic writing utiliz- after you purchase them, and play what not usually work well on our instrument ing plucked instruments, especially guitar the composer prefers rather than the since its sustaining “pedal” resides in and harpsichord (and, in one unique pungent cross-relationships indicated our fi ngers. Thus, when a harpsichord- example, Duo alla fantasia for Harp in the print. ist’s fi nger releases a key, the damper and Harpsichord, composed in 1981 for Most extensive of the new pieces immediately drops down onto the string harpist David Williams and me). That is the eight-movement Huron Suite (unlike the piano’s ability to prolong Stephen should write idiomatically for Refl ections of an American Harpsi- (‘Twas in the Moon of Wintertime) the resonance that continues because our keyboard instrument is scarcely sur- chordist: Unpublished Memoirs, Essays, known today as Huron Carol, a per- the dampening felt remains suspended prising since his wife is the harpsichordist and Lectures of Ralph Kirkpatrick sonal favorite song from my childhood above the string as long as the damper Jane Clark. days. As one begins to study this work pedal remains depressed). It is a particular pleasure to recom- on Neidhardt 1724), a well-tempered I would suggest starting with the fourth The composer himself suggests some mend the fi rst complete recording of the tuning that “refl ects Dodgson’s instinc- movement, “Sarabande,” in which the sonic adapting for the notation found in fi rst four books of Stephen Dodgson’s tive sense of C major as the center of a melody is most clearly outlined in the his spare and lovely setting of the chant Inventions for Harpsichord, each set natural tonal universe.” top voice. Having this haunting tune in Conditor alme siderum (Creator of comprising six individual pieces, for a You might wish to order multiple cop- mind will serve the player well when the Stars of Night) in which the entire total of 24. A fi fth book, also comprising ies of this disc for distribution to friends confronting the unfamiliar appearance two-page piece is constructed above a six Inventions, is not included in this who “already have everything.” of the fi rst four pages comprising the sustained E-fl at pedal point—perfectly release, just issued by Naxos (9.70262) as suite’s “Prelude.” Totally notated in suited to an organ, but requiring fairly the debut disc of the young Russian harp- Refl ections of an American Harp- whole notes without any metric indica- frequent re-striking of the bass note sichordist Ekaterina Likhina. Recording sichordist: Unpublished Memoirs, tions (except for some slurs that aid in when played on other, non-winded key- sessions took place in September 2016 Essays, and Lectures of defi ning the harmonic groupings), this board instruments. at the Musikhochschule in Würzburg, Ralph Kirkpatrick notation emulates 17th-century French The remaining tunes to be encoun- Germany, where Ms. Likhina has been In a second book devoted to archi- lute (and sometimes harpsichord) nota- tered in this new publication comprise studying with Professor Glen Wilson val material written by her uncle, the tional practices—in a sense, presenting Es kommt ein Schiff geladen (A (who served as producer for the project). iconic harpsichordist’s niece Meredith the player with a written-out improvi- Ship There Comes A-Laden—Passaca- Playing throughout the 1:11:37 dura- Kirkpatrick extends the scope of Ralph sation on the melody and its implied glia); Come Now, O Prince of Peace tion is fi rst rate as each set of six displays Kirkpatrick’s autobiographical materials harmonic structure. (Ososô Ayre and Sarabande); Per- its various moods. None of these individ- included in her 2014 publication Ralph Through the gracious generosity sonent Hodie (On This Day Earth ual movements exceeds four minutes, 58 Kirkpatrick: Letters of the American of our reader Thomas D. Orr, I had Shall Ring), a rollicking Tambourin seconds, with the majority of them timed Harpsichordist and Scholar, giving received a pre-publication copy of Dr. and Bourrée dedicated to the afore- between two and three minutes. The readers the fi rst printings of her uncle’s Greene’s Partita. It was particularly mentioned reader Tom Orr. Although harpsichord, a resonant French double own texts covering the period from the pleasing therefore to fi nd that the this listing does not total an exact 16 built in 2000 by Detmar Hungerberg young artist’s teaching and performing composer had accepted (along with separate works, as the title indicates, of Hückeswagen, Germany, is based on at the Salzburg Mozarteum (beginning my accolades) the suggestion that an if one counts the individual titles as a 1706 instrument by Donzelague of in 1933) and continuing with fascinating octave lowering of the right-hand nota- printed, there are actually 17 indi- Lyon, France. (This information is not information about his affi liation to Colo- tion in the score’s emotional highlight, vidual movements. Should this added included in the material accompanying nial Williamsburg and his pioneering its fi nal segment, the “Tombeau de numerical disparity be disturbing in any the disc; it had been submitted but there development of the musical offerings in Jean de Brébeuf,” would allow the way, perhaps one might simply count was insuffi cient space to include it, one that reconstructed historical venue. This somber sounds to capitalize on the the Double of this fi nal Bourrée as a of the few drawbacks of the compact new book gives us, in his own words, vivid more resonant mid/lower range of the requirement for a properly ornamented disc format. I am grateful to Jane Clark vignettes of Uncle Ralph’s concert career harpsichord, thus expressing sonically performance of the piece, thereby arriv- and Glen Wilson for providing this in Europe, Africa, and the United States, the elegiac intent of this “Tombstone” ing at the eponymous given number. addendum.) Both of these gracious col- his defi nitive and path-breaking schol- piece, a genre found in several 17th- This solution almost certainly should leagues also contributed the disc’s illu- arly work as he wrote the biography of century prototypes by composers Louis provide a truly Merry Christmas to one minating program notes brimming with Domenico Scarlatti, as well as organizing (or, perhaps, his brother Charles) Cou- and all, both literalists and free thinkers unique information: Jane Clark shares the catalogue of that composer’s exten- perin and Johann Jakob Froberger. (even in August)! her special perspective on the develop- sive sonata output, which resulted in the This downward octave transposition ment of her husband’s affi nity for the “Kirkpatrick numbers”—those identifi ers also serves as an introduction for a gen- For the gift list (including self) instrument, while Glen Wilson shares that are still in use. eral point to consider when performing The late British composer Stephen his rationale for the recording’s pitch These piquant autobiographical writ- these pieces: since they are designated Dodgson (1924–2013) was particularly level (A=415) and temperament (based ings, now held in the Yale University

12 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM By Larry Palmer

Archives, further document Kirkpatrick’s (1971),” “Bach and Mozart for Violin and effectively to a chronological visual por- another one to share with fellow lovers of outstanding Yale teaching career that Harpsichord (ca. 1944)” [particularly trait of Kirkpatrick, from early youth to the harpsichord and its history. began in 1940 (the same year composer illuminating because of RK’s long-time elder status. Paul Hindemith joined the distinguished duo-partnership experiences with the Appendices include a list of personal One more stocking stuffer faculty) and continued until Kirkpatrick’s violinist Alexander Schneider], and “The names in the text with biographical refer- Do not overlook Mark Schweizer’s death in 1984 (although the written mate- Early Piano” [as transcribed from a BBC ences, publications by and about Ralph novella The Christmas Cantata, a rials extend only through the year 1977). Radio Broadcast of 1973]. Kirkpatrick, and a complete Kirkpatrick gentle and heartwarming St. Germaine Meredith Kirkpatrick’s “Part Two: Part Four presents texts of lectures discography. Additionally, there is a com- Christmas Entertainment, published Refl ections” presents the reader with given at Yale (1969–71): “Bach and prehensive general index for the volume. by SJMPbooks in 2011. If you have not soul-baring Kirkpatrick essays: “On Keyboard Instruments,” “In Search of Published in 2017 by the University read this one, or, heaven forbid, not yet Performing,” “On Recording,” “On Scarlatti’s Harpsichord,” “Style in Per- of Rochester Press as part of its Eastman encountered the inordinately delightful Chamber Music,” and “On Harpsichords formance,” “The Performer’s Pilgrimage Studies in Music series, this 211-page world of Mark’s Liturgical Mysteries, and Their Transport.” Part Three offers to the Sources,” and last, but not least, hardbound book, in tandem with Mer- you are missing 12 of the funniest and essays by RK: “Elliott Carter’s Double “Private Virtue and Public Vice in the edith Kirkpatrick’s earlier publication, most enjoyable comedic offerings since Concerto (ca. 1973),” an honest evalua- Performance of ‘Early Music’.” presents another pathway to understand- Monty Python or Fawlty Towers! Q tion of this most diffi cult of contempo- A generous selection of nine private ing the stellar contributions of the most rary major works for harpsichord (and its photographs from the editor’s collection infl uential American harpsichordist of Merry Christmas in August, and to all: partner, the piano); “On Editing Bach’s shows images I had not encountered the mid-20th century after Wanda Land- comments are always welcomed. Please Goldberg Variations,” “RK and Music at previously, while four additional pic- owska. Brava, Meredith Kirkpatrick, for address them to Larry Palmer, lpalmer@ JE [John Edwards College at Yale],” “The tures credited to the Yale Music Library your painstaking archival researching and smu.edu or via mail: 10125 Cromwell Equipment and Education of a Musician Collection, while not new, contribute editing. Here is a book to treasure, and Drive, Dallas, Texas 75229.

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 13 In the wind...

Installation My son Michael works for an archi- tectural fabrication company in Boston that manufactures design elements for buildings, such as corporate logos with programmed LED displays, sophis- ticated signage, and art installations. They’ve made signs for Logan Airport in Boston, the Whitney Museum of Ameri- can Art, and the Public Theater in New York. Recently, Mike built a clock tower that also displays arrival and departure information for installation in the inter- national terminal of Logan Airport. It is in the form of an airplane wing, mounted vertically, and was the gift of Swissair. It is made of aluminum with lots of curved edges and a fancy paint job. Solo wind system Ryan Mueller installing Pedal bass Choir division Mike’s work is similar to building organs chests in that a product is built in a workshop and arrives as the service ends, and organ- one of the busiest neighborhoods in the taken on the road for installation. It also builders and parishioners work together St. Thomas, an active organ committee, city. It is halfway between St. Patrick’s means that father and son get to be tool to carry the organ parts into the church. and consultant Jonathan Ambrosino Cathedral and Trump Tower, next door geeks together.1 As I have done scores of Follow that with a pizza supper, and planning this immense and sophisticated to the hyper-popular Museum of Mod- times in my career, Mike goes on the road you’ve got a party and a fun introduction organ. You can read a description and ern Art, and right in the heart of the with a crew, staying in hotels, eating meals for a new organ in town. specifi cations of the organ at http:// legendary high-end shopping district. on a per diem budget in restaurants, and Some churches have wide driveways dobsonorgan.com/html/instruments/ The sidewalks are always packed with dealing with the logistics of getting things and parking lots that allow a big truck op93_newyork.html. tourists, shoppers, and street vendors, done while out of town. to back right up to the door, even some- The organ will have 102 stops and and the Dobson workers have to unload Wendy and I live on East 9th Street times putting the truck’s ramp right into will feature an elaborately carved and four, maybe fi ve semi-trailers parked at in New York City, between Broadway the narthex. But one church where we decorated case on the south wall of the the sidewalk. and University Place. It’s in the heart installed an organ had a steep and wind- chancel, opposite the magnifi cent north When you’re delivering to a church in of the campus of New York University, ing driveway, and it was impossible to case designed by Bertram Goodhue for a big city, there’s never a loading dock, a bustling and colorful place. The other bring the semi-trailer to the door. We the church’s 1913 Ernest M. Skinner and you can never put the ramp of a truck day, HVAC equipment was being deliv- had to transfer the organ into a smaller Company organ. on the top step at the church door. You ered to a building up the street. There truck and make several trips up the hill. Preparing a stately stone building for go to City Hall to purchase a parking were signs placed at the beginning of It was a big organ, it was January, it was the installation of a 64,000-pound pipe permit that allows you to put cones on the block (it’s a one-way street) a week Wisconsin, and it was snowing. organ is a herculean task. The Great and the street, but you still have to watch like ahead of time, saying the street would In smaller churches, we have the run Positiv divisions will be installed in the a hawk that no one tries to sneak in and be closed Saturday and Sunday. Early of the place, taking over the kitchen for new case, cantilevered over the choir park. Five years ago, the Organ Clearing Saturday morning, a crane arrived, the making lunches and working without stalls. In order to keep all that weight House delivered a three-manual organ to street was closed, and workers spent two interruption or inconvenience, just mak- from bearing on the church’s stone walls, the Church of the Resurrection on East days hoisting the machines to the roof ing sure that the sanctuary is clear for a huge steel structure has been installed. 74th Street and Park Avenue, a much qui- of the fi ve-story building. We live on the worship on Sunday. Remote locations There are a few spots in the organ where eter neighborhood than St. Thomas, but tenth fl oor, so I could look down and see can be diffi cult. We installed a residence it’s obvious that the structural engineers we still had to stand with heavy loads on the commotion. I was interested that of organ in far northern Idaho, where it was and the organbuilders had to work our shoulders while Park Avenue people the twelve workers on the roof, only two a two-hour round trip to a hardware store, together closely to get all that material walked their ten-thousand-dollar dogs were wearing hard hats. it took UPS extra days to make deliveries, to fi t. along the sidewalks. § and the Moose Knuckle Lodge was the I visited St. Thomas Church the other And in that church, like most of the only restaurant. Their kitchen had no day where Lynn Dobson and John Pan- places we work, there’s not much going Installing a pipe organ is a logistical ovens or fryers, just a griddle and a micro- ning gave me a tour of the partially assem- on in the nave during the week, so you tour de force. There’s often a lot of work wave oven, and we exhausted their menu bled organ. All of the windchests were in can put furniture pads on the pews and to do on the building to prepare for the pretty quickly. place, along with wind regulators, ladders, stack the whole organ on them early in organ, creating a blower room, running A large, complex, and highly antici- walkboards, and lots of sturdy racks for the week, knowing that most of the big wind lines, reinforcing fl oors, painting pated organ installation is under way supporting large pipes. Another truckload stuff will be up in the chamber before the walls, and installing lighting. It’s fun to now at St. Thomas Church in New York of parts and pipes was scheduled to arrive weekend. St. Thomas Church is open to make a festival out of the delivery of the City. Dobson Pipe Organ Builders, Ltd., the next day. tourists, and there’s a busy schedule of organ. Parishioners come to church on worked for years with the late John St. Thomas Church is on the corner weekday services. They’ve built a tempo- Sunday wearing work clothes, the truck Scott, organist and director of music at of Fifth Avenue and East 53rd Street, rary wall closing off a side aisle of the nave to create storage space for organ parts and a workroom for the organbuilders. But there’s not enough space to accom- EAST TEXAS PIPE ORGAN FESTIVAL modate all the organ’s components, so the Dobson people have the incredible task of sorting and organizing the myriad parts and pieces so the succession of truck November 5-9, 2017 deliveries contain what is needed soonest. Leave one windchest leg at the shop by mistake, and the job could come to a halt. Honoring the Life and Work of The truck arrives the night before the scheduled delivery to take advantage of Roy Perry lighter traffi c in the wee hours, and an army of workers spends the day carry- Thirteen Recitals ing components and packages across the on four Aeolian-Skinners sidewalk and up the stairs into the church. The fi rst time I was on such a crew for

the installation of the Flentrop organ at

Trinity Cathedral in Cleveland, Ohio, in With Jason Alden, David Baskeyfield, 1977, an overseas shipping container was Casey Cantwell, Jonathan Dimmock, delivered to the sidewalk on Euclid Ave- Mark Dwyer, Thomas Gaynor, nue, and the team spent the entire day Paul Halley, Frederick Hohman, Jan Kraybill, carrying the organ up the 20 stone steps East Texas Pipe Organ Festival Alan Morrison, Bynum Petty, Raúl Prieto Ramírez, to the nave. The organ had come from P. O. Box 2069 Rotterdam, across the Atlantic Ocean and Michael Shake, and Clark Wilson, Kilgore, Texas 75663 up the St. Lawrence Seaway to the Port of and special concerts, presentations, and exhibits Cleveland on a ship named Calliope. honoring the life and career of There follows a ballet of hoisting and

organbuilder Nora Williams. rigging. Floor frames, which position the www.EastTexasPipeOrganFestival.com legs of the organ’s structure and ground- [email protected]  level components, are assembled and leveled. The structure is installed and prepared to bear the weight of the

