THE DIAPASON JUNE, 2006
First Congregational Church, Kalamazoo, Michigan Cover feature on pages 30–31 Oct/Nov 2006 & Feb/Mar 2007 ensemble amarcord Men’s a cappella vocal quintet, Leipzig
“Move over King’s Singers, Hilliard Ensemble, and Chanticleer: There is a new male a cappella group on the international classical music scene...as pleasing as it was sophisticated.” (The Salt Lake Tribune, UT)
“The five alumni of Leipzig’s St. Thomas Boys Choir (as in, the one Bach used to direct) sing together about as well as anybody I’ve ever heard....world-class. If you’re looking for classical a cappella, it just doesn’t get much better than this.” (Hanna Stotland, Recorded A Cappella Review Board)
“Great popular success.” (Green Bay Press-Gazette, WI)
“One of Europe’s top vocal groups.” (The Barrie Examiner, Ontario, Canada)
“From start to finish this was virtuoso music making.” (The Diapason, Chicago)
“Performed flawlessly.” (Richmond Times-Dispatch, VA)
“These guys can do anything.” (Leipziger Volkszeitung)
“The singing is beyond criticism.” (Choir & Organ, England)
“One of Europe’s finest a cappella quintets. Ravishing performances.” (The American Organist, New York)
February 2007 Texas Boys Choir Gold Medal Winner, 2004 Choral Olympics, Bremen, Germany
The Texas Boys Choir, which Igor Stravinsky called “the best boys choir in the world,” has been a professional touring organization for well over half a century and operates its own school in Fort Worth. This Grammy Award winning choir has added changed voices to its treble choir to greatly increase its range of performance, which includes its trademark songs of the American west and patriotic songs.
“FINESSE AND VERSATILITY: The Texas Boys Choir functions within the secular tradition of the Vienna Choir Boys but with a vivacity that only can be described as American....As Cowboy Choirboys the young musicians really tickled the imagination. The boys danced with glee and made a point of communicating delight at every theatrical moment.” (Worcester Telegram, MA)
“Almost excruciating purity.” (The New York Times)
“A burst of Texas exuberance...Patriotic songs brought the concert to a rousing conclusion.” (Pittsburgh TribuneReview)
“Angels probably sound like the Texas Boys Choir.” (The Washington Post)
concertartists.com [email protected] • towerhill-recordings.com toll-free (888) 999-0644 US/Canada • phone (860) 560-7800 • fax (860) 560-7788 1 Gold Street #R, Hartford CT 06103-2914 digital instruments. I’m reminded of a throughout the history of the church, its cliché popular among organ enthusiasts buildings have been expressions of the THE DIAPASON in the late 1960s—the height of the power of faith. The furnishings of those A Scranton Gillette Publication Revival. Political-rally style buttons buildings—from pipe organs to stained- Ninety-seventh Year: No. 6, Whole No. 1159 JUNE, 2006 were produced that said Eine richtige glass windows to silver communion sets, Established in 1909 ISSN 0012-2378 Orgel hat Pfeifen (A real organ has even to landscaping—demonstrate the pipes). Weren’t we the rebels? commitment of a community of faith to An International Monthly Devoted to the Organ, I’ve worked as consultant and as the community at large. the Harpsichord, the Carillon and Church Music organbuilder with many organ commit- Of course, every church cannot have tees and organ task forces, and most a pipe organ. A pipe organ is expensive. have raised the question of justification: It can dominate a church’s worship With all the poverty and suffering in the space. It is almost always more compli- CONTENTS Editor & Publisher JEROME BUTERA [email protected] world, how can we spend this kind of cated to decide to purchase a pipe 847/391-1045 money on ourselves? Of course, it’s up organ than one of the several other FEATURES to each parish to answer that question. options. But the experience of singing Organs in the French Alps Government buildings are designed and with a congregation led by a great pipe A juxtaposition of great sound and great scenery Associate Editor JOYCE ROBINSON furnished to represent the power and organ is like no other. by Aldo Baggia 20 [email protected] dignity of civic responsibility. Likewise, John Bishop 847/391-1044 Stanley Wyatt Williams, 1881–1971 The Odyssey of an Organbuilder by R. E. Coleberd 24 Contributing Editors LARRY PALMER LETTERS TO THE EDITOR 3 Harpsichord Here & There
NEWS JAMES McCRAY Choral Music The Basilica of the National Hell; 6/27, Amy Johansen; July 6, Walt Here & There 3, 4, 5, 6, 8, 10, 12 Shrine of the Immaculate Concep- Strony; 7/11, Daniel Zaretsky; 7/18, Appointments 4 BRIAN SWAGER tion, Washington, DC, presents its Maurice Clerc; August 1, Hans Hielsch- Nunc Dimittis 10 Carillon annual summer organ recital series on er; 8/8, Rob Richards; 8/15, Massimo Carillon News 12 Sunday evenings at 6 pm (preceded by a Nosetti; 8/22, Michael Kleinschmidt; Harpsichord News 12 HERBERT L. HUESTIS carillon recital at 5:30 pm): June 4, 8/29, Thomas Heywood. In the wind . . . OrganNet Report Robert Grogan; 6/11, Gail Archer; 6/18, The Kotzschmar Memorial Organ, by John Bishop 14 Osiris Organ Archive Peter Latona; 6/25, Russell Weismann; built in 1912 by the Austin Organ Com- www.mdi.ca/hhuestis/osiris July 2, Louis Perazza; 7/9, Domenico pany, is this nation’s oldest working REVIEWS e-mail: [email protected] Severin; 7/16, Richard Fitzgerald; 7/23, municipal organ: five manuals, 6,800 Music for Voices and Organ 15 Hans Uwe Hielscher; 7/30, Leo Abbott; pipes. For information: 207/883-9525; Book Reviews 16 Prepress Operations DAN SOLTIS August 6, Paul Murray; 8/13, Oddmund
JUNE, 2006 3 Professor Mahrt, who is also the new organ competition, demonstrations, and will assist with expenses involved in editor of the quarterly journal Sacred lectures; the finalists of the competition completing research for these articles. Music, chant instructor Amy Zuberbuel- will play the Mozart Fantasie in f minor Dr. Fournier is titular of the Aristide er (Ward Center, San Antonio, Texas), and the Sammartini Concerto No. 1 in A Cavaillé-Coll choir organ at La Trinité schola conductor Scott Turkington on August 2. Concert offerings include Church, Paris. (Stamford, Connecticut), music profes- Guido Marini on harpsichord, fortepi- A Mader Fund grant has been award- sor Kurt Poterack (Christendom Col- ano, and organ, with Marco Beasley, ed to Dr. Tina Frühauf to support lege), choirmaster Horst Buchholz tenor, on July 23 in Stadschouwburg; research in preparation for an English- (Denver Philharmonic Orchestra), and Lorenzo Ghielmi and Johannes Geffert language edition of her monograph, the eminent church musician Fr. will present solo recitals. There will also Orgel und Orgelmusik in deutsch-jüdis- Robert Skeris (Ward Center, CUA). be an organ trip on July 30, with con- cher Kultur (Hildesheim: Georg Olms, The cost of the conference, which certs by Michel Bouvard in St-Omer, 2005) [Organ and organ music in Ger- includes room, board, and materials, is Jean Ferrad in Stavele, and Jan Ver- man-Jewish culture]. Included in the $485. A special day rate is available for meire in Haringe. For information: new edition will be additional informa- $50. Register online at