14 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM By John Bishop

§

Social media is a techno-sociological phenomenon that has taken the world by storm. I have an active community on Facebook, which is mostly limited to pro- fessionals in the pipe organ world. While sometimes it seems the whole thing is actually a revolution by cats trying to take over the world, for the most part, I fi nd it stimulating and edifying, and a wonderful way to keep in touch with my profession. It is mid-June as I write this column, and in recent weeks I have seen countless posts of church musicians and school music teachers wrapping up their program years. While I’m not an active sports fan, Students are saying goodbye to their I have been one for much of my life: important mentors, young organists are my father and I had an unbroken leaving academia to go out into the world, streak of 25 consecutive opening-day and choir directors are celebrating the games at Fenway Park in Boston, and bittersweet emotion of saying goodbye I understand the value of teamwork in and looking forward to a few months with athletics. But for the life of me, I can’t a lighter schedule. Lots of you out there understand why a public school system are posting photos taken during year-end would cut a music budget in favor of choir parties—festive gatherings of close- sports. And this has nothing to do with knit communities celebrating the time the increasing awareness of the dan- they’ve spent together. In many churches, gerous long-term effects of the more the choir is the busiest volunteer group. violent sports. While most committees meet monthly, At its root, choral singing is a basic the choir is together in the building twice human activity. We must breathe to live, a week, at least. and when we exhale across our vocal A few years ago, the music publisher J. W. chords, we gain the power of speech. If Pepper released a video interview with we sustain our speech, sustain our vowel John Rutter, one of their most celebrated sounds, we’re singing. Voilà! When we’re composers. I wrote extensively about that singing together, we’re exchanging our Lynn Dobson and John Panning video in the July 2015 issue of The Dia- very breath. pason, and you can see the video online Many of you are a month away from windchests, which are then hoisted into in the world. It was a thrill to stand inside at https://www.youtube.com/watch?v=pm- bringing the choir back together for a new place. Workers on the chancel fl oor the partially assembled organ, thinking Pm1FYZ-U. I’m reminded of this as I view year. It’s not one of life’s frills, and it should are busy teeing up the next few pieces of all the wonderful music yet to come. the year-end posts. John Rutter says: never be a chore. “It’s something that goes while those in the chambers are turning I’m grateful to Lynn and John for wel- to the very heart of our humanity, our Choral music is not one of life’s frills. It’s screws, fastening pieces into their per- coming me, and I sure look forward to something that goes to the very heart of sense of community, and our souls.” Q manent homes. It’s a little like a game of hearing the organ. You can see many our humanity, our sense of community, and Tetris, with oddly shaped pieces drifting photos of the construction and installa- our souls. You express, when you sing, your Notes along a pipeline. tion of this organ on Lynn Dobson’s and soul in song. And when you get together 1. Recently, we were gathering at hotel in with a group of other singers, it becomes western Massachusetts for a family wedding. At St. Thomas Church, massive tow- Dobson Pipe Organ Builders’ Facebook more than the sum of the parts. All of those ers of scaffolding have been installed pages. It’s worth a ramble! Mike arrived at the same time as Wendy and people are pouring out their hearts and me, and walked over to my car to greet us. on both sides of the chancel. They are In recent memory, there has been a souls in perfect harmony, which is kind of My car is a Chevrolet Suburban, which has a partially obscured by safety netting so it string of exciting organ installations in an emblem for what we need in the world, long, deep interior, so I’ve made a tool with a when so much of the world is at odds with hook that helps me pull stuff toward the back is diffi cult to see the chamber interiors New York, including the Cathedral of St. itself. That’s just to express in symbolic from the fl oor. But once upstairs, it’s John the Divine, St. James’s Episcopal terms what it’s like when human beings are where I can reach it. As I fi shed for a suitcase, quite a spectacle. As many times as I’ve Church, Christ and St. Stephen’s, Ford- in harmony. That’s a lesson for our times, Mike laughed and said, “That’s what separates us from the animals.” I think he was compar- stood or worked in a partially assembled ham University, Grace Church, Church and for all time. . . . Musical excellence is, of course, at the ing me to a chimpanzee using a stick to get organ, especially a huge one like this, I of the Ascension, Church of the Resur- heart of it, but even if a choir is not the ants out of the ground! still marvel at the process. Where else rection, and Marble Collegiate Church. greatest in the world, it has a social value, a 2. I wrote about John Scott following his but in a large organ chamber do you see The organ at St. Thomas Church will communal value. . . . A church or a school death in the October 2015 issue of The such a display of human handiwork? The surely be a thrilling addition to the fl eet. without a choir is like a body without a soul. Diapason. 600-year heritage of organbuilding culmi- nates anew with each installation. All the different functions of a large organ are intermingled into one fantastic whole. § St. Thomas Church is a landmark for the world of church music. Since 1913 when the present building was opened, along with its new Skinner organ (Opus 205), the organists have been T. Tertius Noble (of free-accompaniment fame), T. Frederick H. Candlyn, William Self, Gerre Hancock, and John Scott. Daniel Hyde is the newly appointed successor to John Scott, whose tenure was sadly cut short by his sudden death.2 According to its website, the St. Thomas Choir School is “the only church- related boarding choir school in the United States, and one of only three of its kind remaining in the world.” The choir has an intense schedule. A recent article about the choir in the New York Times stated that the boys are singing more than 20 hours each week. A look at the American Institute of Organbuilders church’s calendar makes it clear that the Annual Convention - Fort Collins, Colorado organbuilders have a lot to work around. The new Dobson organ will be a October 1-4, 2017 workhorse, played dozens of hours each visit: www.pipeorgan.org for more information week, and heard by tens, even hundreds of thousands of people each year. It will be played by some of the fi nest organists

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 15 On Teaching

August interlude I have decided to take a partial break from my sequence of columns about helping students to develop fi ngerings and instead write about a few miscel- laneous matters that have been on my mind. These are all small but interesting things that are hard to fi t into columns that are about something well defi ned. So this month’s column is a grab bag or smorgasbord. I am infl uenced to construct this sort of column right now by the following confl uence: it happens that I am writing this during a real heat wave (early summer mid-90s tempera- tures, with lots of sun and little wind), and this column will be distributed in August, when, around where I live, this sort of weather would be more typical. So it feels like time for a bit of summer relaxation and catching up. A couple of things that I am writing about this month tie in with the business of teaching fi ngering. That may not be too surprising, since, as I wrote a few months ago, there is no such thing as keyboard playing without fi ngering. I will note these connections, but not go into them at great length, and then pick up those threads as well in the coming months. As I looked over my notes about some Princeton University Chapel organ façade (photo credit: Eric Plutz) of these points and thought about a few more things that have passed through my missing one. That meant that I could or what we are not good at. When I was noodling around, is really derived from my mind recently, I noticed that some play it instead of the programmed one in college, it would have been utterly my continuo-playing experience. I am of what I want to discuss is even more without making the printed program out of the question for me to perform in effect generating bass lines, more or personal than usual: my playing, my own inaccurate or misleading. this piece without having practiced it less at random, and then realizing them reactions to things, some of what I think The only problem was that I had never for weeks. Could I have performed it as continuo parts. I recently noticed that has gone well in my work, and some of learned this piece. I have probably read after one read-through fi fteen years ago? when I do this with a pedal line as the what has gone not so well. I believe most through it at some point in the past, Five? I am not sure. But I was correct to bass line, I fi nd it almost impossible to of us fi nd it challenging to say openly: since I have specialized in Froberger intuit that I could do so now. involve my left hand. The infl uence of “Yes, I did this well. This was a success.” for decades and have read through all or We should also never remain trapped the feel of ordinary continuo playing is or “That didn’t work out. I am not (yet?) close to all of his music. But if so, I didn’t in a sense of what our students cannot so strong that I can’t get any intuition good at that.” Grappling with framing remember that, and it would have been do. What they (and we) can and can- going as to how to add chords and notes certain things in one of those ways is a years ago. But I read through the piece not do should be changing all the time. other than in the right hand. I fi nd this reminder that everything that we do once during my tuning and warming-up While I was actually performing this interesting, just as a kind of archeological performing and teaching is a result and session and decided I could go ahead piece, the feeling of playing it was more dig into my modest history of improvisa- a refl ection of our makeup and experi- and play it in the concert. I did so, and comfortable and serene than what I often tion. But it also makes me think that I ences. It is extraordinarily important it went fi ne: basically accurate, a wrong experience while performing a piece that should try to make myself sit on my right that we remember that this is true of our note or two, but not necessarily more I know well, that I have prepared obses- hand when playing this sort of thing students as well. than I or another performer might make sively, that I feel ready to perform or and force my left hand to get involved. in any piece; rhythms certainly accurate; record, that I consider part of my identity Furthermore, I should urge any student Forced into sight-reading . . . tempos in the faster bits perhaps slower as a player. Why? How is this even pos- doing this sort of thing to emphasize the I recently played a harpsichord recital than I would want them following a nor- sible? There has to be something to learn left hand, or at least to be sure to give it for which I forgot to bring some of my mal amount of preparation, but not by there about concentration, expectation, equal weight. music. (Is this going to be a trend? Do I much. It was a successful performance, and anxiety. I do not yet know exactly have to do something about it? Not sure though I hope that it was not as effective what that is. It must start from the aware- Learning a magnum opus yet.) In particular, I simply didn’t have as it would have been if I had worked on ness that I had to pay close attention all I have played Bach’s French Overture, any way of obtaining a copy of a Frob- it. If it was, then that casts some doubt of the time, every fraction of a second, BWV 831, in three recitals over the last erger toccata that I had programmed. upon my whole normal learning and like driving on a slippery road. But what several months. This is a piece that I have This is a piece that I have played in preparation strategy! about that would be good to import into loved for many years. I initially tried play- recital a dozen times or more over the So, what did I get out of this? I am cer- the act of playing a well-prepared piece? ing it when I fi rst had regular access to a last couple of years, more on harpsichord tainly not recounting this to suggest that Would there be a down side to doing so? harpsichord on which to practice, about than on organ. It is also a piece that I I am a particularly great sight-reader. Less spontaneity? My thinking about this 40 years ago. It was beyond challenging know extremely well. I could probably Really I am not. I fi gure that by the is new and evolving, especially since this for me at that point, so it pleases me that write out at least chunks of it, and write standards of professional keyboard per- was the most recent concert that I have I can work on it, learn it, and perform in what I know to be my fi ngerings for formers, I am probably about a “B-plus” played as I sit here writing. it now. In order to do so, I have had to those bits. sight-reader, and if not exactly that, then This also reminds me that there is get past a little bit of the trap mentioned But that doesn’t mean I could play more likely “B” than “A-minus.” And I such a thing as sight-reading fi ngering, or above: getting stuck in a sense of what I the piece from memory. (This is my fi rst suspect that the several other toccatas even a sight-reading approach to fi nger- cannot do. But what has been most inter- experience of bumping up against this in the volume would have been a stretch ing. Fingering will be a different sort of esting to me about actually playing this particular practical disadvantage to my for me to sight-read in performance. phenomenon depending on whether you piece in concert is that it is long, about 40 preferred approach of not performing They looked more intricate. It was a do or don’t know what is coming up next. minutes, and quite intricate, dense, and from memory.) I noticed that in a Fro- lucky coincidence for me that the one in To some extent this has to tie in with pat- varied. Since I have played many con- berger volume that I had with me, from the correct key was the simplest-looking terns and templates for how to play what certs that are a lot longer than that, even which I was going to play a suite, there one. But it is also important not to remain sort of passage. How does this, or doesn’t those that have halves longer than that was another toccata in the same key as trapped in a sense of what we cannot do this, have the potential to inform work on sometimes, it never occurred to me that carefully planned fi ngerings? stamina might be an issue. However, in each of the three performances, my play- . . . and improvisation. ing of the last movement, a sprightly and The Sound of Pipe I am not much of an improviser. Long excited piece with the non-traditional title ago I was intimidated by improvisation of “Echo,” has been infl uenced (really Organs and never even considered studying I should say undermined) by stamina M. McNeil, 191 pages it systematically. That may or may not issues. I believe that what happens is that A new technical study of the be a loss or a problem for me—after as I get through the end of the previous all, nobody does everything. However, movement, the Gigue, I feel my energy relationships between scaling, I can play rather meandering chord and/or concentration lessen, and, in try- voicing, the wind system, and progressions that often sound perfectly ing to boost it back up, I start the Echo tuning. Search on the title at pleasing and that serve to enable me too fast. It is then hectic, helter-skelter, the Organ Historical Society to explore the sounds of instruments and more prone to note inaccuracy than and Amazon websites. without needing to put music in front of I would like. Although I identifi ed this me. This very limited improvisation, or concern after the fi rst time I played the

16 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM By Gavin Black piece in recital, I was not able to prevent This study tended to confi rm my feeling matter of fi ngering choices? How can we it from happening each of the next two that we as players exaggerate the impor- best help students sort this out? times as well, though it has been progres- tance of wrong notes. Of course there are sively less severe. questions. Does what this study found The next generation I have learned from this that the little about piano apply equally well to organ, to A short while ago I was visited in my opportunities to regroup in a concert harpsichord, or to instruments outside of harpsichord studio by a few students of that are afforded by breaks between our specifi c concern here, or to singing? a fi ne local piano teacher. These students pieces are signifi cant and useful. Also, Should we actually embrace for ourselves were second- and third-graders. After regardless of how well learned the vari- or for our students, caring less about accu- they had played around a bit on several ous sections and movements of a pro- racy than we might feel required to do? instruments, one of them commented gram are, and no matter how tempting Is that a slippery slope? Preparation and to me that she liked the antique Italian (and genuinely important) it is to focus practicing, and planning fi ngering, are in harpsichord the best. That made sense on practicing hard passages, it is a good part about striving for accuracy. In fact it is to me, as a lot of people have that reac- idea not to neglect playing through the easy to fall into thinking that that is all that tion. She then said, in explanation, “it has whole thing. (Not that I have neglected they are about. Is there a way to juggle an intelligent sound.” I was really taken that completely in preparing for these successfully both motivating ourselves and with that way of putting it or that way of concerts, but I think that I underesti- our students to try with all our might to hearing the sound. I had never encoun- of clavichord sound, which I quoted in mated how much of it I should do.) This prepare for extraordinary accuracy and tered that particular image before. It last April’s column. It includes the state- reminds me to review my approach to wearing the need for that accuracy very resonated with one of my ways of experi- ment that “clavichords should have the any similar issues with my students. lightly? Does a clear-cut study like this encing instrument sound, especially that sound of thought.” add to our intuitive sense? All of that plan- of organs and harpsichords. Next month I will buckle down, so The familiar and the unfamiliar ning, to the extent that it is not just about I want to have the subjective experi- to speak, and get back to work on our A few months ago I played a short reliable accuracy, is about gaining enough ence, if I listen closely and without dis- extended look at fi ngering. Q lunchtime recital at the Princeton Uni- control to do what we want to do expres- traction, that the sonority seems to me versity Chapel. This is an extraordinary sively. Can we separate out those two goals to come directly from, or in a sense to Gavin Black is director of the Princ- venue, for music or for anything else, and and emphasize one more than the other? be, a sentient being. Although this young eton Early Keyboard Center, Princeton, home to a justly famous and wonderful Are there differences in fi ngering choices girl had no prior experience with harpsi- New Jersey, teaching harpsichord, organ, organ. But for me it is something more: that might arise out of this distinction? Or chords, it reminded me of the descrip- and clavichord. Gavin can be reached by a place where I spent thousands of hours different ways of approaching the whole tion by the very experienced Keith Hill email at . playing the organ during the years when I was an undergraduate at the university. In the years since then, I have mostly pur- sued performance on mechanical-action organs and on harpsichord and clavichord, and the large Skinner/Aeolian-Skinner/ Mander organ is not the most familiar sort of beast to me nowadays. On the other hand, this particular organ, rebuilt though DEFINING AFFORDABILITY it has been, and most especially this set- ting, evoke as much feeling of familiarity and as much deep nostalgia as any place or any instrument could. I was playing, in FOR THE NEXT GENERATION part, music of Moondog that day. Moon- dog is my second specialty along with music of the Baroque. I fi rst encountered all of his pieces that I played this recent day during or shortly before my time as a student at Princeton, and I played them all frequently in the chapel back then. This was a powerful reminder to me that indi- vidual experience is what most informs our feelings about music, as about everything INVEST ONCE... else, and that no two people—teachers, students, listeners, players—ever bring the same set of experiences to the way that they take in music. THINK APOBA. I was also reminded that everything about technique, as well as about interpretation, is in part about the instrument. (That is, the instrument as a separate entity alongside the music, the interpretive stance of the player, the player’s habits and preferences, and so on.) Of course I know this, and have NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS written about it. But this was a vivid real-life experience of it, with interesting BUILDER MEMBERS A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. twists because of the unusual blend of Andover Organ Company Holtkamp Organ Company Schoenstein & Co. familiar and unfamiliar. Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Hearing wrong notes Bond Organ Builders, Inc. Muller Pipe Organ Company Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS I recently heard about a (not particu- C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. larly recent) study that showed quite sys- Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems tematically that most listeners don’t con- Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation sciously hear or notice most wrong notes. Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources Quimby Pipe Organs, Inc. Peterson Electro-Musical Products The study involved asking several talented Garland Pipe Organs, Inc. graduate student pianists to record several piano pieces. These were pieces that they had not studied before, and that they were given a fairly short time to learn. This was to try to secure enough wrong notes to make the study meaningful. The listeners were Call today for Please watch and share undergraduate pianists, some of whom APOBA’s free 66+ our short video at: were and some of whom weren’t familiar page color prospectus www.apoba.com/video with the pieces. The gist of the result was that the listeners reported only a very small fraction of the wrong notes. (Here is the link to the article about this study to which someone directed my attention: http://www.bulletproofmusician.com/ Apoba.com 1-800-473-5270 how-many-of-our-mistakes-do-audiences- and-other-musicians-actually-hear/.)

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 17 Pipe organ documentation

1863 E. & G. G. Hook Opus 322 Church of the Immaculate Conception Boston, Massachusetts Part 2

By Michael McNeil

Editor’s note: Part I of this article was much more open toes (Figure 8), and published in the July issue of THE DIAPA- the voicer raises the cutups to avoid a SON, pages 17–19. strident timbre at the increased power. The timbres are relatively constant from The façade of the 1863 E. & G. G. Hook Opus 322 in the former Church of the Immaculate Mouth heights bass to treble. Note the lower mouth Conception, Boston, Massachusetts (photo credit: Peg Newman, by permission of the Jesuit Mouth height, or “cutup,” as it is more heights of the William A. Johnson Cym- Urban Center) commonly called by voicers, is the pri- bal VII, which makes its timbre brighter mary means of adjusting the timbre of a than the Hook voicing (also note that the encourage chiff in the pipe speech, but Flueway depths pipe. Low cutups will create a brighter Cymbal’s toes are winded as robustly as this is suppressed in the Hook by the Like the pipe toe, the fl ueway depth tone with many harmonics, while high the Hook pipes in Figure 8). use of very deep and regular nicking also controls the fl ow of wind and cutups will produce smoother tone with In contrast, the Isnard chorus in Fig- of the languids of the pipes. Ninety strongly correlates to the power of the fewer harmonic overtones. For inter- ure 7 shows much lower cutups in the percent of the Isnard pipes are free of pipe. Interested readers can refer to The ested readers, see The Sound of Pipe bass and mid-range, and much higher nicks, and when nicks are found, there Sound of Pipe Organs, pp. 50–63 and Organs, pp. 68–80. In older organs, it is cutups in the highest treble. We will see are typically only two or three very 77–82. not uncommon to fi nd fl ute pipe mouths in the data for toe diameters in Figure 9 fi ne, shallow nicks on a languid. Con- In Figure 10 we see another essential cut twelve half tones higher than princi- that Isnard is restraining his pipes for less trast this with the treatment of the 16′ characteristic of Romantic voicing—a pal chorus pipes. power and voicing for an ascending treble. Open Diapason of the Hook: 22 fi ne very deep fl ueway. Much of the Romantic In the Normal Scale of mouth heights, nicks at C1, 20 nicks at c13, 29 nicks voicing tradition grew out of the French a higher cutup value on the vertical scale Pipe toe “C” values at c25, 24 medium nicks at c37, and 19 Classical voicing style, which maintained will result in smoother tone. Cutups may Pipe toe diameters can be normalized medium nicks at c49, all of the pipes deep fl ueways and controlled the power be adjusted higher for one or both of two to the diameter of the pipe, the width having their nicks cut very deeply into of a pipe by restricting its toe, much as reasons: 1) the voicer wants a smoother of the mouth, and a normalized depth the languid. There is no discernible we see in Figure 9. The restorer of the timbre, or 2) the voicer wants more of the fl ueway. For interested readers, “chiff” to the speech, but this is desir- Isnard organ, Yves Cabourdin, noted that power at the same timbre. More power the derivation of this normalization is able for the interpretation of Romantic the fl ueways of the Isnard organ seen in means more wind, and this means a explained in detail in The Sound of Pipe music. Interested readers can refer to Figure 11 are “closed up” relative to larger toe and/or fl ueway to admit more Organs, pp. 43–47. Higher “C” values The Sound of Pipe Organs, pp. 94–96, normal French Classic practice, yet the wind at the mouth. More wind at the mean the toe is larger and fl ows more for a graphic illustration of the effects fl ueways of the Isnard are very deep mouth will always produce a brighter wind relative to its mouth width and of such nicking on speech transients. relative to the common North German tone, so the voicer can make a pipe fl ueway depth. This is a primary voicing Figure 8 demonstrates another key practice of regulating power by closing louder and preserve its original timbre tool for regulating power. element of the Romantic tradition— down the fl ueways while maintaining by opening the toe and raising the cutup The contrast in the toe diameters large toes supplying more wind and open toes. For interested readers, some until the timbre is restored. of these two organs is striking in many power to the bass and mid-range. In examples of historical practice in fl ueway Now we can understand the graphs. In ways. The Hook toes in Figure 8 are contrast, the toe constants of the Isnard depths may be found in The Sound of Figure 6 we see that the Hook principal much wider overall than the Isnard are much smaller, more constant across Pipe Organs, pp. 50–51. chorus has high cutups and that they do toes in Figure 9, demonstrating the the compass, more constant for all stops The extremely deep fl ueways of the not signifi cantly vary from bass to treble. primary source of the power of the of the chorus, and exhibit a subtle rise Hook organ are consistent with Roman- Hook pushes pipes to higher power with Hook. This power would normally to support an ascending treble. tic voicing in general, along with more

Figure 6 Figure 7

18 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM Figure 8 Figure 9 generous toe diameters and the nicking (A well-knit chorus may contain slower can be designed to enhance the grand ducts are also very long, with the result required to suppress chiffi ng in the pipe pipes or faster pipes, but never both.) cadences of historic literature written for that they are calculated to have Helmholtz speech at the greatly increased power The Hook ratios in Figure 12 never live acoustics, and such wind systems will resonances in the very low range of about levels of this style. descend below a ratio of 1:1 and typically have a slower response. For interested 4 Hz; this frequency is not audible when The fl ueways of the Hook organ ascend to extremely high values in the readers, this response can be described as the organ is played, suggesting that the appeared in general to be very well treble. It is this technique with which the resonant frequency of the wind system, damping of the wind system is consider- preserved and were very consistent. The Hook obtains an ascending treble. and it is fully described in The Sound of able (some concussion bellows are pres- anomalous lower value of the fl ueway in The Isnard ratios in Figure 13 reside Pipe Organs, pp. 99–113, using the Isnard ent). The main ducts have about 0.56 m3 Figure 10 for the Hook 16′ Open Dia- at a value of 1:1 for the bass and mid- organ as a worked example. of volume. pason at c25 (4′ pitch) may have been range and ascend to much higher values Documentation of the wind system is The two bellows that together feed the the result of handling damage to that at the highest pitches. Like the Hooks, the probably the most overlooked feature in Great and Choir (and originally also the pipe or modifi cations when the pitch was Isnards achieved an ascending treble with descriptions of pipe organs. The Hook’s Swell), are massive with 8.4 m3 of volume, changed. The robust fl ueway depth of this technique, but unlike the Hooks, the wind system was measured in some detail, having two inward folds and one outward the Hook 16′ low C pipe is literally off Isnards crafted the bass and mid-range but not completely due to the constraints fold. The resonant frequency of the two the chart at 4.8 mm. ratios to values of almost exactly 1:1. The of time. bellows, two pallet boxes of the Great Isnard pipe speech has a lovely “bloom,” The wind of the Hook organ has no per- division, and wind ducts as a function of Ratios of toe and fl ueway areas which is a direct result of these very care- ceptible shake. The tutti does not notice- their mass and volume is calculated to be The fl ow of wind and power balances fully crafted ratios; the term “bloom” ably sag in pitch. The speech onset of the 1.23 Hz. Such a low resonant frequency is are controlled by the voicer at the toe refers to a slower buildup of power in the full Hook plenum is characterized by a the primary source of the grand surge in and fl ueway of a pipe. The ratio of the initial speech of a pipe. The Hook organ dramatic surge, the result of weighted bel- the tutti of this instrument. It is a musical area of the toe to the area of the fl ueway also exhibits a distinct bloom, but this lows and large system capacitances. The wind with grand drama, exhibiting none is important. If the area of the toe is less bloom has no speech transients, and it current wind system shows some modifi ca- of the nervousness of organs with sprung than the area of the fl ueway, which is a derives from the low resonant frequency tion of the 1863 design, largely as a result bellows. Both the mass and volume of ratio less than 1:1, it will cause a signifi - of the wind system when it is working of the 1902 addition of the Solo Division. this wind system compare favorably cant drop in the pressure at the mouth, hard to supply wind. The static wind pressure of the Great with the Isnard organ. And although the and what is more important, the speech was measured to be 75 mm water column Hook organ features double-rise bellows will be noticeably slower. When the area The wind system at c′(25) of the 4′ Clarion, the last stop on and the Isnard features wedge bellows, of the toe and fl ueway are equal, the ratio The design of the wind system plays a the back of the chest. The static wind pres- they have very similar and low resonant is exactly 1:1, and this is the lower limit for large role in the dynamics of the wind and sure at a′′′(58) of the 16′ Open Diapason frequencies at 1.23 Hz and 1.20 Hz, pipes with faster speech. Interested read- the musicality of the organ. Dry acoustics was measured to be 76 mm; drawing all of respectively. Figure 14 is a table showing ers can refer to The Sound of Pipe Organs, favor faster wind systems, which support the stops reduced that pressure to 67 mm. the measurements of the wind system and pp. 56–63 and 114–116 for a discussion of faster tempos; live acoustics fi ll dramatic All divisions in the organ are fed with its calculated resonance. this very important musical characteristic pauses with a halo of reverberation and ducts that have cross sections many times Another important characteristic of a and its effect on the cohesion of a chorus. encourage slower tempos. Wind systems what is necessary to wind the tutti. These wind system is its wind fl ow and damping.

Figure 10 Figure 11

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 19 Pipe organ documentation

Figure 14

Figure 12

Figure 15

Figure 13 Figure 16 Figure 17

The total demand on a wind system is equal The Great division III Mixture, V Mixture, and on the right except the newer, slotted low C pipe to the areas of all of the toes of all of the There are two windchests for the Great toe board, the later addition of the VII added at the time of repitching the organ. pipes that can be played at the same time division, split diatonically C and C# with Cymbal (red arrow). Trebles of the 16′ and 8′ ranks are also cut on full organ. We then look to see if the key the bass notes at the outer ends and a Most of the treble pipes are cone tuned dead length without slots. The intent here channels can fl ow suffi cient wind to those walkboard in the middle. Figure 16 and exhibit almost no damage. This is a is obvious: don’t tune these reeds on the toes, if the pallets can fl ow suffi cient wind shows the pipes on the C side windchest tribute to the tuning skills of the Lahaise scrolls, tune them on the wire. to the key channels, and if the wind ducts from the 8′ Open Diapason Forte at the family. Few organs of this age have sur- can fl ow suffi cient wind to all of the pallets. left (front of the chest) to the treble end vived with such intact mixture pipes. The General observations This analysis was performed on the Isnard of the III Mixture at the right. The order pre-restoration photos of the Isnard organ organ (see The Sound of Pipe Organs, pp. of stops is: at St. Maximin show the more typical fate 16′ Open Diapason 120–127), with the interesting result that of such pipes. All of the pipes of the 16′ Open Diapa- the Isnard wind trunk just barely fl ows 8′ Open Diapason Forte All of the tin-lead pipes in this organ son from the mid-range downward into adequate wind for the coupled principal 8′ Clarabella are constructed of spotted metal, with the the deep bass exhibit very bright harmonic choruses of the Grand Orgue and Positif, 16′ Open Diapason notable exception of the Cymbal (added content. The reason for this becomes but it is wholly inadequate for any form of 8′ Viola da Gamba by Johnson in 1870), which is planed apparent with a close examination of tutti. This sort of restriction is not uncom- 8′ Open Diapason Mezzo metal. This accounts for the obvious dif- the middle D pipe. When the organ was mon in older organs, and it performs the 4′ Octave ference in the construction of the rack- repitched from A=450 to A=435 Hz, a new function of adding signifi cant resistance 4′ Flute Harmonique board for this stop. The VII Cymbal (red low C pipe was made for many of the stops to the wind fl ow, which in turn dampens 3′ Twelfth arrows) includes a third-sounding rank, and the original pipes were moved up one Helmholtz resonances in the cavities of 2′ Fifteenth and in the style of Johnson it is silvery half step. The tuning distance between 435 the wind system, e.g., wind shake from the III Mixture (lower cutups) and restrained in power Hz and 450 Hz is less than a half step, with wind trunks and pallet boxes. We do not V Mixture (very narrow pipe diameters and mouth the result that the pipes were now much have enough data for all of the stops of the VII Cymbal (Johnson, 1870) scales). Although no records exist, there too fl at. The scrolls were then rolled down Hook to perform this analysis, but the very 16′ Trumpet must have been a fascinating story behind to bring the pipes into tune at 435 Hz. We large cross-section of the wind trunk sug- 8′ Trumpet the inclusion of a competitor’s mixture in can see from Figure 19 that to achieve gests that it has much more winding than 4′ Clarion this organ. correct tuning on the middle D pipe, the the Isnard, and that would be consistent Figure 18 shows the back of the tin-lead scroll was completely removed with a Romantic organ and the require- Figure 17 shows the treble end of the C side Great chest. The order of reed and the zinc resonator was crudely cut and ment that it support a full tutti. The table mixtures on the C side. The toeboard on stops, from left to right, is: 16′ Trumpet, broken to make the slot deeper. in Figure 15 shows the data for wind fl ow the left contains both the III Mixture and 8′ Trumpet, and 4′ Clarion. Note that the This was apparently not suffi cient in the windchests of the Great division. V Mixture. From left to right, we see the 4′ Clarion is cut dead length in all pipes to bring this pipe into tune. Figure

20 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM VII Cymbal (Johnson, 1870)4 Although not measured, the fl ueways were visually consistent with the other Hook pipework. This mixture, designed and built by William A. Johnson and installed in 1870, is 6 to 7 half tones nar- rower than the foundations. It has similar robust winding in its toes and fl ueways to the Hook work, but it is cut up relatively lower than the Hook mixtures, giving the Johnson mixture a more silvery timbre. It is a magnifi cent sound and provides a scintillating crown to the principal chorus of the Hook. Unlike the spotted metal of the Hook pipework, these Johnson pipes are all made of planed metal, probably containing Johnson’s typical alloy of 33% tin.5 This stop includes a third-sounding rank; its current breaks are:

3 1 2 1 1 1 C1 1⁄5′ 1 ⁄3′ 1′ ⁄3′ ⁄2′ ⁄3′ ⁄4′ 3 1 2 1 1 c#14 2′ 1 ⁄5′ 1 ⁄3′ 1′ ⁄3′ ⁄2′ ⁄3′ 2 3 1 2 1 g20 2 ⁄3′ 2′ 1 ⁄5′ 1 ⁄3′ 1′ ⁄3′ ⁄2′ 2 3 1 2 c#26 4′ 2 ⁄3′ 2′ 1 ⁄5′ 1 ⁄3′ 1′ ⁄3′ 1 2 3 1 Figure 22 g32 5 ⁄3′ 4′ 2 ⁄3′ 2′ 1 ⁄5′ 1 ⁄3′ 1′ 1 2 3 1 Figure 18 d#40 8′ 5 ⁄3′ 4′ 2 ⁄3′ 2′ 1 ⁄5′ 1 ⁄3′ ′ ′ 1 ′ ′ 1 ′ 2 ′ ′ half tones narrower than the 4′ Octave, c#50 16 8 5 ⁄3 4 3 ⁄5 2 ⁄3 2 Q similar to the scaling of the Twelfth. The Notes and Credits octaves are as wide as the foundations. All photographs, tables, graphs, and data are The current breaks are: by the author except as noted. 4. Huntington, Scot L., Barbara Owen, 1 C1 2′ 1⁄3′ 1′ Stephen L. Pinel, Martin R. Walsh, Johnson 2 c#26 4′ 2⁄3′ 2′ Organs 1844–1898, OHS Press, Richmond, Virginia, pp. 17–18. 5. Elsworth, John Van Varick. The Johnson V Mixture Organs, The Boston Organ Club Chapter of Although not measured, the fl ueways the Organ Historical Society, Harrisville, New Figure 21 were visually consistent with other Hook Hampshire, 1984, p. 45. stops. This mixture is scaled about 3 to To be continued. bent outwards on both sides. The author 5 half tones narrower than the founda- verifi ed that the wind to the toe was likely tions. The current breaks are: Michael McNeil has designed, con- altered as well; the wooden slides in the structed, and researched pipe organs since 1 2 1 toeboard that regulate wind fl ow were C1 2′ 1⁄3′ 1′ ⁄3′ ⁄2′ 1973. He was also a research engineer in 2 1 2 completely open. The façade pipes were c#14 2 ⁄3′ 2′ 1 ⁄3′ 1′ ⁄3′ the disk drive industry with 27 patents. He ′ 2 ′ ′ 1 ′ ′ all speaking on maximum wind. Figure c#26 4 2 ⁄3 2 1 ⁄3 1 has authored four hardbound books, among ′ ′ 2 ′ ′ 1 ′ 22 illustrates the condition of the scrolls c#38 8 4 2 ⁄3 2 1 ⁄3 them The Sound of Pipe Organs, several ′ 1 ′ ′ 2 ′ ′ in the back of the façade for 16′ c, 16′ G#, c#50 8 5 ⁄3 4 2 ⁄3 2 e-publications, and many journal articles. 8′ C, 8′ D, 8′ E, and 8′ F#, going from left to right in the fi gure. Figure 19 8′ Open Diapason Forte The cutups appear original, the toes were crudely opened, and this stop indeed sounds too loud and too bright relative to any other 8′ stop. In fact, this stop obliter- ates the sense of chorus when using it in the traditional French fonds. One would ORGANS & ORGANISTS: their normally expect the 8′ Forte to be slightly more powerful, but less bright, than the 8′ Open Diapason Mezzo; they would then INSIDE STORIES combine as a fi ne chorus. In fact, this stop Figure 20 is much more powerful than the Open This hilarious novel showcases Diapason Mezzo and also brighter. This everything you might have (n) ever 20 shows that the toe of this pipe was rank shows the same tuning modifi cation crudely opened and fl ared outward seen in Figure 19, and the toes of this wanted to know about the organ. without the benefi t of a normal toe rank were opened in the same crude Written by JENNY SETCHELL, it is reamer or toe chamfering tool. This manner seen in Figure 20. is very informative because it explains While there is some evidence of selec- a follow-up volume to her book the much brighter timbre of this pipe tive toe adjustment in other stops, no relative to its treble or other founda- other ranks show such crude treatment Organ-isms, and shows the heart of tions. The opening of the toe increased and excessive opening of the toes. They the world of organs as you have never the pitch and brought the pipe into have normal chamfers and round bores. tune, but at the expense of more power Lending further evidence to the hypoth- seen it before. It contains hundreds and a much brighter timbre relative esis that this was damage infl icted at the of beautiful color photographs and to the original voicing. Even with this time of repitching the organ, it was seen increased power it would have been that the same crude method of opening funny anecdotes about the situations possible to have preserved the original the toes was applied to all of the new low timbre by slightly raising the cutup. C pipes in all of the ranks. in which organists fi nd themselves. Inspection of the upper lips indicates We are fortunate in at least one respect. HARDBOUND, 413 PAGES A wonderful book for organists and that this was not done; the upper lips The workmanship during the repitching NON-MEMBER PRICE: $38.00 of all pipes are slightly skived to about was very crude, and this allows us to bet- MEMBER PRICE: $36.00 organ enthusiasts alike. one half of the metal thickness, and this ter understand the order of events and was still intact on all pipes. Note that the anomalous tonal balances. IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! the crudely damaged toe shows bright metal; there was no bright metal on the III Mixture ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG upper lips, indicating original cutups but The mixture pipes were all moved modifi ed toes. This voicing damage is up one half step when the organ was typical throughout the bass of this stop. repitched, widening the scales by a half ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we Figure 21 shows the back of the low D step and moving the breaks up by the P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. Media Mail shipping is $5.00 for your entire façade pipe. Note that the tin-lead scroll same amount. The new pipes added at Telephone: (804) 353-9226 is completely missing, the zinc is rolled low C were crudely matched in diam- order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET back at the bottom of the slot, and the eters, mouth widths, and toes. The the cost of air postage, charged to your VISA tin-lead adjacent to the top of the slot is width scales of the fi fths are about two [email protected] SHIPPING or MasterCard.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 21 Organs in the Netherlands and Germany

Experiencing the Story Oberlin’s 2017 Winter Term Trip to the Netherlands and Germany