#ONCERT /RGANIST &ELIX (ELL Ashley Holbrook and Robert Horton 3OLO 2ECITALS /RCHESTRA 0ERFORMANCES On April 12, organ students of ,ECTURES 7ORKSHOPS 0RIVATE #OACHING David Pickering at Graceland Uni- versity in Lamoni, Iowa played in an !SK ABOUT MY NEWLY CREATED l-OTIVATION organ masterclass taught by Robert Hor- 7EEKENDm FOR ORGAN MAJORS WITH WORKSHOPS ton, assistant professor of music at Dordt LECTURES COACHING AND RECITALS College in Sioux Center, Iowa. On April 13, Dr. Horton played a recital of works Maria Helena Vieira da Costa-Tharp '03 #00,*/( '&-*9 )&-- $0/5"$5 by Buxtehude, Franck, Bach, and Deck- &ELIX (ELL !RTIST -ANAGEMENT )NC 0OCAHONTAS 4RAIL -EDFORD .* 53! er on the university’s Casavant organ. Maria Helena Vieira da Costa- 0H &AX % HELL CONCERTS T ONLINEDE WWWFELIX HELLCOM Pictured are organ student Ashley Hol- Tharp has been appointed organist of brook and Robert Horton. St. Paul’s Ev. Lutheran Church, New
4 THE DIAPASON York, New York, where she is responsi- Broms Organ Trio, BROMS (rock) and ble for playing for all services and for Here & There Rooster (blues), and is currently pro- the development of the church choir ducing two other music series, ‘The program. St. Paul’s Church is located in Works’ featuring the complete works of the Chelsea district of Manhattan and is Ed Broms recently presented jazz The Beatles, and an organ recital series one of the last remaining thoroughly concerts with his trio and conducted the to benefit the Holy Name Organ Trust German-speaking parishes in the New choirs of St. Mary’s Church, Holliston, Fund. For information on the Musica York City area. Their 1897 instrument, Massachusetts, in works of Fauré and Eclectica concerts:
Colin Andrews Cristina Garcia Banegas Maurice Clerc Joan DeVee Dixon Olivier Eisenmann Organist/Lecturer/ Organist/Harpsichordist/Conductor Interpreter/Improviser/ Pianist/Organist/ Organist/Pianist/Lecturer/ Recording Artist Organ Faculty and Chair Recording Artist Recording Artist Recording Artist Solo Recitals University of the Republic Titular Organist Associate Professor of Music Freelance Recitalist Solo/Duo with Janette Fishell Conductor, De Profundis St. Benigne’s Cathedral Frostburg State University Organ and Flute Greenville, North Carolina Vocal/Instrumental Ensemble Faculty Frostburg, Maryland with Verena Steffen London, England Director, International Organ Festival National Conservatory Lucerne, Switzerland Montevideo, Uruguay Dijon, France
Laura Ellis Janette Fishell Faythe Freese Michael Gailit Michael Kaminski Organist Organist/Lecturer Organist/Lecturer Organist/Pianist Organist Associate Professor of Organ and Professor of Music Associate Professor of Organ Organ Faculty Conservatory Director of Music Ministries Carillon East Carolina University School of Music of Music Saint Francis Xavier Church University of Florida Greenville, North Carolina University of Alabama Piano Faculty University of Music Brooklyn College Faculty Gainesville, Florida Tuscaloosa, Alabama Organist St. Augustine’s Church St. Francis College Faculty Vienna, Austria Brooklyn, New York Also: David K. Lamb Maija Lehtonen Sabin Levi David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Angela Kraft Cross William Kuhlman Tong-Soon Kwak Bach Babes Clair Rozier Organist/Pianist/Composer/ Organist Organist Baroque Music Ensemble Lisa Scrivani-Tidd Recording Artist College Organist and Professor of Organ Variable Groupings Jeremy David Tarrant Organist Professor of Music Emeritus College of Music Soprano, Strings, Flute, Oboe, Continuo Heinrich Walther Congregational Church Luther College Yonsei University Milwaukee Symphony Orchestra Associates Jane Watts San Mateo, California Decorah, Iowa Artistic Director Martha H. Stiehl, Artistic Director Torch International Organ Academy Organ and Harpsichord Brador Brass Quintet Seoul, Korea University of Wisconsin-Milwaukee Duo Majoya ConcertArtistCooperative Beth Zucchino, Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 [email protected] www.ConcertArtistCooperative.com
JUNE, 2006 5 Sylvie Poirier and Philip Crozier
Montreal-based organ duettists Sylvie Poirier and Philip Crozier announce their eighth organ duet com- mission. Composed by Denis Bédard between November 2005 and January Craig Cramer Quentin Faulkner Faythe Freese 2006, the Variations sur un theme orig- inal pour orgue quatre mains is the Craig Cramer, professor of organ Dr. Faulkner has performed numer- 870366, Tuscaloosa, AL 35487-0366; composer’s fourth organ duet and the and artist in residence at the University ous organ recitals in the U.S. and in $16 plus $2 shipping. Faythe Freese is second commissioned from him by of Notre Dame in Indiana, has been Europe (in particular, on historically sig- on the roster of Concert Artists Poirier and Crozier. It will receive its invited to perform in Germany on the nificant organs); with his wife, Dr. Mary Cooperative; first performance by them in the Cathé- 1727 König organ in Steinfeld, the 1748 Murrell Faulkner, he recorded Duetto—
6 THE DIAPASON May_Dia_FullPg_Berghaus.ai 4/27/06 11:33:32 AM CherryCherry RhodesRhodes inin ConcertConcert Stay in Chicago for One Extra Day!
2006 AGO POST-CONVENTION CONCERT MUSIC OF THE MASTERS CONCERT SERIES THE BERGHAUS ORGAN QUEEN OF ALL SAINTS BASILICA, Chicago, IL Rev. Wayne F. Prist, Pastor Dr. Kenneth Sotak, Director of Music Friday,Mr. Paul JulyScavone, Asst. 7th Director @ of 7:30Music pm
This concert is open to the public at no charge. Round trip transportation from the Chicago Marriott Downtown available for a fee of $15. Motor coach reservations required
his is a rare personality who enriches the universe of the organ and serves both the music of the past and the present by bringing to it very vivid colors and an intense life.
Alice Tully Hall, Lincoln Center, New York …imaginatively projects brilliant expressiveness - New York Times Royal Festival Hall, London …a most memorable recital from a player of dazzling technique, a complete command of the instrument, an uncommon care for registration - and yet with a sensitivity to touch our hearts. - Musical Opinion, England St. Lambertus, Erkelenz, Germany - Thunderous applause was due to the breathtaking virtuosity of the organist who cast the listeners into a spell. - Rheinische Post Review of the CD, Everyone Dance - That Cherry Rhodes proves a sympathetic, graceful and virtuoso interpreter comes as no surprise at all, as she indeed merits the accolades and praise traditionally awarded her. - The American Organist
CHERRY RHODES ORGAN RECITAL
Prelude und Fugue in e minor, BWV 548 Johann Sebastian Bach (1685-1750) 4 piezas para la Misa José Lidón Cantabile para organo al alzar en la Misa (1748-1827) Ofertorio Elevación Allegro Méditation Gabriel Dupont (1878-1914) Afternoon of a Toad Clarence Mader (1904-1971) INTERMISSION
Adagio and Fugue in c minor, K.V. 546 Wolfgang Amadeus Mozart (1756-1791) (transcription by Jean Guillou) Variations sur un Noël bourguignon André Fleury (1903-1995) Metopes James F. Hopkins I. Arachne’s Web (b. 1939) Interlude II. The Gift of Nessus
The Art of Organbuilding
Quality Pipe Organ Building & Maintenance Since 1967 2151 Madison Street, Bellwood, IL USA 60104-1932 | berghausorgan.com For further information, please contact: Dave McCleary | phone: 708-544-4052 | email: [email protected] University Press. His critically acclaimed at the American University and the Lynn Place Badarak. Petite Suite recordings include eleven CDs on the Catholic University of America. He has comprises five movements: Prelude, Raven label surveying the complete played recitals throughout the country, Allemande, Sarabande, Pastorale, and organ works of J. S. Bach recorded on and was formerly under the concert Gigue. Badarak received her bachelor’s significant historically inspired American management of Roberta Bailey. Mr. and master’s degrees in composition at organs. He has also recorded three CDs Russell served as program chairman for the University of California, Riverside, on the Titanic label. the 1982 AGO national convention in and her doctorate in music theory from Ritchie has served as a member or Washington, chairman for the Southern Northwestern University. For several chair of several national committees of New England AGO regional in Hart- years she was a member of the Atlanta the AGO, as well as dean of the Lincoln ford in 1963, and has served as judge for Symphony Chorus under Robert Shaw, Chapter, state chairman of Nebraska, the Ft. Wayne Competition. He is and recently she has worked with Alice and councillor for Region VI. He earned retired organist-choirmaster of St. Parker at the Melodious Accord Insti- a doctor of music degree from Indiana John’s Church, Lafayette Square tute. Dr. Badarak was the founding University in 1975, a master of sacred (Church of The Presidents) after having director of the Santa Cruz Chorale and music degree from Union Theological served there for twenty years. The com- has taught music theory and composi- Seminary in 1967, and master of music pact disc may be purchased online at tion at the University of Northern and bachelor of arts degrees from the
New Organs: First United Methodist Church (Atlanta): 5-manual, 120 stops Midway Presbyterian Church (Powder Springs, Ga.): 3-manual, 55 ranks First United Methodist Church (Carrollton, Ga.): 3-manual, 42 ranks New Orleans Baptist Theological Seminary (New Orleans): 3-manual, 33 ranks (new & existing pipework) Newberry A.R.P. (Newberry, S.C.): 2-manual, 13 ranks (new & existing pipework) Rebuilds: St. John’s Church (Savannah, Ga.) 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing John Wesley United Methodist Church (Charleston, S.C.) 3-manual, 36 rank M.P. Moller - complete rebuild Selwyn Avenue Presbyterian Church (Charlotte, N.C.) 3-manual, 22 rank M.P. Moller - complete rebuild with additions Royster Memorial Presbyterian Church (Norfolk, Va.) 3-manual, 45 rank M.P. Moller - complete rebuild with additions Cumberland United Methodist Church (Florence, S.C.) 2-manual, 10 rank M.P. Moller - complete rebuild with additions 800-836-2726 y www.pipe-organ.com
8 THE DIAPASON
approach to the performance of Bach, Guinand (Carus 2.302), presents Latin Nunc Dimittis Reger, and contemporary composers American repertoire, and vol. 2, Open such as Johann Nepomuk David. An the Gates, edited by Maya Shavit (Carus unpublished Organ Method, which 2.504), presents compositions from CHANGE IS INEVITABLE. explores organ technique in new and Israel for female choir. Also for wom- valuable directions, attests to his peda- en’s choir is vol. 3 in the series Rarities gogical wisdom and acumen. of the Romantic Era, edited by Dieter Fleischer’s tenure at the University Zeh (Carus 40.740). New CDs include GROWTH IS OPTIONAL. of Minnesota covered the years from C.P.E. Bach: Concerti per il Cembalo 1959–82. Significant performances dur- (Carus 83.184), played by Rien ing this time included Reger’s op. 73 Voskulien, and Rheinberger’s secular { and Bach’s Art of Fugue (unpublished choral work Vom Goldenen Horn edition), both of which he repeated in (Carus 83.177). For information: various venues throughout the country.