By Jonathan Moyer

rozen fi ngers, schnitzel and pota- Ftoes, too much bread, four-cheese pasta, train platforms in the cold, Blitzeis . . . but then that remarkable sound! This past January eleven stu- dents and four faculty and staff from the Oberlin Conservatory of Music lugged their organ shoes and music across the cold terrain of the Netherlands and Ger- many to experience the glory of nearly fi ve centuries of organ building. All the discomforts of northern Europe in winter faded away when our fi ngers touched those historic keyboards and the sounds of the ages fi lled hallowed halls with the music that fi rst inspired us to become organists. We followed in the footsteps of Sweelinck, Scheidemann, Reincken, Buxtehude, Lübeck, Pachel- bel, Bach, Liszt, Reger, and many more. Over 13 days, we visited 28 churches Stopknobs from the 1693 Arp Schnit- Group photo in front of Haarlem’s magnifi cent 1738 Christian Müller organ in and 34 organs, ranging from one of the ger organ in the Pelstergasthuiskerk, the Bavokerk oldest and most beautiful instruments in Groningen all of Europe in Oosthuizen’s Grotekerk time periods and geographies. The vocal (Anonymous, early 16th century) to the A trip like this is a critical element in allure of northern leaden principals newly rebuilt organ of the Nikolaikirche the education of an organist. It brings befi ts the Italian characteristics of much in Leipzig, the console of which was one into contact with the original source seventeenth-century music. Just 250 designed by Porsche. of our music. It is from the instrument miles to the south the contrast could not Many of our students where traveling itself, including its cultural and historical have been more evident. The Thuringian to Europe for their fi rst time. For them, context, that we inform our minds with predilection for pipes predominantly of the trip was not only an introduction to something deeply profound. tin and “gritty” voicing refl ects an empha- new cultures, but also a journey home One of the great advantages of a sis on congregational singing, enunciating to the places were our musical tradition whirlwind tour such as this is the ability the strength and rhythm of German con- was born. to compare a wide range of organs across sonants. Every organ we played told its own story, brought to life as we walked the streets, opened the gates of the church, and climbed the stairs. It is impossible to share them all, but here are just a few. An often overlooked treasure in Groningen is the marvelous Schnitger ii — 19 ranks ii — 19 organ of 1693 in the Pelstergasthuis- kerk, originally a guesthouse chapel to the nearby hospital. In the seventeenth winchester, virginia century the church became sanctuary to

opus 130 a French Protestant reformed congrega- tion (Walloon or Waalse). Its two-manual organ with hook-down pedalboard was designed for one main purpose: to accompany the singing of psalms. Each stop of this organ sings with clarity and

The Village at Orchard Ridge unique color, enabling a multitude of ensemble and consort combinations. The Rugwerk 4′ Fluit dating from 1627 can seduce one for hours on end. rneauor ou ga The new organ of Hamburg’s Kath- et n .l s .c w arinenkirche is the product of an impor- Façade and keyboard of the organ in follow o w us on m Grotekerk, Oosthuizen (Anonymous, w facebook! tant narrative that brings the world of Scheidemann and Reincken together 16th century) with that of Johann Sebastian Bach. Its vast colors and ensembles are the Another Bach story was revealed during vestiges of the Schnitger age, yet the the restoration of the famous Hildebrandt Bach-Kellner temperament acknowl- organ in Naumburg’s St. Wenzelskirche. It edges the presence of Bach when he was discovered that the stops from the old 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA took his Hamburg audition in 1720. This console still bore their original labels—the t 450 774-2698 [email protected] organ demonstrates that Flentrop is still same labels that Johann Sebastian Bach achieving some of the fi nest construction and Gottfried Silbermann read when they of organs in the world today. examined the organ in 1746.

22 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM Leipzig viewed from Lindenau, Johann Alexander Thiele (1685–1752)

Our fi nal gathering of the trip with other organ students from the Hochschule für Musik in Weimar. The 1730 Trost organ towers above the pulpit in Walterhausen. The words on the pulpit read “Seelig sind die Gottes Wort hören,” or “Blessed is the hearing of God’s Word.”

The original 1746 label that designates the Pedal 32′ Posaune of the Hildebrandt The 16′ Aeoline of Merseburg Cathedral, organ in Naumburg’s Wenzelskirche Ladegast, 1855

A Precious Gift from the Past Matthew Buller at the console of Ham- James David Christie and Jonathan burg’s Katharinenkirche, Flentrop, 2013 Moyer at the console of the 1889 Sauer for the Present organ in Leipzig’s Thomaskirche (photo credit: Matthew Buller) Other stops told similar stories. The great Ladegast organ in the Merseburg and the Future Cathedral (now fully restored) reveals famous Trost organ was on hand to help Supremely beautiful and blendable the enigmatic 16′ Aeoline stop that with the removal of the tree and took us conjured the imagination of Liszt and on an extensive tour of the organ. Even tonal color – a Gift from the Venetian Reubke. Today, its dark yet clarion with the reeds suffering from the frigid School of organbuilding, a monumental part of our tone ushers us into the mystery of the temperatures, the robust sound of the JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH Romantic age. organ sailed over the central pulpit like SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN The desire to crescendo the vast a great sermon. It demonstrates how resources of the organ received its ulti- the organ in the Lutheran tradition mate realization in the smooth Walze became a complement to the spoken Intriguing? Let us build your dream. (Rollschweller) in Wilhelm Sauer’s word, orating from its own gallery pul- 1889 masterpiece in Leipzig’s Thom- pit. Lunch in a nearby establishment askirche, bringing Max Reger’s extreme consisted of more schnitzel, bread, and dynamic ranges into context. beer, insulating us from the cold and Perhaps our most memorable snow. This was music and food from the Thuringian adventure was a snowy heart of the earth. day in Waltershausen. Our gracious One of the few free afternoons we host was delayed because of the snow, had on the trip afforded me a few hours but we were able to make our way in the Leipzig Museum of Art, where Builders of Fine Pipe Organs to the World into the church as parishioners were a simple landscape painting of the city taking down the large Christmas tree caught my attention. It was painted by www.ruffatti.com that had fi nally fi nished its season. To Johann Alexander Thiele (1685–1752) our delight the local caretaker of the whose lifespan was almost exactly Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 23 Organs in the Netherlands and Germany

The console of the 1722 Silbermann organ in Rötha’s Marienkirche.

Group photo in front of Aakerk organ (photo credit: Henk de Vries)

View of the Brustwerk with original let- One of the gigantic reed boots in the tering in the 1675 Arp Schnitger organ 1730 Trost organ in Waltershausen. in Stade, Ss. Cosmae and Damiani. Our Trip at a Glance

Amsterdam, The Netherlands Stade Waalse Kerk Ss. Cosmae and Damiani Organ: Christian Müller, 1734 Organ: Arp Schnitger, 1675 Oude Kerk Transept Organ: Jürgen Ahrend, 1965/2001 Schwerin The Vater-Müller organ was under restoration Schwerin Dom Italian Organ: Nicola Puccini, 2011 Organ: Friederich Ladegast, 1871 15 pedals and ventils that operate the A psalm board in the Bavokerk, Haarlem 1871 Ladegast organ in Scherwin. Haarlem Rötha Bavo Kerk St. Georg As organists we have a privilege that Organ: Christian Müller, 1738 Organ: Gottfried Silbermann, 1721 that of J. S. Bach. In the center of the few people on earth get to experience. Marienkirche painting the Thomaskirche towers We come closer to history than any Oosthuizen Organ: Gottfried Silbermann, 1722 Grotekerk above the many houses that defi ne the painting can ever portray. We touch Organ: Anonymous, early 16th century Leipzig skyline. The work may very well have the keys, pedals, bench, and stops. We St. Nikolaikirche been painted while Bach was living in engage the wind from the bellows into Amsterdam Organ: Eule/Porsche, 2003 Leipzig. The cantor’s house and Thom- pipes as the notes on the page guide St. Nicholas Basilica St. Thomaskirche Organ: Wilhelm Sauer, 1889 Reger Organ: Wilhelm Sauer, 1889 asschule are visible, and the smoke us to shape sounds into fi gurations and Bach Organ: Gerald Woehl, 2000 rising from the surrounding chimneys is fi gurations into phrases. Suddenly the Groningen almost scented. The paint on the canvas composer’s voice is brought to life. Aa-Kerk Naumburg is like a veil that separates us from a This is why we journey to the land Organ: Arp Schnitger, 1702 St. Wenzelskirche Pelstergashuizkerk Organ: Zacharias Hildebrandt, 1746 time that we so desperately long to visit. of these miraculous instruments. They Organ: Arp Schnitger, 1693 We are so close yet so distant. fi ll our souls with the world that our Martinikerk Merseburg beloved composers knew. They form Main Organ: Arp Schnitger, 1691 Cathedral memories and experiences that will Choir Organ: Ph. le Piccard, 1744 Organ: Friederich Ladegast, 1855 A. E. Schlueter Pipe Organ Co. guide the musical choices we make for Lübeck, Germany Erfurt the rest of our lives. Q Marienkirche Marien Dom Visit to church only Organ: Alexander Schuke, 1992 All photos by Jonathan Moyer, except Jacobikirche St. Severikirche where indicated. Small Organ: Fr. Stellwagen, 1636 Organ: Johannes Klais, 1930 Main Organ: Schuke/Flentrop, 2013 (Case by Wender, 1714) Jonathan Moyer, DMA, is an assistant Positiv Organ: Richborn, 1673 Cruciskirche professor of organ at Oberlin College Lübeck Dom Organ: Franciscus Volckland, 1737 Italian Organ: Biaggio di Rosa, 1777 and organist and director of music at the Arnstadt Church of the Covenant in Cleveland, Hamburg St. Boniface (Bachkirche) Ohio; www.jonathanwmoyer.com. Michaeliskirche Organ: Johann Fr. Wender, 1703 Main Organ: Steinmeyer, 1962 Organ: Steinmeyer, 1913 Participants: (Façade, Hildebrandt) Concert Organ: Marcussen, 1914 Waltershausen  New Instruments  Tonal Additions Faculty: James David Christie, Jona- The C.P.E. Bach Organ: Stadtkirche  Rebuilding  Maintenance than Moyer Hartwig und Späth, 2010 Organ: Tobias Trost, 1730  New Consoles  Tuning Staff: David Kazimir, Bradley McClain Central Console by Students: Albert Bellefeulle, Mathew Johannes Klais, 2010 Weimar Jacobikirche Visit with organ students from How can we help you? Bickett, David Boeckh, Matthew Buller, Organ: Arp Schnitger, 1689 the Hochschule für Musik Tigran Buniatyan, Cory Burris, Celina 800-836-2726 Jürgen Ahrend, 1989 Kobetisch, Natalie Mealey, Lorraine Katharinenkirche www.pipe-organ.com Mihaliak, Mitchell Miller, Henry Webb Organ: Flentrop, 2013

24 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM New Organs

Marceau Pipe Organ Builders, completely new to the organ and includes 3 Seattle, Washington, Opus 35 a much-needed 1 ⁄5′ Seventeenth. The University Lutheran Church, Swell 8′ Principal was a last-minute addi- Seattle, Washington tion, replacing the original rank, which Marceau Pipe Organ Builders has was slotted with a narrow, string-like completed their Opus 35, a three- sound. The Antiphonal is the only divi- manual and pedal organ of 25 stops, 27 sion with a façade; these 12 pipes are from ranks, and 1,714 pipes for University the 8′ Principal. The Pedal 16′ Principal Lutheran Church of Seattle, Wash- was extended by 17 notes to become 8′ ington. The fi rst instrument for this Principal II on the Great. The luxury of edifi ce was built by the Reuter Pipe having four 8′ Principals is most effective Organ Company in 1954, Opus 1097. in a less than supportive acoustic. It consisted of two manuals, 18 stops, The number of fl ute stops is on the 19 ranks, and 1,358 pipes. An Echo lean side due to space and mechanical division was later installed by Balcom limitations. The intent was to fi nish each & Vaughan Organ Builders in 1957, stop with a multitude of functions, creat- Opus 637. This consisted of two manu- ing a more versatile result. While it is not als, six stops, six ranks, and 392 pipes. an ideal design to derive multiple stops of Two consoles were added; the Chancel various pitches from one rank, the various unit was able to control both locations, derived mutations (Swell and Antipho- and a separate console was placed in nal) work quite well as tonal contrasts to the rear balcony to play only the Echo the independent Great mutations. division. This arrangement worked well There are two sets of strings that work for a number of years before mechani- remarkably well and complement each cal and tuning issues began to affect the other tonally. Having a set of strings in reliability of the organs. the Antiphonal again creates a unique Console, Marceau Opus 35, University Lutheran Church, Seattle, Washington In 2013, a conversation was begun location of sound that has a most satisfy- that would address the status of the ing result! existing consoles, the unplayable Echo The reeds all received extensive division, and the obsolete electrical revoicing in the shop and regulation on system. After exploring a number of site. Both Swell reeds were opened up options, University Lutheran awarded to gain color and dynamic capabilities. Marceau Pipe Organs a contract to build For greater versatility, the Trumpet a new three-manual, terraced drawknob is set at 16′, 8′, and 4′ pitches in the console and create an Antiphonal divi- Swell, 8′ pitch in the Great, and 16′, 8′, sion that would be located on the fl oor and 4′ pitches in the Pedal. A 32′ elec- of the balcony, as well as some modest tronic extension was added as the fi nal tonal additions to enable this division dynamic element for the Pedal chorus. to function in a variety of musical styles The Antiphonal 8′ Krummhorn is and to stay in tune with the Chancel bright, and its location still works well organ, regardless of the season. In with the Chancel organ. The Antipho- addition to the above details, there nal 8′ Festival Trumpet brings a solo was a desire to transform the sounds of reed sound to the organ. Its sound is both organs from dull and colorless to bright and very present without over- a brighter, more energetic sound. This whelming the full ensemble. was achieved by introducing new pipes The organ was dedicated on October for the Great, Swell, and Antiphonal 8, 2016, with a vespers service followed principal choruses along with major by an organ recital performed by Wil- re-regulation of the existing reed stops. liam Bryant. In addition, the Antiphonal received an This was a challenging project in so 8′ Festival Trumpet and an 8′ Krumm- many ways. Working with an existing horn; the existing 8′ Vox Humana was pipe organ brings many surprises along not retained in this division since the the way that could not have been antici- Chancel Swell already contained a stop pated. We acknowledge the following for of this character. their efforts in the many details of this The new console was constructed work: Carl Dodrill (Pipe Organ Foun- of solid white oak with the coupler rail dation), Jim Stettner and Michael Way and stop tiers of bubinga. The simple (Puget Sound Pipe Organs), William elegance of the white oak complements Bryant, organist of University Lutheran the red-brown appearance of the bub- Church, and the staff of Marceau Pipe inga. The keyboards feature polished Organ Builders. These skilled crafts- bone naturals and ebony sharps. These men took on the many and sometimes console treatments have been an integral diffi cult challenges of this project with element of all Marceau consoles for the energy and commitment! past 15 years. —René A. Marceau A reading of the stoplist suggests a President/Tonal Director much more colorful and energetic tonal —Sean Haley design. The Great principal chorus is Operations Manager Antiphonal façade

Marceau Pipe Organ Builders, Opus 35 University Lutheran Church, Seattle, Washington

GREAT Manual II (Unenclosed) 4′ Spitz Octave 61 pipes 2′ Fifteenth (ext 4′ Octave) 12 pipes 8′ Krummhorn (Antiphonal) 16′ Principal (Pedal) 4′ Rohrfl ute (ext) 12 pipes 2′ Flute (from 4′ Flute) 8′ Festival Trumpet (Antiphonal) 2 3 8′ Principal I 61 pipes 2⁄3′ Nazard (from 4′ / 2′ Rohrfl ote) 1⁄5′ Tierce (from Nasard) 4′ Clarion (Swell) 1 8′ Principal II (Pedal) 2′ Rohrfl ute (ext) 12 pipes 1⁄3′ Mixture III (from Octave & Nasard) 3 8′ Concert Flute 61 pipes 1⁄5′ Tierce (from 4′ / 2′ Rohrfl ote) 8′ Krummhorn 61 pipes Zimbelstern 8′ Rohr Flute (Swell) 16′ Posaune (ext Trumpet) 12 pipes 8′ Festival Trumpet 61 pipes 8′ Gemshorn 61 pipes 8′ Trumpet 61 pipes Tremulant Couplers 4′ Octave 61 pipes 8′ Oboe 61 pipes Chimes (25 tubes) Great to Pedal 8 4′ Nachthorn 61 pipes 8′ Vox Humana 61 pipes Swell to Pedal 8 2 2⁄3′ Quinte 61 pipes 4′ Clarion (from Trumpet) PEDAL Antiphonal to Pedal 8 2′ Super Octave 61 pipes 8′ Festival Trumpet (Antiphonal) 32′ Untersatz (Antiphonal Gedecktbass) Swell to Great 16 3 1⁄5′ Seventeenth 61 pipes Tremulant 16′ Principal 32 pipes Swell to Great 8 1 1⁄3′ Mixture III 183 pipes 16′ Rohr Bourdon (Swell) Antiphonal to Great 8 8′ Trumpet (Swell) ANTIPHONAL Man. I (Enclosed) 16′ Gedecktbass (Antiphonal) Swell to Swell 16 8′ Festival Trumpet (Antiphonal) 16′ Gedecktbass (ext) 12 pipes 8′ Octave (ext) 12 pipes Swell Unison Off Tremulant 8′ Principal 61 pipes 8′ Principal (Antiphonal) Antiphonal to Antiphonal 16 8′ Gedeckt 61 pipes 8′ Rohrfl ute (Swell) Antiphonal Unison Off SWELL Manual III (Enclosed) 8′ Salicional 61 pipes 8′ Gedeckt (Antiphonal) Swell to Antiphonal 8 16′ Rohr Bourdon (ext 8′) 12 pipes 8′ Voix Celeste (TC) 49 pipes 4′ Choralbass (ext 8′ Octave) 12 pipes 8′ Principal 61 pipes 4′ Octave 61 pipes 4′ Flute (Swell) Manual Transfer – Great & Antiphonal 8′ Rohrfl ute 61 pipes 4′ Flute (ext) 12 pipes 32′ Posaune (digital ext) 8′ Viola 61 pipes 4′ Salicet (ext) 12 pipes 16′ Posaune (Swell) 2 8′ Viola Celeste (TC) 49 pipes 2⁄3′ Nasard 61 pipes 8′ Trumpet (Swell)