10 THE DIAPASON PEDAL 2nd Voices/Pipes 64 Resultant 32 Contre Bourdon LEVERINGTON PRESBYTERIAN CHURCH 32 Contra Violone 16 Diapason Prinzipal HILADELPHIA ENNSYLVANIA 16 Gedeckt Pipes only P , P 16 Bourdon 16 Bourdon doux (Sw) 16 Contra Gamba (So) 16 Violone 8 Principal Pipes only 8 Octave Oktav 8 Bass Flute Pipes only 8 Bourdon Pipes only 8 Gedacktflöte 8 Gamba (Solo) 4 Prestant Pipes only 4 Choralbass 4 Fife Pipes only 4 Flûte 2 Octave Pipes only IV Fourniture Pipes only IV Mixture 32 Contre Bombarde 32 Contre Dbl. Trumpet (Gt) 16 Bombarde Posaune 16 Double Trumpet (Gt) 8 Trompette 4 Clarion SWELL English Swell/Pipes 16 Bourdon doux 8 Geigen Diapason Open Diapason 8 Bourdon 8 Gedeckt Pipes only 8 Flute Celeste II Erzähler Celeste II 8 Erzähler Pipes only 8 Viola Pipes only 8 Viola Celeste Pipes only 8 Salicional Viole d’Orchestre 8 Voix Celeste Viole Celeste 4 Principal Pipes only 4 Octave Geigen Octave 4 Rohrflöte Pipes only 4 Traverse Flute 2 2/3 Nasard 2 Octavin Pipes only 2 Flautino Pipes only 2 Piccolo 1 3/5 Tierce IV Fourniture Mixture V III Plein jeu Pipes only 16 Contre Trompette Double Trumpet 8 Trompette Trumpet 8 Hautbois Orchestral Oboe 8 Vox Humana Vox Humana 4 Clairon Clarion Tremulant 16 Swell to Swell Swell Unison Off 4 Swell to Swell English Swell Chimes mechanical (in Swell chamber) GREAT Second Voices/Pipes 16 Double Diapason Quintaton 16 Bourdon 8 Principal Pipes only 8 Diapason Prinzipal 8 Bourdon 8 Gedeckt Pipes only 8 Harmonic Flute Metalgedackt 8 Gamba 4 Prestant Pipes only 4 Octave Oktav 4 Spitzflute 4 Harmonic Flute Pipes only 2 2/3 Twelfth Sesquialtera II 2 2/3 Nazard Pipes only 2 Super Octave Pipes only 2 Fifteenth 2 Waldflute IV Mixture III Cymbale Pipes only III Sharp Mixture 16 Double Trumpet 8 Tromba Tremulant Chimes Carillon SOLO (no pipes) A four-manual Allen Renaissance Heritage™ console in a special two-tone finish 16 Gamba Celeste II 8 Flauto Mirabilis has been recently installed in Philadelphia’s Leverington Presbyterian Church, 8 Solo Gamba located in the heart of the Roxborough section. The 24 Mudler-Hunter pipe ranks 8 Gamba Celeste 4 Gambette Celeste II and 79 Allen digital voices are controlled by individual drawknobs. The handsome 16 Trompeta Real 8 Trompeta Real console features rosewood manual and pedal sharps, rosewood rocker tablets, 8 French Horn rosewood drawknob faces with maple stems, and Skinner-style key cheeks. 8 Corno d’Bassetto 8 Cor Anglais The manual naturals are Laukhoff Ivora. Cathedral-style side panel mouldings 4 Trompeta Real Tremulant complement the inspired console design. An adjustable bench, adjustable music Celesta rack and console dolly are finished to match the console’s exterior finish, which CHOIR (no pipes) 16 Contra Viole is custom-matched to the existing woodwork of the sanctuary. The digital audio 8 Holzgedackt is located behind the pipe façades, in and near the pipe chambers. 8 Viole 8 Viole Celeste 4 Prinzipal 4 Koppelflöte 4 Violes II 150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 USA 2 Oktav Phone: 610-966-2202 Fax: 610-965-3098 1 1/3 Quintflöte III Cymbale E-mail: [email protected] 16 Bass Clarinet 8 Petite Clarinette www.allenorgan.com Tremulant PIPE AND DIGITAL CUSTOM ORGANS CUSTOM PIPE AND DIGITAL addition of a 2-manual console in the Current electronic organ manufac- quipped that the only place to live in front of the church. turing processes use small amounts of New Haven was in the tower itself, Fabry, Inc. Pipe Organs is now in its some of the restricted substances in cir- where one need not look at it. In 2004, 51st year, with David G. Fabry, the third cuit board manufacturing. In order to Paul Goldberger, architecture critic of generation of Fabry in the pipe organ eliminate these substances from the The New Yorker, rhapsodized in Yale in business—starting with Gustav Fabry, manufacturing process, Roland and New Haven: Architecture & Urbanism, who worked to build the Midmer-Losh Rodgers undertook a massive campaign “The way in which Harkness Tower at the Atlantic City Convention Hall, fol- to secure compliance from vendors makes a transition from a solid base to lowed by David J. Fabry, his son, who throughout the supply chain. an increasingly light, airy top, almost brought the company to where it is now. “As we go forward in 2006, one of the dematerializing as it rises, is remark- Joined by Philip A. Spressart, Fabry, Inc. major business challenges facing the able, and has no precise precedent.” maintains over 400 pipe organs in Illi- electronic organ industry is compliance Architects may dispute as they please, nois, Indiana, Michigan, Wisconsin, with RoHS,” said Duane Kuhn, Rodgers but Harkness Tower offers to carillon- Iowa, Florida, and Arizona. Fabry, Inc. Director of Sales & Marketing. “Rodgers neurs the Yale Memorial Carillon, cast now also brokers used pipe organs and Instruments LLC is making substantial by John Taylor Bell Founders in 1921 has available an extensive used part and investments in new circuit board manu- and 1964. These 54 bells comprise the pipe inventory. For information: facturing equipment and processes to eighth largest carillon by total weight in 847/395-1991;
We do. In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 Washington, DC 20005-4018 Telephone: (450) 774-2698 Toll Free: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 e-mail: [email protected] Bedient Pipe Organ Company e-mail: [email protected] www.letourneauorgans.com 800.382.4225 [email protected] 1060 Saltillo Rd, Roca, NE 68430 www.bedientorgan.com
12 THE DIAPASON Life is full of little surprises.
Get ready for a BIGBIG one.
Inspired by the Rodgers Trillium Masterpiece Series, the newest member of the Allegiant organ family offers an attractive American-built alternative to lower-cost imports. Offering a new level of magnificent sound, flexibility, unmatched control, and industry-leading MIDI functions, WIN it will make an astonishing impact THE USE OF in a church, educational institu- tion, or home. AN INSIGNIA 537 FOR ONE YEAR! ENTER OUR CONTEST IN CHICAGO! Visit us in the Lincolnshire I/II room at the 2006 ChicAGO convention July 2-6 to hear it played by Dan Miller. For a really 1300 NE 25th Avenue, Hillsboro, Oregon 97124 pleasant surprise, let us tell you 503.648.4181 Fax: 503.681.0444 Email: [email protected] about the price. www.rodgersinstruments.com organ—a poor organ is a poor organ.” everywhere on earth, NO electronic I’m fortunate that my work keeps me I suppose the next question is how do organ would be better than such.” in constant contact with the best (as well In the wind . . . you define a “good” organ? I’ll give it a As an advocate of the pipe organ, I as the worst) pipe organs. For example, by John Bishop whirl and I’ll be pleased to hear what am disinclined to compare them with I’ll be in New York City this weekend you readers have to add. digital substitutes. And I reject the idea where I’ll have to cull a long list of won- 1. A good organ is the product of an that all art is fakery. Rather, I say that derful opportunities to experience great Yesterday was Easter. I’ve spent the organbuilder’s artistic vision and philos- real art is real, and imitation or substi- music in worship. There’s nothing quite last three weeks roaring around New ophy, not the product of mass-produc- tute art is fakery. One might say that a like the experience of singing hymns in England in a flurry of organ tuning. As I tion. Many instruments built by large digital musical instrument is analogous a huge church with a thousand souls in moved from church to church I had the firms certainly are good organs—as long to a print of a famous painting. It might the congregation, a brilliant choir, mon- feeling that organ tuners get to see and as the leadership of the firm conceives be a very good print—I took a look at umental organ, and imaginative organ- smell more lilies than anyone besides their products as artistic creations. the online store of the Museum of Mod- ist. I confess that I’m often unable to florists. Each place I went had a more 2. A good organ is designed and built ern Art in New York (MoMA) and saw a sing because of the lump in my throat. glorious display than the last. It’s a treat to be a credible vehicle for the presenta- print of a painting by Mark Rothko for The organist improvises an interlude, to witness the excitement of preparation tion of great compositions of organ $175—but it’s still a print. the swell boxes open, the choir adds a in so many parishes and a privilege to music. (I’m not addressing the question As I scrolled through the MoMA cat- descant, and I melt. Feel free to accuse play a part in that excitement by work- of whether every organ should be able to alogue, I didn’t see any copies of poor me of sentimentality when I sling an old ing to see that organs are at their best. present many different styles of music.) art. The marketing people have chosen cliché, that’s what it’s all about. I think of all those sanctuaries now, 3. A good organ is compatible with its outstanding art to reproduce and offer It’s a natural extension of such an the morning after. There’s a particular surroundings. It must be of a size and for sale. I can understand replacing an experience to want to try to emulate it at aroma—the mingling of white lilies and scale appropriate to the room it’s in. It ugly original painting with a reproduc- home. Visit the church of St. Sulpice in candle smoke. That aroma in turn min- must add to, not detract from, the archi- tion of something excellent. Does that Paris and realize what Widor had in gles with the springtime sunshine as the tecture of its home. describe some purchases of electronic mind as he wrote his music. That famous sexton clatters around the nave straight- 4. A good organ has mechanical and instruments? If so, the person I’m most Toccata wasn’t intended as a five-and-a- ening hymnals and gathering the bulletin structural integrity, which is synony- disappointed in is the builder of the half-minute machine-gun volley of virtu- inserts that name the donors and memo- mous with comfort and ease of playing, inadequate pipe organ. oso notes, but a series of long rolling rials for “this year’s Easter flowers.” reliability of performance, and economy My analogy has a serious flaw. It’s chords, four to a measure. Because so The organist left on vacation last of maintenance. easy to say that I’d rather view an origi- many of us revere it as a masterpiece, we night, to return in ten days to a choir 5. A good organ has the metaphysical nal artwork than a reproduction, but play it on whatever organ we have, in room piled high with choral music left qualities necessary to excite the senses while I have been in a few private hous- whatever acoustical environment—but from the Holy Week services and the and move the emotions of both players es that have original masterworks on the it’s a distortion of scale. task of planning the music for the next and listeners. walls, I realize that such luxuries are not A musical instrument should reflect liturgical cycle (dare I say that it’s only These are all relative qualities, difficult available to many of us. An original mas- the scale of its surroundings. A some- 32 Sundays until the beginning of to describe, easy to debate. How do we terwork might be worth a million times what sassy example is to be reminded Advent?). One of the trumpet players define good? What makes a good bottle of the price of a reproduction (the MoMA that bagpipes were conceived as outdoor left behind his music stand and his wine? What constitutes a good sermon, a store sells reproductions of Monet’s instruments. Appropriate scale is critical check—we’ll hear from him soon. Oth- good college course, or a good day? I may Water Lilies for $17.95). This ratio does to the success of a fine pipe organ. erwise, things will be quieter until Pen- not be able to define it, but I know it when not apply to pipe organs and their sub- Designing a pipe organ is a balancing tecost and Church School Sunday. I see it. What makes a good meal? One stitutes. If a pipe organ cost a million act—the struggle (it’s almost always a As for me, I lost my last mixture-tuning that “does the job” by filling you up, or times as much as a digital one, perhaps struggle) to achieve balance between the brush under a rackboard on Good Friday one that presents a subtle combination of even I would have second thoughts. musical needs of the parish, the available afternoon—I need to make a new batch. flavors—perfectly cooked and beautifully While I accept that some churches space, the available budget, and the My car is full of tools, cleaning supplies, presented—that goes beyond simple choose to replace pipe organs with sub- builder’s philosophy. Andy Rooney, the and the hardware store bags that supplied nutrition or satiation to reveal the philos- stitutes, I do not accept the claim or curmudgeonly commentator on ABC a dozen miscellaneous improvised ophy and artistry of the chef? Can this even intimation that “you can’t tell the television’s 60 Minutes, once said he’d repairs. There’s a long list of non-organ- analogy apply to the organ? difference.” Of course we can tell the been eating working-day lunches in New repair phone messages on my desk, and The rapid advance of digital sound cre- difference. We might choose the substi- York restaurants for decades and had heaven knows how many e-mails. ation and reproduction has complicated tute anyway, but we can tell the differ- never once been surprised by a check In the last few weeks I’ve visited about this debate. In his editorial letter pub- ence. We can tell the difference that was lower than he expected. Like- 30 organs. I’ve oiled blower motors, un- lished in the April issue of THE DIAPASON between fresh-squeezed orange juice wise, it’s hard to imagine and nearly stuck keys, tuned reeds (lots of reeds!), responding to the February 2006 edition and frozen