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 25 Cover feature

American Organ Institute, University of Oklahoma, Norman, Oklahoma Oklahoma History Center, Oklahoma City, Oklahoma A part of Oklahoma history, the Kilgen theatre organ originally installed in the studios of WKY Radio in Oklahoma City came to life again on April 24, 2017, under the fi ngers of John Schwandt. It was almost 81 years to the day since the instrument was offi cially debuted by Jesse Crawford, the “Poet of the Organ.” In reality, when Crawford played that Ken Wright, WKY Radio’s house organ- concert April 13, 1936, to mark the move ist, with the new Kilgen. The carved to the ritzy new studios owned by E. K. wood Art Deco screens cover the Main and Solo chambers of the organ. (Photo Gaylord on top of the Skirvin Tower in courtesy Oklahoma Historical Society) downtown OKC, the organ had already been played for months. And in fact, it had already gained four ranks and a vibraharp, ordered from Kilgen as soon as the instru- ment was installed. Similarly, the conclusion of the rebuilding of the instrument in 2017 was not the fi rst time it had been taken apart and reassembled; it was the fi fth. When WKY Radio, the third oldest (fi rst trans- mitting in 1922 as 5XT) and the strongest radio station west of the Mississippi, took a backseat to WKY Television, which began broadcasts in 1949, the organ fell silent. The studios were moved to a new location away from downtown OKC in March of 1951, and that meant there was Jesse Crawford plays the inaugural no place for the Kilgen organ that had concert of the WKY Kilgen to an in-stu- for 15 years accompanied the daily lives dio and broadcast audience on April 13, 1936. (Photo courtesy of the AOI Archive and of Oklahomans with the musical stylings Library) of Ken Wright, the brilliant organist who would remain linked with this instru- music of the new movie Star Wars on the ment until his death in 1978. organ Ken called “my baby.” Gaylord sold the Kilgen (Opus 5281) And so the organ played on, at least to the City of Oklahoma City for $1,000, on occasion, until 1998, when the Civic and the delightfully named local organ Center was again closed and gutted for a technician Roy Gimple installed it in new interior. The design didn’t include a the cavernous Art Deco expanse of the The WKY organ is part of a current exhibit highlighting the history of commerce place for an organ, and it fell to a group Municipal Auditorium. Sixteen years within the State of Oklahoma. (Photo credit: James Richardson) of local businessmen led by Greg Rob- later, in 1967, the auditorium was reno- ertson to voice concern about its fate vated, renamed the Civic Center, and until 1976, when Paul Haggard, once on September 11, 1977. Haggard knew and to put on one last private concert for reoriented to seat 3,200 (half its original employed by the Kilgen fi rm in St. Louis the organ well, as he had been on the the mayor and the city council, by way capacity) with the organ retained and and now relocated to Oklahoma City, led installation team back in 1935, and there of convincing them of the organ’s value. installed in chambers on either side a renovation of the instrument that cul- he sat, next to Ken Wright, as they heard Robertson called on local organ celebrity of the proscenium. There it played minated in a concert by Hector Olivera Olivera play a concert that included the Wally Brown, known particularly as the

Kilgen Opus 5281 (1935)

Great Sostenuto OFF 16′ Bourdon Solo to Great 16 Chamber analysis Master Expression 16′ Vox Humana (TC) Solo to Great 8 Record/Playback 8′ Post Horn MAIN 8′ Trumpet Great Pizzicato 16′ Tuba 85 pipes ′ ′ ′ COMBINATION PISTONS 8 Tuba 16 Post Horn (TC) 16 Open Diapason + * 85 pipes General – 30 8′ Open Diapason 8′ Post Horn 16′ Concert Flute 97 pipes ′ ′ Pedal (toe) – 6 8 Violin Diapason Solo to Great 16 8 French Horn + 61 pipes Accompaniment – 10 8′ Tibia Clausa Solo to Great 8 8′ Clarinet + 61 pipes ′ ′ Great – 10 8 French Horn 8 Viol d’Orchestre 85 pipes Solo – 10 8′ Clarinet BOMBARDE 8′ Viol Celeste 73 pipes ′ ′ ′ Bombarde – 10 8 Kinura 16 Post Horn (TC) 4 Vibraharp + 49 bars 8′ Orchestral Oboe 16′ Trumpet (TC) 4′ Marimba 49 bars ′ ′ ′ BALANCED PEDALS 8 Solo Violin 16 Tuba 4 Chrysoglott 37 bars Main Expression 8′ Viol d’Orchestre 16′ Diaphone Solo Expression 8′ Viol Celeste 16′ Tibia Clausa SOLO ′ ′ ′ Crescendo 8 Concert Flute 16 Vox Humana (TC) 16 Tibia 97 pipes 8′ Vox Humana 8′ Post Horn 16′ Solo Violin 85 pipes 1 MISCELLANEOUS PISTONS 5⁄3′ Tibia Fifth 8′ Trumpet 8′ Posthorn 61 pipes ′ ′ ′ Harp Dampers On 4 Octave Trumpet 8 Tuba 8 Trumpet 73 pipes Crescendo A 4′ Octave Open 8′ Open Diapason 8′ Violin Diapason ‡ 85 pipes ′ ′ ′ Crescendo B 4 Octave 8 Tibia Clausa 8 Kinura ++ 61 pipes Percussion Unenclosed 4′ Tibia Clausa 8′ Clarinet 8′ Orchestral Oboe + 61 pipes ′ ′ ′ ′ 32 Harmonics Off 4 Solo Violin 8 Orchestral Oboe 8 Vox Humana 73 pipes 4′ Viol d’Orchestre 8′ Solo Violin 4′ Chimes 20 tubes ′ ′ ′ KNEE PANEL SPOONS 4 Viol Celeste 8 Viol d’Orchestre 2 Glockenspiel 37 bars Cymbal Roll/Crash (double touch) 4′ Flute 8′ Viol Celeste 2′ Xylophone 37 bars 1 Drum Roll/Strike (double touch) 3⁄5′ Tibia Tenth 8′ Vox Humana 2′ Sleigh Bells † 25 notes 2 Tutti 2⁄3′ Tibia Twelfth 4′ Tuba Clarion 2 2⁄3′ Twelfth (Viol d’Orchestre) 4′ Octave Open + Added by Kilgen in 1936 GREAT 2′ Tibia Piccolo 4′ Tibia Clausa ++ Added while at WKY. Gottfried pipes, 16′ Post Horn (TC) 2′ Fifteenth (Violin Diapason) 4′ Solo Violin date and source unknown. 16′ Trumpet (TC) 2′ Piccolo (Concert Flute) 4′ Viol d’Orchestre * 1–12 Wurlitzer Diaphone. Added while at 3 16′ Tuba 1⁄5′ Tierce (Concert Flute) 4′ Viol Celeste Civic Center. Date and source unknown. 2 16′ Diaphone 1′ Fife (Concert Flute) 2⁄3′ Tibia Twelfth † Added 2017 16′ Violin Diapason (TC) 8′ Marimba 2′ Tibia Piccolo ‡ Originally specifi ed, this rank disappeared 16′ Tibia Clausa 4′ Marimba 8′ Marimba at an unknown time. It was restored, using 16′ French Horn (TC) 4′ Xylophone 2′ Xylophone vintage pipes. 16′ Clarinet (TC) 2′ Xylophone 2′ Glockenspiel 16′ Kinura (TC) 2′ Glockenspiel 4′ Vibraharp GENERAL 16′ Orchestral Oboe (TC) 4′ Chrysoglott 4′ Chrysoglott Vibraharp Motor 16′ Solo Violin Great to Great 16 Bombarde to Bombarde 16 Marimba Re-it 16′ Viol d’Orchestre (TC) Great Unison Off Bombarde to Bombarde 4 Xylo/Glock Re-it 16′ Viol Celeste (TC) Great to Great 4 Great to Bombarde 8

26 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM Ken Wright, seated at Kilgen Opus 5281, the organ he would forever call “my baby.” (Photo courtesy Oklahoma Historical Society)

The massive Kilgen console in position for the inaugural concert at the Oklahoma A view inside the Solo chamber of Kil- History Center (Photo courtesy Oklahoma Historical Society) gen Opus 5281. Ranks from right to left: Orchestral Oboe, Solo String, Violin Diapason, Post Horn, Tibia Clausa, and the deputy director of the Oklahoma world. Later, he produced the vena cava Trumpet. (Photo courtesy AOI) Historical Society, came together in fi lter, designed to catch blood clots as mutual agreement that the organ needed they entered the heart from the extremi- One of those professionals was John a home. In fact, the Oklahoma Historical ties, before they could cause great harm Schwandt, newly hired as the organ The Main and Solo chambers of the Kil- Society had already broken ground on a or death. His simple, yet intricate, basket professor at the University of Oklahoma, gen can be seen at left, and the control new museum building that would stand design, copied from his successful design where he had also founded the American room is visible behind glass. (Photo cour- in the shadow of the Capitol. “Dr. Bob” of a fi lter to deal with accumulation of Organ Institute (AOI). Schwandt’s vision tesy Oklahoma Historical Society) understood the unique role that Opus sludge in an oil well, has been implanted was for a program that encompassed 5281 had played in the state’s collective in hundreds of thousands of patients. the pipe organ as a whole, including organist who accompanied the passion- consciousness, and a change order was Kimmell also was passionate about music its unique expression in the American ate preacher Oral Roberts in his cru- issued to provide a room in the new and enjoyed the mechanics and physics theatre organ, and in the study and prac- sades around the world, in which Brown building’s basement for the blower and of the pipe organ, so he was intrigued by tice of organbuilding and maintenance. punctuated the preacher’s electrifying two chambers fl anking the rotunda of the planned installation of the Kilgen and Having already procured the space for utterances with “preaching chords,” and the new Great Hall, with its hard sur- agreed to fund it. A local organ enthusiast an organ shop and outfi tted it appro- brought in the souls, and the sheaves, faces and view of the Capitol building. was hired to run the project, which unfor- priately, Schwandt felt that a project to to the interminable strains of “Just As I Robertson had appealed to Garman tunately ran aground just before the organ return a theatre organ to Oklahoma City Am.” Wally must have done something Kimmell for support. Kimmell was an was supposed to be powered up. The was a natural fi t for his institute. But the special, as the stony hearts of the local engineer and inventor whose products team dissolved and the organ sat, partially money had to come from somewhere. bureaucrats were softened and they revolutionized the oil and gas industry installed and silent. In 2006, the Oklahoma At approximately the same time, agreed to spare the Kilgen from the around the world, but he didn’t stop Historical Society invited multiple organ Dusty Miller, a son-in-law of Garman wrecking ball and place it in storage, there. He was the medical physicist for professionals to make an assessment of the Kimmell who had a particular love for though its fate was unknown. the fi rst open heart surgery team in Okla- situation. Everyone agreed that any plan to the theatre organ, was contemplating a Before much time had passed, Rob- homa City, designing and building one breathe life into Opus 5281 would require move back to Oklahoma with his wife, ertson and Bob Blackburn, who was then of the fi rst heart-lung machines in the going back to the beginning. Barbara, having retired from his own

Oklahoma History Center, Oklahoma City, Oklahoma

Great to Bombarde 4 Sleigh Bells 4′ Vox Humana Crash Cymbal 2 Solo to Bombarde 16 Cow Bell 2⁄3′ Tibia Twelfth Tap Cymbal Solo to Bombarde 8 Accompaniment to Accompaniment 4 2′ Tibia Piccolo Triangle 3 Solo to Accompaniment 8 1⁄5′ Tibia Tierce Accompaniment to Pedal 8 1 ACCOMPANIMENT 1⁄3′ Tibia Larigot Great to Pedal 8 8′ Post Horn Accompaniment Second Touch 8′ Marimba Great to Pedal 4 8′ Trumpet 8′ Post Horn 2′ Xylophone Solo to Pedal 8 8′ Tuba 8′ Trumpet 2′ Glockenspiel 8′ Open Diapason 8′ Tuba 8′ Vibraharp Tremulants 8′ Violin Diapason 8′ Open Diapason 4′ Vibraharp Main 8′ Tibia Clausa 8′ Tibia Clausa 4′ Chrysoglott French Horn/Clarinet 8′ French Horn 8′ French Horn 4′ Sleigh Bells Solo 8′ Clarinet 8′ Clarinet 8′ Chimes Tibia Clausa 8′ Solo Violin 4′ Tibia Clausa Solo to Solo 16 Vox Humana 8′ Viol d’Orchestre 8′ Marimba Solo Unison Off Tuba 8′ Viol Celeste 1′ Glockenspiel Solo to Solo 4 Trumpet 2 8′ Concert Flute 4′ Chimes Solo to Solo 6 ⁄5 Post Horn 1 8′ Vox Humana Triangle Solo to Solo 5 ⁄3 4 4′ Octave Open Traps to Second Touch Solo to Solo 4 ⁄7 Untuned Percussion Pistons 4′ Octave Great to Accompaniment 4 Acme Siren 4′ Tibia Clausa Solo to Accompaniment 8 PEDAL Auto Horn 4′ Solo Violin 32′ Harmonics (resultant) Bass Drum 4′ Viol d’Orchestre SOLO 32′ Contra Bourdon (resultant) Bird 4′ Viol Celeste 8′ Post Horn 16′ Tuba Block 4′ Concert Flute 8′ Trumpet 16′ Diaphone Boat Whistle 4′ Vox Humana 8′ Tuba 16′ Tibia Clausa Crash Cymbal 2 2⁄3′ Flute Twelfth (Concert Flute) 8′ Open Diapason 16′ Violone Door Bell 2′ Piccolo (Concert Flute) 8′ Violin Diapason 16′ Bourdon Fire Gong 8′ Marimba 8′ Tibia Clausa 8′ Post Horn Fire Siren 4′ Marimba 8′ French Horn 8′ Trumpet Police Whistle 8′ Vibraharp 8′ Clarinet 8′ Tuba Roll Cymbal 4′ Vibraharp 8′ Kinura 8′ Open Diapason Sleigh Bells 4′ Chrysoglott 8′ Orchestral Oboe 8′ Violin Diapason Slide Whistle Snare Drum Roll 8′ Solo Violin 8′ Tibia Clausa Splash Cymbal Snare Drum Tap 8′ Viol d’Orchestre 8′ Clarinet Snare Drum Tom Tom 8′ Viol Celeste 8′ Solo Violin Telephone Tambourine 8′ Concert Flute 8′ Viol d’Orchestre Thunder Castanets 8′ Vox Humana 8′ Viol Celeste Train Whistle Wood Block 4′ Tibia Clausa 8′ Concert Flute Triangle Choke Cymbal 4′ Solo Violin 4′ Chimes Wind Tap Cymbal 4′ Viol d’Orchestre Bass Drum Wind Chime Birds 4′ Viol Celeste Tympani

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 27 Cover feature

Members of the AOI family gather around the console on the occasion of the inauguration of the rebuilt Kilgen organ. It was the culmination of three years of work. (Photo courtesy Oklahoma Historical Society) career as an engineer in Pennsylvania. the available tonal resources. It was Learning of the situation with the WKY clearly stated that the agreed intent was organ, Miller offered to help fi nd a solu- to produce an organ that refl ected the tion to the albatross in the chambers. now-scarce Kilgen sound, but was not Given time and planning, he gathered hamstrung by the console specifi cations the fi nancial commitment from his as it was built or altered in its checkered now-deceased father-in-law’s company history. This would be a clean and excit- and charitable foundation, as well as ing instrument that was ready to engage the Gaylord family, and resolved to both today’s young theatre organists and make the Kilgen play again. Having con- the general public, many of whom may sulted with a number of people, Miller never have encountered a pipe organ at began discussions with the principals all—much less one of this breed. of the AOI, just a few miles south at The most obvious obstacle was in the University of Oklahoma, and asked how to lay out the instrument, given the for a plan. Being that the AOI and the necessity of working within the provided History Center were both part of major dimensions. John Riester and Dan Sliger state institutions, the move seemed nat- worked together to design a wooden ural, and furthermore would leverage super-structure that capitalized on the the AOI’s internal resolve and external height of the chambers to allow three accountability to insure that the project levels to comfortably accommodate the would not fail. wind system, the pipes and chests, and A visitor interacts with the educational exhibit designed and built at the AOI and On the part of the AOI, this was an the tuned and untuned percussions located just inside the museum’s entrance. (Photo credit: James Richardson) endeavor that would follow several and effects. Each aspect of the instru- other smaller but successful projects in ment was treated in consultation with It contains a blower, reservoir, cross- the state of Oklahoma. The AOI does appropriate professionals, one of whom section of a Kilgen chest with playable not operate outside the borders of the was Alan Nagel, whose father was the pipes, a small toy counter (perhaps to state and is governed by a non-compete last shop foreman for Kilgen and subse- the chagrin of the museum personnel clause, and thus is set about encouraging quently purchased the company, retain- in proximity), a group of differing pipes, the pipe organ culture within Oklahoma, ing designs and fi les. and playable 16′ and 8′ pipes. This has which has long suffered disappointing While all aspects of an organ’s design become the most popular exhibit in the instruments often cobbled together by are crucial, voicing and tonal fi nishing museum, to the happy satisfaction of locals, and has precious few capable are agreed to be essential to the success both parties. organ technicians. There is a particular of an instrument. Almost all of the pipes The professionals and the students of shortage of theatre organs. from the instrument were cleaned and the American Organ Institute are grate- Given the instrument and the beauti- repaired in-house. John Schwandt and ful to the Oklahoma Historical Society AOI graduate Mayu Hashigaya Allen ful new History Center, the AOI gladly Adam Pajan (a member of The Diapa- and the Kimmell and Gaylord families checks magnet integrity and wires a took on the challenge of a complete son’s 20 Under 30 Class of 2016) then for making this project possible. We bottom board from Opus 5281. (Photo courtesy AOI) rebuild of the Kilgen. It was determined worked rank by rank, in cooperation with look forward to working with and on this by all parties that this was not to be a professionals such as Clark Wilson and instrument as it is used regularly in a restoration that would attempt to rep- Peter Batchelder, to restore the tonal variety of settings. Likewise, thanks are Tom Cotner licate the instrument at any given time characteristics of the organ. due to the many who stepped in to save Duchon’s Organ Pipes in its history. This was rendered a fait There were hurdles along the the instrument at various points in its John Goulding accompli by the simple fact that the his- project’s path, but none of them were life, and to the professionals involved in Kegg Organ Builders torical fabric of the “original” instrument defeating, given the breadth of experi- this project. Most are listed below, but Allen Miller Associates was very tattered. The original relay was ence drawn on to inform decisions as not exhaustively. Nickerson Pipe Organ Service destroyed by a fi re in the relay room in well as the enthusiasm and support For those of us who are both natives of Sean O’Donnell & Associates the 1980s, and the console had always of all involved. Finally, the WKY Kil- Oklahoma and lovers of the pipe organ, Organ Supply Industries been electric. The wind system, which gen is played again for audiences of this instrument stands as a link to our Quimby Pipe Organs, Inc. had been designed to supply 10 ranks, Oklahomans—including Ken Wright’s past. It accompanied programs that were Reuter Organ Company was never equal to the task of power- daughter, Margot, who was present at followed avidly and in times of great St. Louis Pipe Organ Company ing 15 ranks on pressures of 10 and 15 the inaugural performance, and Caro- national distress. It was heard by our Schaff Piano Supply inches of water column, and had thus lyn Rexroat Warner, who appeared on families and came into our homes. And Schantz Organ Company been chopped up. The chests were an WKY Radio as a young hostess and as an once again, it can be heard accompany- A.R. Schopp’s Sons, Inc. unfortunate mess. The pipes had seen ensemble member during the best years ing our state song. Here in Oklahoma Carlton Smith Pipe Organ some real damage, but were largely of radio programming, just prior to the “we know we belong to the land, and the Restorations intact and thus, tonally, the Kilgen organ explosion of television. Both agreed land we belong to is grand!” Villemin Pipe Organ Company could be resurrected. with others who knew the instrument in —Jeremy D. Wance Extensive planning in coordination its original home: Kilgen Opus 5281 had Associate Director Oklahoma Historical Society and with Clark Wilson, now visiting instruc- never sounded better. American Organ Institute Oklahoma History Center website: www. tor of organ at University of Oklahoma, As part of the shared mission of the okhistory.org. and other leading theatre organists Oklahoma Historical Society and the Professional assistance provided by: American Organ Institute website: as well as several noted organbuild- American Organ Institute, a new inter- R. A. Banks and Associates www.ou.edu/aoi.html. ers and professionals, had produced a active exhibit was designed and built by Peter Batchelder revised specifi cation that fully utilized the AOI for installation at the museum. Columbia Organ Leathers Cover photo by James Richardson.