concentrate. We can tell the impossible to remember the organ pro- replaced pouches, adjusted tremulants, of this column, Dr. Christoph Tietze difference between a burger from the ject where there was both enough regulated actions, cleaned keyboards, wrote, “I believe that the almost universal backyard grill and one from a fast-food money and enough space! vacuumed under pedalboards (I always acceptance of electric action is partially joint. We can tell the difference between In my opinion, including a digital 32v keep the pencils I find), and removed responsible for the growing acceptance of a live symphony orchestra and a record- stop in a modest pipe organ in a modest potted plants from the tops of consoles. electronic instruments today, for it is only ing of one. We can tell the difference building is a violation of scale—the I’ve removed the remains of moths, flies, one step further from fooling the fingers to between real flowers and plastic flowers. building cannot support the develop- mice, and one bat from critical locations fooling the ear also.” I suggest that fooling We’ve all heard the economic argu- ment of that very special sound, and it in organ chambers. I’ve stood in the nave the fingers is hardly the point. How the ments comparing pipe organs with elec- sounds out of place. In other words, if and listened to balances between organ music-making happens is between the tronic instruments. Does it take two, the real thing wouldn’t fit, the fakery and choir, and I’ve played passages for instrument builder, the composer, and the three, even four electronics to produce a doesn’t belong. Likewise, we frequently organists so they can hear their registra- performer—perhaps an unholy alliance, combined life expectancy equal to that see a digital instrument that emulates a tions. I even did a lunchtime music store and certainly often an ongoing argument. of a pipe organ? Depends on the organ. pipe organ with 30 or 40 stops, installed errand for an organist—we are a full-ser- The effective performer is free to add We often hear the claim that a pipe in a sanctuary that seats fewer than 200 vice organ company! comment to the music but that presenta- organ will last a hundred years between people. A pipe organ of 10 ranks would A busy season of maintenance visits is tion is always subject to the listener’s judg- renovations. But consider this story. For be plenty, but the buyers are beguiled a fine time to reflect on the majesty of ment. It should make no difference to the the past twenty years I have maintained with the grand specification and the the pipe organ. Each one is different. listener whether the keyboard is electric or a large tracker-action organ that was resulting impressive console. With all Each has its quirks. Some pipe organs mechanical—what does matter is whether built in the early 1970s—it was just over due respect, I wonder if it’s necessary to are mediocre, nondescript, even poor. A the performer is comfortable with the ten years old when I first tuned it. Since be able to play the music of Widor in fine pipe organ of any style, description, instrument, whatever it is. As long as we then we’ve replaced the original solid- every church building. It’s the musical or size is an artistic treasure. In the Feb- have different performers, it must be state combination action and drawknob equivalent of stuffing a grove of 20-foot- ruary 2006 edition of this column, I acceptable to have different instruments. motors, the slider motor controls, and tall plastic lilac and cherry trees into a posed the rhetorical question: which is Another reader responded to Dr. the leather of the schwimmers. When sanctuary with an 18-foot ceiling. It’s better, tracker or electric action? There Tietze’s letter by carrying the debate a the largest pipes of the 16v Posaune col- out of scale, so it’s out of place. is no limit to how this question might be step further saying, “all art is, to a cer- lapsed, we repaired and reinforced the I know that digital instruments are here answered, but if I would propose a cor- tain extent, fakery . . . There are some resonators and built new supporting to stay, and I know that many churches rect answer to my own rhetorical ques- awful pipe organs . . . and it is [unrea- racks. And when the original “space-age” are delighted to own them. I’ve been tion, it would be: “A good organ is a good sonable] to claim that for all time and lubrication of the sliders turned to glue, working in and around pipe organs for we took all the pipes out of the organ, almost 35 years, and I expect I’ll always be cleaned and lubricated the sliders, and advocating the pipe organ. But I agree retuned everything. The total cost of with one thing said by the reader who these repairs far exceeded the original responded to the response—there surely price of the organ. In most ways this is are awful pipe organs out there. My last an excellent instrument, but if it was not word to the buyers and builders of pipe owned by a parish that is truly commit- organs today: the future of our passion ted to having a fine pipe organ, it could depends on excellence. Keep buying and well have been replaced by a substitute. building the best organs you can. I Organ Recitals Workshops & Masterclasses www.SusanJaneMatthews.com
1184 Woodland St. SW, Hartville, Ohio 44632 330-966-2499 www.keggorgan.com Photo: Lorraine Dotson
14 THE DIAPASON Instrumental parts are available from Longfellow; the composer suggests from the choir. The third (choral) verse Music for Voices the publisher (G-5350 INST). that it is intended to not only convey is unaccompanied. the Pentecost messages, but also the and Organ Spirit of God, Descend, arr. John mystery and power of the Holy Spirit. Be Filled with the Spirit, Craig by James McCray Helgen. SATB, piano, and optional This may be used on most Sundays as a Courtney. SATB, organ, and clar- cello, Augsburg Fortress, 0-8066- general anthem. It begins softly and inet or viola, Beckenhorst Press, 7637-8, $1.60 (E). continues to grow louder and more Inc., BP1548, $1.50 (M-). Spirit! The cello part is included separately dramatic, but then toward the end Taken from a cycle of anthems based on the back cover and as an individual returns to a quiet ending. The melody on passages that make reference to I was in the Spirit on the Lord’s day, and line in the choral score. There are three is chant-like in structure and mode. singing, this is movement two and is heard behind me a great voice, as of a verses, one for unison women, one Very attractive anthem. based on Ephesians 5:18–20. The tune- trumpet. —Revelation of St. John the Divine unaccompanied in four parts, and the ful clarinet part introduces the theme, last with a vocal descant above a primar- Spirit of God, Aaron David Miller. which is then sung in imitation by the Consider the word spirit. Webster’s ily two-part setting. The music is easy, SATB unaccompanied, Paraclete choir above a simple organ background. Dictionary offers 16 interpretations of it slow, and suitable for Pentecost. Press, PPM00604, $2.10 (M). The second half of the setting builds to that range from the soul to something Using warm harmonies, some with a climax, then closes with a quiet Amen legal (in the spirit of the law). Church Sing When the Spirit Says Sing, arr. dissonances, this sensitive anthem is pri- based on the theme and the opening musicians focus on the Holy Spirit Katy Strand. Two-part with piano marily syllabic with mostly connected organ material. (Ghost), but also are motivated by such and optional vocal solo, Choristers vocal lines that move diatonically having things as spirituals (ethnic spirit), enthu- Guild, CGA912, $1.40 (E). limited skips. The gentle character Spirit, Falling like a Dove, David siastic loyalty (good spirit), and human This jazzy setting of the familiar tune remains relatively soft throughout. Bridges. SATB and keyboard, life (the spirit of breath). Scientists in uses syncopated rhythms in the key- Abingdon Press, 00687078X, $1.50 chemistry refer to it as a liquid, histori- board, clapping, and a fast tempo. When God the Spirit Came, William (E). ans think in terms of spirit as a pervad- Designed for young voices, this will be a Braun. SATB, congregation, organ, There are four verses, with three in ing animating principle (spirit of the