28 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM 2017 Summer Carillon Concert Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN By Brian Swager August 21, Linda Dzuris August 28, Brandon Blazo Park Ridge, IL GRACE CHURCH Allendale, Michigan September 4, Sue Bergren Pickle Piano / Johannus Midwest NEW YORK Grand Valley State University, Cook Caril- Bloomingdale, IL lon, Sundays at 8 pm Grand Rapids, Michigan August 6, Sue Bergren Grand Valley State University August 20, Julianne Vanden Wyngaard Wednesdays at noon August 5, Julianne Vanden Wyngaard Christopher Babcock Michael J. Batcho Centralia, Illinois Centralia Carillon Mariemont, Ohio Director of Music Saturdays at 4 pm Mary M. Emery Memorial Carillon St. Andrew’s by the Sea, CATHEDRAL OF ST. JOHN August 5, Tiffany Ng Sundays at 7 pm Hyannis Port August 26, Jeremy Chesman August 6, Richard M. Watson MILWAUKEE September 2, Roy Kroezen with hand- August 13, Richard M. Watson bell choir August 20, Richard M. Watson September 9, Roy Kroezen with Little August 27, Richard M. Watson Egypt Brass September 3, Richard M. Watson Dean W. Billmeyer September 4, Richard M. Watson Chicago, Illinois University of Chicago, Rockefeller Chapel University of Minnesota Middlebury, Vermont Sundays at 5 pm Minneapolis 55455 • [email protected] August 6, Lynnli Wang Middlebury College, Fridays at 5 pm August 13, Roy Kroezen August 4, Margaret Pan August 20, Linda Dzuris August 11, Linda Dzuris August 18, George Matthew, Jr. (3 pm) Cohasset, Massachusetts GAVIN BLACK Byron L. Blackmore St. Stephen’s Episcopal Church Minneapolis, Minnesota Sundays at 6 pm Central Lutheran Church Princeton Early Keyboard Center Crown of Life Lutheran Church August 6, Margaret Pan Sundays at 11:30 am 732/599-0392 Sun City West, Arizona August 13, John Whiteside August 6, Kipp Cortez www.pekc.org 623/214-4903 Culver, Indiana Naperville, Illinois Culver Academies Naperville Millennium Carillon Saturdays at 4 pm Tuesdays at 7 pm September 2, John Gouwens August 1, Parker Ludwig THOMAS BROWN September 30, John Gouwens August 8, Lynnli Wang UNIVERSITY DELBERT DISSELHORST August 15, Roy Kroezen PRESBYTERIAN CHURCH August 22, Linda Dzuris Professor Emeritus Danbury, Connecticut CHAPEL HILL, NORTH CAROLINA St. James Episcopal Church University of Iowa–Iowa City ThomasBrownMusic.com Wednesdays at 12:30 pm Norwood, Massachusetts August 2, Tatiana Lukyanova Norwood Memorial Municipal Building Mondays at 7 pm August 7, Margaret Pan Denver, Colorado AMES ORROH, AAGO, PhD University of Denver, Williams Carillon August 14, John Whiteside J D STEVEN EGLER Sundays at 7 pm Saint Luke’s Episcopal Church Central Michigan University August 6, Carolyn Bolden Ottawa, Ontario Samford University School of Music August 20, Carol Jickling Lens Peace Tower Carillon Birmingham, Alabama Mt. Pleasant, MI 48859 July & August, weekdays at 11 am [email protected] East Lansing, Michigan Andrea McCrady, Carillonneur Organ Consultant Organ Recitals Michigan State University, Beaumont Tow- er Carillon, Wednesdays at 6 pm Princeton, New Jersey August 2, Ray McLellan Princeton University, Grover Cleveland Tower, Sundays at 1 pm JOHN FENSTERMAKER Erie, Pennsylvania August 6, Lisa Lonie Susan Goodson August 13, Lisa Lonie & Janet Tebbel TRINITY-BY-THE-COVE Penn State University, Behrend Campus, Emanuel United Church of Christ Smith Chapel August 20, Tatiana Lukyanova Thursdays at 7 pm August 27, Andy Zhang NAPLES, FLORIDA Manchester, Michigan August 3, Linda Dzuris September 3, Joey Cotruvo

Frederick, Maryland St. Paul, Minnesota Norberto Baker Park House of Hope Presbyterian Church Sundays at 4 pm TEPHEN AMILTON First and third Fridays at 12:30 pm Guinaldo S H John Widmann, City Carillonneur August 6, Kipp Cortez August 13, Dave Johnson His Music recitalist–clinician–educator Gainesville, Florida See—Listen—Buy www.stephenjonhamilton.com University of Florida, Century Tower Valley Forge, Pennsylvania www.GuinaldoPublications.com Washington Memorial Chapel Sundays at 3 pm Wednesdays at 7:30 pm August 20, Laura Ellis August 2, Lynnli Wang August 9, John Widmann Glencoe, Illinois August 16, Doug Gefvert with Irish Thun- Chicago Botanic Garden, Mondays at 7 pm der Pipes & Drums David Herman August 7, Lynnli Wang August 23, Tatiana Lukyanova Trustees Distinguished Professor Emeritus of Music and University Organist August 14, Roy Kroezen August 30, Doug Gefvert The University of Delaware Q [email protected] Access to The Diapason’s website A Professional Card in has been made easier for subscribers The Diapason For rates and digital specifi cations, contact Jerome Butera You can now login once 847/391-1045; [email protected] by using your subscriber number and your e-mail address, and then create your own password. When you log in again, Lorraine Brugh, Ph.D. you no longer need your Professor of Music subscriber code, only your University Organist password and e-mail address. Valparaiso, Ind. valpo.edu Check it out! Visit www.TheDiapason.com. 219.464.5084 [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 1 SEPTEMBER New York, NY This calendar runs from the 15th of the month Adam Brakel; Cathedral-Basilica of St. Syracuse, NY 13203-2816 of issue through the following month. The deadline Augustine, St. Augustine, FL 6 pm (315) 471-8451 www.andrewhenderson.net is the fi rst of the preceding month (Jan. 1 for Feb. issue). All events are assumed to be organ 2 SEPTEMBER recitals unless otherwise indicated and are grouped John Gouwens, carillon; Culver Acad- within each date north-south and east-west. •=AGO emies, Culver, IN 4 pm Richard Barrick Hoskins chapter event, • •=RCCO centre event, +=new organ Brian Jones dedication, ++= OHS event. 8 SEPTEMBER Director of Music & Organist Information cannot be accepted unless it Todd Wilson; Pilgrim Lutheran, Carmel, Director of Music Emeritus specifi es artist name, date, location, and hour in St. Chrysostom's Church IN 7:30 pm writing. Multiple listings should be in chronological Chicago TRINITY CHURCH order; please do not send duplicate listings. [email protected] BOSTON 9 SEPTEMBER THE DIAPASON regrets that it cannot assume Ken Cowan; Grace Episcopal, Gaines- responsibility for the accuracy of calendar entries. ville, GA 7 pm JAMES KIBBIE UNITED STATES 10 SEPTEMBER KIM R. KASLING East of the Mississippi Choral Evensong; Cathedral Church of D.M.A. The University of Michigan St. Paul, Detroit, MI 4 pm Craig Cramer; Basilica of the Sacred St. John’s University Ann Arbor, MI 48109-2085 15 AUGUST Heart, University of Notre Dame, South 734-764-1591 FAX: 734-763-5097 Alan Saggerson; First Parish UCC, Collegeville, MN 56321 Bend, IN 8 pm email: [email protected] Brunswick, ME 12:15 pm Nathan Avakian; Merrill Auditorium, Karen Beaumont; St. John Cantius Portland, ME 7:30 pm Catholic Church, Chicago, IL 2:30 pm Katelyn Emerson; St. Kieran Commu- 12 SEPTEMBER David K. Lamb, D.Mus. nity Center for the Arts, Berlin, NH 7 pm Nevalyn Moore; Campbellsville Univer- Director of Music Gigi Mitchell-Velasco; Old West Church, Boston, MA 8 pm sity, Campbellsville, KY 12:20 pm Trinity United Methodist Church Robert Bates; DeBartolo Performing ORGAN CONSULTANT New Albany, Indiana 16 AUGUST Arts Center, University of Notre Dame, www.gabrielkney.com 812/944-2229 Katie Minion; Methuen Memorial Music South Bend, IN 3:15 pm, 4:45 pm Hall, Methuen, MA 8 pm Christophe Mantoux; Basilica of the Duo MusArt Barcelona (Raúl Prieto Sacred Heart, University of Notre Dame, Ramírez, organ; Maria Teresa Sierra, pia- South Bend, IN 8 pm no); Grace Covenant Presbyterian, Rich- David Jonies; Church of the Gesu, Mil- mond, VA 7 pm waukee, WI 7:30 pm A.S.C.A.P. Stephen Buzard; Christ Church, Michi- FELLOW, AMERICAN GUILD OF ORGANISTS gan City, IN 12:15 pm 15 SEPTEMBER 345 SADDLE LAKE DRIVE Tedd King; Cathedral of St. John the Frederick MacArthur; Methuen Memo- ROSWELL-ATLANTA, GEORGIA 30076 Evangelist, Milwaukee, WI 12:15 pm rial Music Hall, Methuen, MA 8 pm (770) 594-0949 Matthew Buller; First English Lutheran, Ken Cowan; Brevard-Davidson River Appleton, WI 12:15 pm Presbyterian, Brevard, NC 7:30 pm Karen Black; Sinsinawa Mound Center, Sinsinawa, WI 7 pm 16 SEPTEMBER Tom Hamilton; Blessed Sacrament Nathan Laube; Merrill Auditorium, Port- Catholic Church, Hibbing, MN 12 noon land City Hall, Portland, ME 7:30 pm

Professor Emeritus – University of Michigan – Ann Arbor 17 AUGUST 17 SEPTEMBER Professor of Organ for 67 years George Bozeman; St. John’s Catholic Chelsea Chen; St. George Catholic MarilynThe University’s longest-serving faculty memberMason Church, Bangor, ME 7:30 pm Church, Erie, PA 3 pm Samuel Buse; Lawrence University, Ap- Alan Morrison; Ursinus College, College- pleton, WI 12:15 pm ville, PA 4 pm Rich Spotts; Loyola University, Chicago, A two-inch Professional Card in The Diapason 20 AUGUST IL 3 pm Florian Wilkes; St. Patrick’s Cathedral, For information on rates and specifi cations, contact Jerome Butera: New York, NY 3:15 pm 19 SEPTEMBER Don Fellows; St. Paul Cathedral, Pitts- Simon Thomas Jacobs; Stetson Uni- [email protected] 608/634-6253 burgh, PA 4 pm versity, Deland, FL 7:30 pm Lester Ackerman; St. Mark’s Lutheran, Karen Beaumont; St. Hedwig Catholic Charlotte, NC 7 pm Church, Milwaukee, WI 2 pm Karen Beaumont; St. Hedwig Catholic Church, Milwaukee, WI 2 pm 22 SEPTEMBER David Hurd; Loyola University, Chicago, Weston Jennings; Christ Church, PHILIP CROZIER LARRY PALMER IL 3 pm Easton, MD 7 pm Craig Cramer; Southern Illinois Univer- CONCERT ORGANIST Harpsichord – Organ 22 AUGUST sity, Carbondale, IL 7:30 pm ACCOMPANIST Ray Cornils, with brass; Merrill Audito- Professor of Music, Emeritus rium, Portland, ME 7:30 pm 23 SEPTEMBER 3355 Queen Mary Road, Apt 424 Emerson Fang & Laura Gullett; Old Christophe Mantoux; St. Luke’s Lutheran, West Church, Boston, MA 8 pm Ithaca, NY 10 am masterclass, 5 pm recital Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Canada 23 AUGUST 24 SEPTEMBER Andrew Sheranian; Methuen Memorial (514) 739-8696 Recitals — Lectures — Consultancies Katelyn Emerson; Christ Congregation- Music Hall, Methuen, MA 8 pm al (UCC), Brockton, MA 3 pm [email protected] Vashni Seitzer; St. Joseph Catholic The Chenault Duo; Woolsey Hall, Yale [email protected] + 214.350-3628 Church, Appleton, WI 12:15 pm University, New Haven, CT 7:30 pm Stephen Steely; Sinsinawa Mound Cen- Wayne Wold, hymn festival; St. Martin’s ter, Sinsinawa, WI 7 pm Lutheran, Annapolis, MD 4 pm Jonathan Ryan, Bach, Clavierübung III; 24 AUGUST Kevin Birch; St. John’s Catholic Church, St. Joseph Cathedral, Columbus, OH 3 pm Bangor, ME 7:30 pm Choral Evensong; Cathedral Church of announces... St. Paul, Detroit, MI 4 pm 27 AUGUST VocalEssence; American Swedish Insti- tute, Minneapolis, MN 4 pm & 7 pm 20 Under 30 Nominations Matteo Venturini; St. Patrick’s Cathe- 20 Under 30 Class of 2017 dral, New York, NY 3:15 pm Deadline: February 1, 2016 25 SEPTEMBER 29 AUGUST Stephen Buzard; Presbyterian Homes, We congratulate the young people Clara Gerdes; Old West Church, Boston, Evanston, IL 1:30 pm whose career accomplishments MA 8 pm Choral Evensong: St. Chrysostom’s place them at the forefront of the Episcopal, Chicago, IL 7 pm organ, church music, harpsichord, 30 AUGUST Kevin Neel; Methuen Memorial Music 29 SEPTEMBER carillon, and organbuilding Hall, Methuen, MA 8 pm The Chenault Duo; St. Paul’s School, fields—before their 30th birthday. Christopher Stroh; Cathedral of St. John Concord, NH 7:30 pm the Evangelist, Milwaukee, WI 12:15 pm Peter DuBois; Third Presbyterian, Roch- SeeVisit the TheDiapason.com video of the Class of 2017 Ralph & Marillyn Freeman; St. Paul Lu- ester, NY 7:30pm at www.TheDiapason.com theran, Neenah, WI 12:15 pm for more information and to nominate. Peter Szeibel; Sinsinawa Mound Center, 30 SEPTEMBER Sinsinawa, WI 7 pm John Gouwens, carillon; Culver Acad- emies, Culver, IN 4 pm APOBA graciously provides a subscription to The Diapason 31 AUGUST Edward Eicker & Andrea Bartolomeo; to all members of our 20 Under 30 Class of 2017. Margaret Harper; St. John’s Catholic St. Paul of the Cross Catholic Church, Park Church, Bangor, ME 7:30 pm Ridge, IL 7:30 pm