fun and easy setting. The keyboard part and optional trumpet, Concordia unison and only one in an unaccompa- Renaissance), and those who drink con- is simple, usually with one note in the Publishing House, 98-3782, $1.65 nied four-art setting. The last has a des- sider it alcohol. Spirit is a word that left hand; there is an optional solo that (M-). cant above the melody. Easy vocal and reaches in various directions. often functions as an echo response to Subtitled “Give Thanks to God on keyboard music, which makes this of The church year emphasizes it at the choir. High,” this setting has two texts so that most interest to small church choirs. Pentecost. On that special Sunday the it may be used at different times music often refers to the descent of the Holy Spirit, Truth Divine, Bonnie throughout the church year. The sec- Canticle of the Spirit, David Poole. Holy Spirit on the Apostles, and the Johansen-Werner. SATB, organ, ond, which is more general in nature, is SATB, dulcimer (or piano), optional hymn Veni Sancte Spiritus is used and handbells (3 or 4 octaves), reproduced on the back cover with a flute, string bass, and percussion, throughout the service. Other times of Alliance Publications, Inc. AP-1458, congregational page. The congregation Neil A. Kjos Co., 8992, $1.50 (M). the year also use the word spirit such as $1.50 (M). sings on three of the five verses, with the The hammered dulcimer part may be the Spirit of Christmas, the Creator The anthem is based on a text by last one having only bursts of Alleluias played on a synthesizer or piano, and is Spirit, or simply the Spirit of the Lord. Most conductors have recorded their choirs at some point. Often, in hearing the recording, there seems to be some- thing missing. In a concert, seeing facial expressions, bodily movements, and other attributes of a live performance enhances the music to a level that is higher than the mere recording of the sound. The recording often reveals errors that go unnoticed in the perfor- mance; it also distills the spirit of it. There is a certain quality of sterility that usually creeps in and dampens the enthusiasm first heard on the concert. That is natural. If that were not true then why would people pay to attend a live performance when they could buy a recording of it and enjoy the music in the confines of their home? Music is important in the life of the church. Beethoven reminds us that “Music is the electrical soil in which the spirit lives, thinks, and invents.” The connection of music and spirit is unde- niable. Directors should remind their choirs of the valuable contributions they bring to the services. Percy Bysshe Shel- ley understood this when he wrote: My spirit like a charmed bark doth swim Upon the liquid waves of thy sweet singing. All the music reviewed below con- tains the word spirit in the title. I hope you find something of interest for your choir, and it puts you in “good spirits.” Christ Church The Spirit of the Lord, Kevin Cathedral Siegfried. SATB and organ, ECS Publishing, No. 6335, $2.05 (M). (Episcopal) Combining texts from Isaiah and Luke, this sectional setting has an New Orleans, organ part on three staves that is often built on ostinato patterns above a sus- Louisiana tained pedal note. Above that, the chorus, which is frequently in unison or two parts, spins out a primarily syl- Opus 25 • 1994 labic melody. There are several tempo changes, brief areas of divisi, and wide contrasts of dynamics in this attractive setting. 4 manuals, Called and Gathered by the Spirit, 94 ranks Richard Hillert. SATB, children’s choir, organ, brass quartet, timpani, and assembly, GIA Publications, G- 5350, $1.50 (M). In this concertato there are four vers- es; the first is for children’s choir and the congregation joins on two. The third stanza for adult choir uses SATB unac- companied; the score also contains a version for SAB choir. On the back 823 Massachusetts Avenue • Indianapolis, Indiana 46204 cover is the melody, which may be duplicated in the bulletin for use by the 800.814.9690 • 317.637.5222 • Facsimile: 317.637.5236 congregation. The anthem opens with a 1 www.gouldingandwood.com 4 ⁄2-page instrumental prelude for brass and organ in rapid alternating phrases.
JUNE, 2006 15 a busy line that provides an interesting those that are tempered, their values in peraments, showing beat rates, deviation ed with tempo markings (Allegro, Fuge, rhythmic background for the choral cents, and their comma-deviations from from equal-tempered frequencies, semi- Grave, Presto, Adagio, and Prestissimo); parts that are on two staves, often in ‘pure’ tuning. This chapter is particular- tone sizes, etc. The final two chapters the most ear-catching is the second, a unison. The three instrumental parts ly helpful to those with limited familiar- provide instructions for, respectively, well-wrought fugue played here on the are on a separate score, with the single ity with wolves, commas, and related setting up computer spreadsheets to Trompet, which is penetrating without percussion line intended for two instru- concepts and terms by explaining vari- assist in both understanding and setting being strident, especially in the bass, and ments such as a woodblock and a large ous linguistic distinctions and sources of temperaments, and a musical notation allows the counterpoint to shine. Again, hand drum. This work brings a unique confusion, and ends with a useful table method of instructions for setting 18 of the closing Prestissimo is clearly articu- character to the church choir perfor- that classifies the 16 variant tunings dis- the temperaments discussed. lated, with passagework over detached mance, especially if a dulcimer is cussed as belonging to meantone, modi- Donahue’s volume presents a com- chords. The shorter Concerto Sonata in employed. fied meantone, well-tempered, or plex and sometimes formidable subject F has three movements only—an ada- equal-tempered categories, and comprehensively, clearly, and succinct- gio-presto-adagio, fuge alla breve-libera- describes the principal characteristics of ly. Each chapter contains abundant bib- mente-adagio, and a concluding allegro. each. The chapter on “Musical Aspects” liography and notes, and the book is rec- Here the free section in the middle of Book Reviews is particularly useful to the performer or ommended for those with either a theo- the fugue impresses with its composi- technician selecting a temperament: retical or practical interest in the histo- tional flexibility, akin to a north German Donahue presents in tabular format the ry, development, and application of toccata, well communicated by Cerutti. A Guide to Musical Temperament, sizes and characteristics of semitones temperaments. The longest work on the CD at almost by Thomas Donahue. Scarecrow and thirds, and discusses preferred and —G. Nicholas Bullat 21 minutes is the Ouverture in G minor, Press, Inc., 2005; 229 pp. Available less usable keys. River Forest, Illinois with seven movements. Another dotted from the Organ Historical Society The remaining chapters of “Main opening is well presented on a bright, ($24.95 plus shipping), 804/353- Material” are somewhat more technical full chorus, the following fugue with a 9226,