30 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH UNITED STATES 22 SEPTEMBER Southminster Presbyterian Church West of the Mississippi Stephen Buzard; University of Nevada, SHORT HILLS Las Vegas, NV 7:30 pm Arlington Heights, IL 60005 16 AUGUST James Welch; Santa Barbara Stake Kraig Windschitl; Wayzata Community Center, Santa Barbara, CA 7:30 pm Church, Wayzata, MN 12 noon A one-inch Professional Card James Welch; Brigham Young Univer- 24 SEPTEMBER DEREK E. NICKELS, DMA in The Diapason Douglas Cleveland; Village Presbyte- sity, Provo, UT 7 pm Church of the Holy Comforter rian, Prairie Village, KS 3 pm For information on rates and specifi cations, 20 AUGUST Hans Uwe Hielscher; Cathedral of St. Kenilworth, IL 60043 James Hammann, with clarinet; St. Mary of the Assumption, San Francisco, contact Jerome Butera: (847) 251-6120 • [email protected] Matthew’s By-the-Bridge Episcopal, Iowa CA 4 pm [email protected] 608/634-6253 Falls, IA 4 pm +Elisa Bickers; Village Presbyterian, INTERNATIONAL Prairie Village, KS 3 pm Stephen G. Schaeffer Jin Kyung Lim; Cathedral of St. Mary of 15 AUGUST JEFFREY SCHLEFF the Assumption, San Francisco, CA 4 pm Monteverdi, Marienvesper; Klosterkirche, Recitals – Consultations Organist – Author – Consultant Fürstenfeld, Germany 5 pm 22 AUGUST Director of Music Emeritus Markéta Schley Reindlová & Ulrich Cathedral Church of the Advent Church Organ Associates, Inc., Lewisville, Texas Jacob Benda; Trinity Lutheran, Roches- Theißen; Stadtpfarrkirche St. Martin, Bam- First Presbyterian Church, Grand Prairie, Texas ter, MN 12:15 pm berg, Germany 5:30 pm Birmingham, Alabama [email protected] Nathan Laube; St. Bavokerk, Haarlem, 23 AUGUST Netherlands 8:15 pm David Jonies; Basilica of St. Mary, Min- neapolis, MN 7 pm 16 AUGUST ROBERT L. Elisa Bickers + ; Village Presbyterian, Johann Vexo; Cathedral, Dresden, Ger- TEPHEN CHNURR Prairie Village, KS 7 pm S S many 8 pm Saint Paul Catholic Church SIMPSON 27 AUGUST Christ Church Cathedral 17 AUGUST Jonathan Ryan; Cathedral of the Holy Valparaiso, Indiana 1117 Texas Avenue Christian Schmitt; St. Justinus Höchst, Trinity, New Ulm, MN 1 pm Houston, Texas 77002 Frankfurt am Main, Germany 5 pm Jason Jia; Cathedral of St. Mary of the Ulfert Smidt; Dom St. Petri, Bremen, Assumption, San Francisco, CA 4 pm Germany 7 pm ] 29 AUGUST Kerstin Wolf & Joost de Noojer; St. Bavokerk, Haarlem, Netherlands 4 pm Joe Utterback Benjamin Kolodziej; Trinity Lutheran, Mark Steinbach ]] ] Rochester, MN 12:15 pm Giorgio Revelli; Church of St. Andrew & www.jazzmuze.com St. Paul, Montréal, QC, Canada 12:15 pm Brown University 9 SEPTEMBER James Welch; First Presbyterian, Mon- 18 AUGUST 203 386 9992 terey, CA 6 pm Christoph Schoener; Berliner Dom, Berlin, Germany 8 pm 10 SEPTEMBER Liudmila Matsyura; Münster, Konstanz, Weston Jennings; First Presbyterian, Germany 8 pm Tyler, TX 4 pm Stephan von Bothmer; Münster, Her- David Wagner Kevin Walters Angela Kraft Cross; Cathedral of St. ford, Germany 9 pm Mary of the Assumption, San Francisco, Emma Gibbins; St. Stephen Walbrook, DMA M.A., F.A.G.O. CA 4 pm London, UK 12:30 pm www.davidwagnerorganist.com Rye, New York 15 SEPTEMBER 19 AUGUST Christopher Houlihan; St. Mark’s Angli- James David Christie; Cruciskirche, Er- can, Arlington, TX 7:30 pm furt, Germany 7:30 pm Tobias Willi; Kathedrale-Basiliek Sint Bavo, Haarlem, Netherlands 3 pm Alan G Woolley PhD 16 SEPTEMBER KARL WATSON Christophe Mantoux; St. James Cathe- Musical Instrument Research 20 AUGUST dral, Seattle, WA 8 pm SAINT LUKE’S Edinburgh James Welch; Bethania Lutheran, Winfried Bönig; Klosterkirche, Fürsten- feld, Germany 12:10 pm [email protected] Solvang, CA 1 pm Martin Bambauer; St. Paulus Kirche, METUCHEN 17 SEPTEMBER Herford, Germany 6 pm Ugo Sforza; Cathedral of St. Mary of the Françoise Dornier; Cathedral, Chartres, Assumption, San Francisco, CA 4 pm France 4:15 pm Peter King; Methodist Central Hall, Lon- RUDOLF ZUIDERVELD 19 SEPTEMBER don, UK 3 pm RONALD WYATT Christophe Mantoux; First Lutheran, Alexander Hamilton; Westminster Ab- Illinois College, Jacksonville Yuba City, CA 7:30 pm bey, London, UK 5:45 pm Trinity Church Galveston First Presbyterian Church, Springfi eld

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/391-1044 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 ( $WWKH6\GQH\7RZQ+DOOUHVLGHQWPXVLFLDQ < 5REHUW$PSWLQWURGXFHVXVWRWKHPRVWIDPRXVKLVWRULF . RUJDQLQWKHVRXWKHUQKHPLVSKHUH A two-inch Professional Card in The Diapason 7RFFDWD$JDLQZKHWKHU¿HU\GHPRQVWUDWLRQV < RIWDFWLOHDJLOLW\RUWKRXJKWIXOPHGLWDWLRQVRQFRVPLF For information on rates and specifi cations, contact Jerome Butera: : SULQFLSDOVWKLVJHQUHSURYLGHVDWRXFKVWRQHIRUWKH RUJDQLVW¶VDUW [email protected] 608/634-6253 ; ±6XPPHU0XVLFIURPDURXQGWKHZRUOG PDUYHORXVPHORGLHVDQGHYRFDWLRQVRIWKLVVHDVRQRI  XQLYHUVDOSOHDVXUH ArtistArtist Spotlights Spotlightspotlight s

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22 AUGUST 26 AUGUST Benjamin Alard; Tivoli Vredenburg, 12 SEPTEMBER Nathan Laube; St. Bavokerk, Haarlem, Pieter van Dijk; Ss. Peter und Paul Utrecht, Netherlands 1 pm Jos van der Koy; St. Bavokerk, Haar- Netherlands 8:15 pm Kirche, Cappel, Germany 7 pm Franz Hauk; Westminster Cathedral, lem, Netherlands 8:15 pm Michel Bouvard; Cathédrale Notre- Haig Vosgueritchian; Kathedrale- London, UK 7:30 pm Dame, Strasbourg, France 8:30 pm Basiliek Sint Bavo, Haarlem, Netherlands 14 SEPTEMBER 3 pm 31 AUGUST Stephen Holmes; St. Nicholas, New- 23 AUGUST Jérôme Mondésert; Église du Bouclier, Stephan Leuthold; Dom St. Petri, Bre- bury, UK 1:10 pm Strasbourg, France 10:15 am Kerry Beaumont; Kreuzkirche, Dres- men, Germany 7 pm Daniel Leininger; Église Saint-Thomas, Jos van der Koy; St. Bavokerk, Haar- 16 SEPTEMBER den, Germany 8 pm Manuel Tomadin Strasbourg, France 11:30 am lem, Netherlands 4 pm ; Chiesa di San Pietro, Guillaume Nussbaum; Temple Neuf, Gattinara, Italy 9 pm Jonathan Oldengarm Strasbourg, France 11:30 am 27 AUGUST , with clarinet; Gonny van der Maten, with choir; Kath- Loïc Mallié; Temple Neuf, Strasbourg, Andreas Jetter; Klosterkirche, Fürsten- Church of St. Andrew & St. Paul, Montréal, edrale-Basiliek Sint Bavo, Haarlem, Neth- France 9 pm feld, Germany 12:10 pm QC, Canada 12:15 pm erlands 3 pm Christian Schmitt; St. Justinus Kirche, Anna Karpenko & Bert den Hertog; 24 AUGUST Frankfurt, Germany 5 pm 1 SEPTEMBER Elandstraatkerk, den Haag, Netherlands Tobias Willi Christoph Kuhlmann; Dom St. Petri, Stephen Tharp; Liebfrauenkirche, ; Münster, Konstanz, Ger- 3 pm many 8 pm Bremen, Germany 7 pm Hamm, Germany 5 pm Scott Brothers Duo; Victoria Hall Han- Nikolas Fehr & Ioana Maria Precup; Jos van der Koy; St. Bavokerk, Haar- Andrew Canning; St. Johannes Baptist ley, Stoke-on-Trent, UK 12 noon Münster, Herford, Germany 9 pm lem, Netherlands 4 pm Kirche, Herford, Germany 6 pm David Higgs; Der Aa-Kirche, Groningen, 17 SEPTEMBER Jérôme Mondésert; Église Sainte-Auré- Netherlands 8 pm 2 SEPTEMBER Manuel Tomadin; San Giorgio, Lozzolo, lie, Strasbourg, France 11:30 am Ludger Lohman, with choir and or- Vincent Dubois; Kathedrale-Basiliek Italy 9 pm François Espinasse; Église du Bouclier, chestra; Église Saint-Thomas, Strasbourg, Sint Bavo, Haarlem, Netherlands 3 pm Markus Schwenkreis & Jean-Claude Strasbourg, France 6 pm France 4 pm Zehnder; Dom, Arlesheim, Switzerland Lauma Akmene; Church of St. Andrew & Véronique Leguen; Cathedral, Char- 3 SEPTEMBER 7:30 pm St. Paul, Montréal, QC, Canada 12:15 pm tres, France 4:15 pm Mario Duella, with violin; Chiesa dei SS. Francis Chapelet; Basilique Saint-Remi Matthew Jorysz; Westminster Abbey, Giulio e Amatore, Cressa, Italy 9 pm de Reims, Saison, France 6 pm 25 AUGUST London, UK 5:45 pm Christoph Hauser; Klosterkirche, Krzysztof Urbaniak; St. Nicolai Kirche, Martin Brossard; Basilica Notre-Dame, Fürstenfeld, Germany 12:10 pm 18 SEPTEMBER Cuxhaven-Altenbruch, Germany 5 pm Trois-Rivières, QC, Canada 2 pm Michael Harris; St. Maria Stift Berg, Her- Manuel Tomadin; Parrocchia di Bornate, Andreas Sieling; Berliner Dom, Berlin, ford, Germany 6 pm Serravalle, Italy 9 pm 28 AUGUST Germany 8 pm Anton Pauw; St. Bavokerk, Haarlem, Francis Jacob; Ss. Cyprian und Corne- 19 SEPTEMBER Jérôme Mondésert; St. Jacobi Kirche, lius Kirche, Ganderkesee, Germany 7 pm Netherlands 7 pm Wouter van Belle; St. Bavokerk, Haar- Cuxhaven-Lüdingworth, Germany 8 pm Benjamin Alard; Tivoli Vredenburg, Jean-Baptiste Robin, with trumpet; lem, Netherlands 8:15 pm Christian Schmitt; Münster, Konstanz, Utrecht, Netherlands 1 pm Basilique Saint-Remi de Reims, Saison, Germany 8 pm Richard Hills; Cathedral, Hereford, UK France 6 pm 21 SEPTEMBER Simon Prunet-Foch; Église Saint-Pierre- 11:30 am Eric Hallein; Abteikirche, Köln, Germany Le-Jeune (Protestant), Strasbourg, France 5 SEPTEMBER 8 pm 10:30 am 29 AUGUST Christiane Michel-Ostertun; Petri- Benjamin Alard; Notre Dame de Jos van der Koy & Anton Pauw, with kirche, Herford, Germany 10 am 22 SEPTEMBER l’Assomption, Arques-la-Bataille, France, panfl ute; St. Bavokerk, Haarlem, Nether- Wouter Koelewijn; St. Bavokerk, Haar- Nick Sutcliffe, with Christ College Boys lands 8:15 pm Choir; St. Justinus Kirche, Frankfurt, Ger- 11 am lem, Netherlands 8:15 pm Stephanie Burgoyne; St. Paul’s Angli- many 5 pm Margot Dubois; Église Saint-Pierre- can, Stratford, ON, Canada 12:15 pm 6 SEPTEMBER Le-Jeune (Catholic), Strasbourg, France Neil Wright; Cathedral, Dresden, Ger- 23 SEPTEMBER 11:45 am 30 AUGUST many 8 pm Ben Saunders, with soprano; Kathe- Jan Willem Jansen; Église Sainte-Auré- Willibald Guggenmoos; Frauenkirche, drale-Basiliek Sint Bavo, Haarlem, Nether- lie, Strasbourg, France 6 pm Dresden, Germany 8 pm 8 SEPTEMBER lands 3 pm Massimo Andrea Verzilli; Chiesa di S. Benjamin Alard, organ and harpsichord, Maria, Valduggia, Italy 9 pm with ensemble; Église Saint-Grégoire, Ri- +Holger Gehring, Johannes Trümpler, beauvillé, France 8 pm Samuel Kummer, & Olivier Latry; Kultur- Adrian Gunning, works of Vierne; St. palast, Dresden, Germany 6 pm John the Evangelist, London, UK 7:30 pm 26 SEPTEMBER 9 SEPTEMBER Jos van der Koy; St. Bavokerk, Haar- Andrea Schiavio, with soprano; Chiesa lem, Netherlands 8:15 pm di S. Antonio, Borgosesia, Italy 9 pm Tobias Willi; Marktkirche, Hannover, 27 SEPTEMBER Germany 6 pm Peter King; Westminster Cathedral, Lon- Ton van Eck; Kathedrale-Basiliek Sint don, UK 7:30 pm Bavo, Haarlem, Netherlands 3 pm 30 SEPTEMBER 10 SEPTEMBER Ton van Eck, with choir; Kathedrale- Andrea Schiavio, with soprano; Sant’ Basiliek Sint Bavo, Haarlem, Netherlands Eurosia, Pralungo, Italy 9 pm 3 pm

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32 Q THE DIAPASON Q AUGUST 2017 WWW.THEDIAPASON.COM Organ Recitals

JAMES BARRETT, Cathedral Basilica Leben, Pachelbel; Meditaciones Religiosas, Le- ANNE LAVER, Brown University, Provi- Fugue on O Traurigkeit, o Herzeleid, WoO 7, of the Immaculate Conception, Denver, fébure-Wély; Irish Air from County Derry, Le- dence, RI, March 12: Carillon de Westmin- Brahms; God Is Our Righteousness, DeBlasio. CO, January 22: How fair and how pleas- mare; Final (Symphony I, op. 14), Vierne. ster (24 Pièces de fantaisie, op. 54, no. 6), ant art Thou (Vêpres du commun des fêtes Vierne; Andante in F, K. 616, Mozart; Lux ANDREW SCHAEFER, University of de la Sainte Vierge, op. 18), Dupré; Mag- JEREMY FILSELL, Washington Na- Aeterna, Kokkonen; Annum per Annum, Oklahoma, Norman, OK, March 31: Pre- nifi cat primi toni, BuxWV 203, Buxtehude; tional Cathedral, Washington, D.C., March Pärt; St. Bride, Assisted by Angels, Bingham; lude and Fugue in e, BWV 548, Bach; Pièce My soul doth magnify the Lord (Vêpres du 26: Pièce terminale pour la messe de la fête Miroir, Wammes; Passacaglia (Sonata VIII in Héroïque, Franck; Partita on Wachet auf, ruft commun des fêtes de la Sainte Vierge, op. de l’Annonciation, Boulnois; Prélude (Trois e, op. 132), Rheinberger. uns die Stimme, op. 8, no. 2, Distler; Sonata I 18), Dupré; Antioch, Wondrous Love, Mid- Pièces), Boulanger; Trois Pièces sur des in d, op. 42, Guilmant. dlebury, Pisgah (American Folk Hymns), thémes de la fête du Saint-Sacrement, Boul- ELIZABETH LENTI, Fourth Presby- Wood; I am black but comely, O Ye Daugh- nois; Improvisation (Trois Pièces), Boulanger; terian Church, Chicago, IL, March 10: Con NICHOLAS SCHMELTER, The Ber- ters of Jerusalem (Vêpres du commun des Variations sur le Veni Creator, Boulnois. moto maestoso (Sonata III in A, op. 65, no. tha E. R. Strosacker Memorial Presbyterian fêtes de la Sainte Vierge, op. 18), Dupré; 3), Mendelssohn; Romance (Symphonie IV, Church, Midland, MI, March 3: Introduction, Solemn Melody, Davies; Introduktion und JAMES GUYER, Church of Bethesda-by- op. 32), Vierne; Jerusalem, My Happy Home, Passacaglia, and Fugue, Wright; Prelude (Cel- Passacaglia in d, Reger; Andantino in D- the-Sea, Palm Beach, FL, March 5: Prélude So Fades the Lovely Blooming Flower, I Love lo Suite No. 1, BWV 1007), Bach; Voluntary fl at, Lemare; Finale—Gloria (Vêpres du (Trois Pièces, op. 29, no. 1), Pierné; Wondrous Thee, My Lord (Sacred Sounds for Organ), II, Alcock Jr.; Pageant, Sowerby. commun des fêtes de la Sainte Vierge, op. Love: Variations on a Shape-note Hymn, Bar- Shearing; Deuxième fantaisie, Alain; Lul- 18), Dupré. ber; Passacaglia in d, BuxWV 161, Buxtehu- laby, Hampton; Prélude et fugue sur le nom DANIEL SEGNER, Presbyterian Homes, de; Psalm Prelude, Set 1, No. 3, Howells. d’Alain, op. 7, Durufl é. Evanston, IL, March 20: Prelude and Fugue DIANE MEREDITH BELCHER, Old in D, BuxWV 139, Buxtehude; Prelude and West Church, Boston, MA, March 21: Fanta- WESTON JENNINGS, Cathedral of St. PETER MILLER, Westminster Presbyte- Fugue in D, BWV 532, Bach; Prelude and sia and Fugue g, BWV 542, Nun komm, der Philip, Atlanta, GA, April 23: Variations de rian Church, Decatur, IL, March 5: In Dulci Fugue in G, op. 37, no. 2, Mendelssohn; An- Heiden Heiland, BWV 661, Sonata in E-fl at, Concert, op. 1, Bonnet; Adagio in E, Bridge; Jubilo (Orgel Tabulaturbuch), Sicher; Echo dante Sostenuto (Suite Gothique), Widor; BWV 525, Fugue in E-fl at, BWV 552ii, Christ Prelude and Fugue in e, BWV 548, Bach. in G, Scronx; Salve Regina, Cornet; Canzona Menuetto-Impromptu (Miniature Suite for unser Herr zum Jordan kamm, BWV 684, Pre- francese, de Macque; Fantasia super Ut, Re, Organ), Ireland; The Peace may be exchanged lude and Fugue in c, BWV 546, Allein Gott BOYD JONES, Westminster Presbyterian Mi, Fa, Sol, La, Sweelinck; Praeambulum in (Rubrics), Locklair; Nettleton, Burkhardt. in der Höh sei Ehr, BWV 662, Prelude and Church, Knoxville, TN, March 31: Toccata in F, WV 39, Canzona in F, WV 44, Magnifi cat Fugue in a, BWV 543, Bach. e, P. 462, Pachelbel; Praeludium in C, Kell- V. Toni, WV 78, Scheidemann; Canzona in G, ANDREW SENN, St. Luke’s Episcopal ner; Sonata IV in e, BWV 528, O Mensch, Komm, heiliger Geist, Herre Gott, Tunder; Church, Evanston, IL, March 15: Intrada MATTHEW BULLER, Oberlin Conserva- bewein’ dein’ Sünde gross, BWV 622, Bach; Allein Gott in der Hoh, sei Ehr, Hasse; Prae- No. 2 (Three Pieces for Organ), Siciliano for tory, Oberlin, OH, March 29: Nun lob, mein Sonata in D, K. 287, Sonata in D, K. 288, ludium in E, BuxWV 141, Buxtehude. a High Ceremony, Psalm Prelude, Set 2, No. Seel, den Herren, Praetorius; Fantasia in c, Scarlatti; Andante in D, Sonata VI in d, op. 3, Howells. van den Kerckhoven; Regina Caeli, Cornet; 65, no. 6, Mendelssohn; Sonata III, Hin- RAYMOND NAGEM, Cathedral of St. Ich ruf zu dir, Herr Jesu Christ, Sweelinck; demith; Elegy, Still; Improvisation, op. 150, Philip, Atlanta, GA, March 19: Prelude and JOHN SHERER, Fourth Presbyterian Praeludium in G, Bruhns; Aria Eberliniana no. 7, Saint-Saëns. Fugue in A, BWV 536, Bach; Naïades (24 Church, Chicago, IL, January 27: Prelude to variata, J. C. Bach; Sonata in g, Wq 70/6, Pièces de fantaisie, op. 55, no. 4), Vierne; Air the Te Deum, Charpentier; Prelude, Fugue, C. P. E. Bach; Prelude and Fugue in e, BWV DEXTER KENNEDY, American Lu- with Variations, Sowerby; Sonata IV in B-fl at, and Variation, op. 18, Franck; Symphony VI 548, Bach. theran Church of Sun City, Sun City, AZ, op. 65, no. 4, Mendelssohn. in g, op. 42, no. 2, Widor. March 19: Fantasia and Fugue in c, Wq 119/7, STEPHANIE BURGOYNE, St. Paul Ca- C.P.E. Bach; Partita Ach wie nichtig, ach wie PATRICK PARKER, First Evangelical Lu- ERIK WM. SUTER, Overture Hall, Madi- thedral, London, ON, Canada, March 28: So- fl uchtig, Böhm; Dies sind die heil’gen zehn theran Church, Houston, TX, March 12: Pre- son, WI, March 7: Improvisation on Victi- nata II in A-fl at, opus 65, Rheinberger; Pater Gebot’, BWV 678, Prelude and Fugue in C, ludium und Fuga in c, BWV 546, Herr Jesu mae Paschali, Tournemire, arr. Durufl é; Two Noster, qui es in caelis, Sancifi cetur nomen BWV 547, Bach; Sonata No. 2 in e, op. 19, Christ, dich zu uns wend, BWV 709, Canzona Sketches, Dupré; Prelude and Fugue on the tuum, Adveniat regnum tuum (Pater noster), Ritter; Choralvorspiel und Fuge über O Trau- in d, BWV 588, Liebster Jesu, wir sind hier, Name of ALAIN, op. 7, Durufl é; Fantasy in Bédard; Grand Choeur, Dubois. rigkeit, o Herzeleid, Smyth; Scherzo (Douze BWV 731, Sei gegrüsset, Jesu gütig, BWV 768, f, K. 608, Mozart; Passacaglia in c, BWV 582, Pièces), Litaize; Cantilène (Suite Brève), Lan- Erbarm dich mein, O Herre Gott, BWV 721, Bach; Amazing Grace (Gospel Preludes, Book ERIC DOMBROWSKI, Cathedral of St. glais; Allegro (Symphonie VI in g, op. 42, no. Fantasia in C, BWV 570, Herzlich tut mich 2), Bolcom; Moto ostinato, Finale (Music for Philip, Atlanta, GA, March 26: Prelude and 2), Widor. verlangen, BWV 727, Passacaglia in c, BWV Sunday), Eben. Fugue in a, BWV 543, Bach; Adagio in E, 582, Bach. Bridge; Elfes (12 Pièces, op. 7, no. 11), Bon- CHRISTINE KRAEMER, St. Luke’s CHARLES TOMPKINS, Washington Na- net; Fantasia and Fugue, op. 118, Parry. Episcopal Church, Evanston, IL, March 22: MELISSA PLAMANN, with Matthew tional Cathedral, Washington, D.C., March 5: Apparition de l’Eglise Eternelle, Messiaen; Denman, guitar, St. Francis of Assisi Catholic Veni Creator Spiritus, Rütti; An Wasserfl üssen JOHN FENSTERMAKER, Christ Church, Arabesque, Vierne; Out of the depths have I Church, Oklahoma City, OK, March 26: Sona- Babylon, BWV 653, Prelude and Fugue in c, Bradenton, FL, March 9: Offerte sur Vive le cried unto Thee, Langlais; Adagio (Symphony ta III in A, op. 65, no. 3, Mendelssohn; Le Ban- BWV 546, Bach; Méditation (Suite Médiévale), Roi!, Raison; Partita on Christus der ist mein V, op. 42, no. 1), Widor; Litanies, Alain. quet Céleste, Messiaen; Chorale Prelude and Langlais; Sonata Eroïca, op. 94, Jongen.

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Cornel Zimmer Organbuilders is seeking a The Holtkamp Organ Company, Cleveland, Fruhauf Music Publications is currently offer- Pipe Organs of the Keweenaw by Anita highly motivated individual (or two) to join our Ohio, is looking to hire an experienced organ ing a complimentary online download of Johann Campbell and Jan Dalquist, contains his- team of skilled craftsmen and artisans. Experi- builder for long-term employment. Travel Sebastian Bach’s Chromatic Fantasia and tories, stoplists, and photos of some of ence is always a welcome trait, but above all else required. Competitive salary and benefi ts for Fugue, S. 903, transcribed for organ with pedal; the historic organs of the Keweenaw Pen- aptitude and attitude is valued and appreciated. qualifi ed candidates. Send résumé and salary the PDF letter-sized booklet includes informa- insula, the northernmost tip of Michigan’s The ability and willingness to learn is essential. requirements to [email protected]. tive notes and sources, along with 17 pages of Upper Peninsula. Organs include an 1899 Ours is a small close-knit group that shares in music. Also of note is the online publication of Barckhoff and an 1882 Felgemaker. The booklet all the aspects and responsibilities of pipe organ one of four variations on Ein Feste Burg (from ($8.00 per copy, which includes postage) is building. From concept to design to execution, PUBLICATIONS / RECORDINGS the publisher), drawn from A Baroque Partita for available from the Isle Royale and Keweenaw all personnel are encouraged to contribute Organ. The Bach score marks a 300-year anni- Parks Association, 49445 US Hwy 41, Hancock, and participate. The atmosphere here is one of versary, and the Martin Luther hymn tune setting Michigan 49930. For information: 800/678-6925. constant learning and innovation. We have a well- Certifi ed appraisals—Collections of organ celebrates a 500-year anniversary. Please visit equipped 10,000 square foot facility. Although we books, recordings, and music, for divorce, www.frumuspub.net and scroll down to the Bul- do our fair share of service work, our primary estate, gift, and tax purposes. Stephen L. Pinel, letin Board for access to both fi les. World Library Publications: From the Piano focus is on new pipe organs, new hybrid pipe/ Appraiser. 629 Edison Drive, East Windsor, NJ Bench to the Organ Bench, by Alan J. Hommerd- digital organs, vintage pipe organ renovations, 08520-5205; phone: 609/448-8427; e-mail: ing. This complete method book offers a variety rebuilds and additions. Membership and par- [email protected]. Toccata Giovane, by Bruce Prince-Joseph, is of exercises to increase pedal technique and a piece with youthful energy and you will enjoy ticipation in AIO and AGO are encouraged and manual/pedal dexterity. Explore topics such as playing it! If you knew Bruce from his entertain- fi nanced. Benefi ts will include: paid vacation, paid service playing/accompanying—when to lead, Organs of Oberlin chronicles the rich history of ing records or from his church playing, you will sick leave, paid holidays, and full medical cover- when to follow; playing pianistic accompani- organs at Oberlin College, the Conservatory of appreciate Lucas Fletcher’s Honors Paper on the age. We are a well-established fi rm in our 25th ments on the organ; introduction to improvisation year with a healthy backlog and excellent pros- Music, and the town of Oberlin, Ohio. The hard- Toccata and Bruce’s life as well as other links I on the organ; basics of choral conducting from pects for future projects. Located near Charlotte, bound, 160-page book with many illustrations offer that give you more information on the life the console; and much more. 003057, $19.95, North Carolina, we have the benefi ts of relaxed is the most comprehensive study of traceable of this beloved organist. michaelsmusicservice. 800/566-6150, Wlpmusic.com. country living as well as the art and culture that organs from 1854 to 2013. The book measures com; 704/567-1066. comes with a large, growing city. Initial inquiries, 8½″ x 11″ and features a dust jacket with color- including résumés and references may be sent ful illustrations not found in the book. Organs by The Organ Historical Society has released Virgil Fox Remembered. Peter Richard Conte to: [email protected]. the Skinner Organ Company, Aeolian-Skinner, Historic Organs of the Capital District, New York, plays a live concert on the Wanamaker Organ, C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, a 4-CD set featuring 21 organs and 21 organists. now on Raven CD OAR-976. Probably the best Wanted: Organists visiting Maui. Lahaina’s and many others are featured. Text by Stephen Organs include Davis & Ferris, Giles Beach, recording of the organ for sound, technically, Holy Innocents Episcopal Church invites visit- Schnurr, foreword by James David Christie; Odell, Hook, Hook & Hastings, Backus, Johnson and stunning musically. $16.98 postpaid. Raven, ing organists to play its Beckerath Positiv organ photographs by William T. Van Pelt, Trevor & Son, Farrand & Votey, Geo. Jardine & Son, Box 25111, Richmond, VA 23261, 804/355-6386, at Sunday services. Built in 1972 by Rudolf von Dodd, Halbert Gober, as well as rare vintage Skinner, Wurlitzer Casavant, and Aeolian-Skin- RavenCD.com. Beckerath and then-apprentice Hans-Ulrich examples. $50, plus $5 shipping. Visit www. ner. Performers include Robert Barney, Diane Erbslöh for Honolulu’s Lutheran Church, the 408- organsofoberlin.com. Belcher, Antonius Bittmann, Randy Bourne, pipe Shrankpositiv has a 54-note “split” manual, Michael Diorio, Thomas Dressler, Jelani Edding- The new Nordic Journey series of CD record- 30-note pedal, 11 stops, 8 ranks, and 6 registers. ton, Alfred Fedak, Donald Fellows, Sebastian ings reveals premiere recordings of symphonic Holy Innocents acquired the instrument in 1977 Grant Peace, We Pray, a new choral work by Glück, Peter Krasinski, Joan Lippincott, Christo- organ music—much of it still unpublished— and moved it to Maui. The instrument is extremely David Herman, is available as a free download. pher Marks, Grant Moss, Thomas Murray, Derek from Nordic composers, played by American responsive and fi lls the worship space beautifully. Luther’s text, with its 16th-century melody, is Nickels, Eugene Roan, Dana Robinson, Stephen organist James Hicks on a variety of recently The parish community is “exemplary in its hospi- set for SAB choir and organ and was written to Schnurr, Timothy Smith, and Paul Tegels. Booklet restored Swedish organs. It’s a little bit like tality to all visitors,” and that especially includes commemorate the 2017 Reformation anniver- includes comprehensive notes. Item# OHS- Widor, Reger and Karg-Elert, but with a Nordic visiting organists. For information: 808/661-4202; sary. Available from the composer at herman@ 06; non-member price: $34.95; member price: twist. Check it out at www.proorgano.com and holyimaui.org. udel.edu. $31.95. www.ohscatalog.org. search for the term “Nordic Journey.”

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Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

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Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

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Ed Nowak, Chicago-area composer, arranger, Circa 1860 Pfeffer eight-rank organ, available Kimball Organ (3/29, 1930), all enclosed, terrifi c Releathering all types of pipe organ actions and church musician, announces his new web- rebuilt and custom fi nished. Also 1884 choir Swell reeds, four 8-foot Diapasons, two sets of and mechanisms. Highest quality materi- site, featuring Nowak’s original choral works, organ by Louis Debierre. Both are pictured on the celestes (and you known those Kimball strings!). als and workmanship. Reasonable rates. hymn concertatos, chamber and orchestral Redman website: www.redmanpipeorgans.com. $70,000. The Organ Clearing House, 617/688- Columbia Organ Leathers 800/423-7003. works, organ hymn accompaniments, organ 9290, [email protected]. www.columbiaorgan.com/col. and piano pieces, electronic music, and psalm settings. The website offers scores and recorded Historic 1859 ROBJOHN, II+Ped, 11 ranks. examples that are easy to sample and can be Drop dead gorgeous rosewood case, 14′-2″ tall. George Hutchings, rebuilt by Philip Beaudry. Do you have a pipe organ that you would purchased in downloaded (PDF and MP3) or Lovely for chapel, large residence, or museum. 2 manuals, 29 stops, tracker action, detached like to interface with an electronic or digital printed form. Visit ednowakmusic.com. www.bigeloworgans.com. Click on News. console, good condition, Boston, MA. No sale organ? We can interface any digital organ or price, new owner is responsible for removal any organ console with any pipe organ. For more and relocation. Contact John Bishop, the Organ information e-mail [email protected] (not Garland Pipe Organs, 3/63, 1992. Excellent PIPE ORGANS FOR SALE Clearing House, [email protected]. Comcast) or call 215/353-0286. condition. Available immediately. Contact John Bishop, the Organ Clearing House. 617/688- John F. Nordlie Opus 3 organ: 2-manual and 9290, [email protected]. MISCELLANEOUS FOR SALE pedal, 7 ranks, fi ts under 8-foot ceiling; ebony Aeolian/Robert Morton-style maroon and cocobolo keyboards, red oak case. Manual leather is now available from Columbia Organ Consoles, pipes and numerous miscellaneous I: 8, 4, 2-2/3, 2, Mixtur II; Manual II: Flute 8. Pedal Expressive and compact—3/27 Kilgen (1940). Leathers! Highest quality. 800/423-7003, parts. Let us know what you are looking for. stops by transmission. $25,000. 605/351-4417, Two expressive divisions. 17 manual 8-foot fl ues. www.columbiaorgan.com. E-mail [email protected] (not comcast), [email protected]. Reeds include Tuba, Cornopean, Oboe, Clarinet, ′ ″, phone 215/353-0286 or 215/788-3423. Vox Humana. Harp. 16 Open Wood. H: 237 W: ANNOUNCEMENTS 170″, D: 189″. Stopkey console. Original restor- 43-rank Casavant–Létourneau pipe organ for able condition. $30,000. Organ Clearing House, ′ ′ ′ sale with 10-year warranty: $839,000. Orgues Gothic White Oak Organ Case. 25 x 25 x 12 617/688-9290, [email protected]. THE DIAPASON E-Newsletters are e-mailed Létourneau is offering a 43-stop pipe organ rebuilt deep. Excellent condition. Spiky towers, lots of monthly to subscribers who sign up to receive to like-new condition for US$839,000. The core is fi ligree. The Organ Clearing House, 617/688- them. Don’t miss the latest news, featured artists, Casavant’s Opus 2295 from 1955 with electro- 1874 Hutchings-Plaistead. 2 manuals, 11 stops. 9290, [email protected]. and classifi ed ads—all with photos—some before pneumatic wind chests; the revised specifi cation Good restorable condition. Free to a good home. they appear in print! Visit www.TheDiapason. can incorporate up to eighteen new stops built com and click on Subscribe to our newsletter. For Boston area. Contact John Bishop, the Organ SERVICES / SUPPLIES by Létourneau. Installation costs, on-site voicing, Clearing House, [email protected]. assistance, contact Stephen Schnurr, 847/954- an allowance for casework in red oak, a rebuilt 7989, [email protected]. three-manual solid-state console, and a ten-year Complete Pipe Organ Services from the Organ warranty are included. Transportation from Qué- Aeolian-Skinner Opus 968 (1937, 1939, 1955, Clearing House: 450 vintage pipe organs avail- Postal regulations require that mail to THE bec is not included. The organ requires approxi- 1964). Rebuilt Kinzey-Angerstein (1977), rebuilt able, renovation, tuning, consultation. Other ′ ′ DIAPASON include a suite number to assure mately 500 sq. ft. with 20 ceiling for 16 ranks. Létourneau (1995), four manuals, 85 stops. services include transportation, cleaning and delivery. Please send all correspondence to: For more details, visit www.letourneauorgans. $40,000. Contact John Bishop, Organ Clearing renovation of carvings, reredos, liturgical furnish- THE DIAPASON, 3030 W. Salt Creek Lane, Suite com, e-mail [email protected] or call House, 617/688-9290, john@organclearing- ings. Call John Bishop at 617/688-9290. john@ 201, Arlington Heights, IL 60005. Andrew Forrest at 450/774-2698. house.com. organclearinghouse.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2017 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Stephen Buzard Chelsea Chen Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Stefan Engels*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2018

Thierry Escaich* László Fassang* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choir The Choir of Saint Thomas Church New York City Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison James O’Donnell* Daniel Hyde, Director

Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth* Jonathan Ryan Tom Trenney *=Artists based outside the U.S.A.

Celebrating Our 96th Season! Thomas Trotter* Todd Wilson Christopher Young