16 THE DIAPASON being like gambas. The organ also had formed in Westminster Abbey in 1921. scription of Elgar’s Pomp and Circum- Comes Autumn Time, Sowerby; the acoustics of the hall itself to contend Although less well-known than Parry’s stance March No. 1. This is well played, When Dusk Gathers Deep, Stebbins; with, very lively but distinctly muddy- Fantasia and Fugue in G, it is equally but I personally find the transcription a Madrigal, Sowerby; Manhattan Sere- ing. In the 1920s the powers that be at virtuosic, and is again an excellent piece little fussy and much prefer Edwin H. nade, Alter; Embraceable You, Gersh- the Royal Albert Hall could no longer to show off the massive effects of which Lemare’s well-known arrangement of win; Fanfare, Sowerby; Nocturnes, Book stand the situation and called in the the Royal Albert Hall organ is capable. the same piece. 1: The Starry Night, Stover’s Rag, The Durham firm of Harrison & Harrison to Parry named the piece after his private The final track on the recording is the Song of Shadows, Stover; Mountain rebuild the instrument. Arthur Harrison yacht, The Wanderer, though nobody Toccata in D major by Marcel Lanque- Music: At Evening, Quick Dance, Pil- worked his magic on the flue choruses quite seems to know why. The Toccata tuit, a student of Marcel Dupré who was grimage, Stover. and made some changes to the reeds. drops down to a gentle ending, at which organist of Rouen Cathedral for much Portland organist Harold Stover here The instrument could not longer be point its theme reappears as the subject of his life. It is a typically French virtu- plays a very eclectic and unusual pro- called anemic, but there were still those of the Fugue, and the piece then builds oso toccata, which the leaflet character- gram of music by American composers, acoustics to contend with. Furthermore, up again to a massive climax at the end. izes as being a good lesser-known alter- including several of his own composi- Harrison could do little about the less The complexity of the fugal writing dis- native to the ubiquitous Widor Toccata. tions, on the fine and recently renovated than satisfactory internal layout of the plays Parry as the fine craftsman he was, In some ways, however, it is closer in Skinner organ, Op. 669, of the Episcopal instrument, which had a damaging as well as demanding considerable abil- feeling to the Toccata from Gigout’s Ten cathedral in Portland, Maine. The effect on the egress of sound. Another ity on the part of the player. Pieces than to the Widor. recording begins in an exhilarating mood rebuild by Harrison & Harrison in 1974 The English-born composer John This recording is lots of fun, and I with Leo Sowerby’s tone poem, Comes did little more than to intrude the usual Cook spent most of the last half of his thoroughly enjoyed it. It is good that the Autumn Time, a composition dating mixtures and mutations that were popu- life in North America. Fanfare is proba- Royal Albert Hall organ is speaking from 1917 and existing in arrangements lar at the time. Acoustical treatment of bly his best-known work and was writ- forth once again, and moreover that it is both for orchestra and organ. A combi- the hall around the same time amelio- ten for the Festival of Britain in 1951. It speaking forth so well. And I think I can nation of free toccata-like sections alter- rated the acoustics somewhat, although provides a good opportunity to show off guarantee that those who like really nating with gentle passages for the solo they are still far from perfect. the Orchestral Trumpet stop (25 inches massive organ sounds will very much stops make it an ideal piece to show off By the beginning of the twenty-first w.p.) on the Bombard division of the enjoy this compact disc! the resources of the organ. century the Royal Albert Hall had an Royal Albert Hall organ, which provides In contrast with Sowerby, whose com- instrument that had never been entirely an excellent foil to the Tuba Mirabilis An American Album: Sowerby, Steb- positions—at least in his native Mid- satisfactory, with a mechanism that was (30 inches w.p.). bins, Alter, Gershwin, Stover. west—were considered daringly innova- largely worn out, but that was neverthe- Gillian Weir then continues with tran- Harold Stover plays the 1928 Ernest tive in their day, Charles Albert Stebbins less capable of producing some fine scriptions of two well-known pieces by M. Skinner Organ, Cathedral was of a more conservative turn of mind. sounds and furthermore possessed a Elgar. The first of these is William Har- Church of St. Luke, Portland, He came from an earlier generation, and worldwide reputation for magnificence ris’s transcription of Nimrod from the Maine. Albany Records TROY 765, unlike Sowerby’s his compositions are that it hardly deserved. John Mander Enigma Variations, a piece that seems to
incompatible with the Arthur Harrison BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD pipework, which also had to be retained. So the Willis and Harrison fluework was carefully restored, and the Harrison reeds were revoiced, making them a lit- tle less close-toned and taking them back more toward their original Willis concept. Most of the 1974 additions were, of course, removed. Most impor- tantly, however, the need to provide all- new electro-pneumatic slider wind- chests gave John Mander the opportuni- ty to revolutionize the layout of the instrument, and to provide for the prop- er egress of sound for the first time in the organ’s history. Bearing in mind the difficulty of the task set before the organbuilder, the results are very much better than anyone could have possibly have imagined. Judging from the pres- ent recording, although the acoustics still exercise something of their muddy- ing influence, it is very much to Man- der’s credit that now for the first time the Willis organ finally begins to deserve the international reputation it has enjoyed for so long. New Zealand-born recitalist Dame Gillian Weir plays the Liszt Ad Nos on the first track of the recording. Her self- confident performance makes the most of the piece, showing restraint in the soft sections and abandon in the louder ones. She is careful in her phrasing not to allow the acoustics to muddy the effect. The famous Tuba figures prominently, as do the fine 32-foot stops at the end. The Ad Nos is followed by Lionel Rogg’s transcription of a Liszt piano work, St. Francis of Paola walking on the waves. This refers to the legend of St. Francis of Paola propelling himself across the straits of Medina in 1464 using his cloak as a sail. The theme enters almost hesi- tatingly against a somewhat menacing APOBA background of waves, and builds to a tri- umphant climax, after which it ends in a gentler but still triumphant mood. The We Finish What We Start piece gives Gillian Weir an excellent opportunity to show off her virtuosity— And you can count on us tomorrow, and for generations of tomorrows! not, of course, that she hasn’t already done this in the Ad Nos. Next on the compact disc is Herbert To receive information about pipe organs Howells’s Third Rhapsody, which according to the leaflet was written on a A and recognized pipe organ builders single night early in 1918 when Howells P write or call toll free 1-800-473-5270 was unable to sleep due to a German Zeppelin raid. The piece begins fortissi- O or on the web @ www.apoba.com mo, drops down to a quiet middle sec- BA Associated Pipe Organ Builders of America tion, then builds up again at the end. It is one of the finest English compositions P.O. Box 155 • Chicago Ridge, Illinois 60415 of its period, and Weir manages the numerous transitions seamlessly. BOODY & QUIMBY PARSONS OTT REDMAN SCHANTZ SCHOENSTEIN TAYLOR Another fine composition of the same period is Hubert Parry’s posthumously NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON published Toccata and Fugue, first per-
JUNE, 2006 17 let suggests, “the more innocent pre-war of these are written in a fairly conserva- contrasting, very beautiful pieces that ta on “Ora Labora” is based on a little- America of barbershop quartets and ice tive style that contrasts with the more many organists will want to have on known hymn tune of his teacher, Ora cream socials.” It is a good piece to show contemporary feeling of the Nocturnes. their library shelves. Labora, which Noble composed in 1918 off the Skinner strings and flutes, which The first of these, At Evening, perhaps Meditation on “Amazing Grace” for the text “Come, labor on” (1859) by is apparently what it was often used for my favorite piece on this recording, has begins in a serious mood, with the hymn Jane Borthwick. Lovelace begins the in Skinner-sponsored radio broadcasts of some gentle solos, accompanied by the tune in the pedal against bagpipe partita with a simple improvisatory the 1920s. Next is another piece by Leo strings, in a style that perhaps has some- drones in the left hand. A sunny mood introduction based on phrases of the Sowerby, his quietly meditative Madri- thing in common with Vierne. The sec- then emerges when the theme is devel- hymn tune shared between the pedals gal, which in another apt turn of phrase ond movement, Quick Dance, is a lively oped in a distinctly romantic, boldly and manuals, and a full statement of the the leaflet describes as a good example little jig that combines jazz-like rhythms modulating, densely textured style, in theme with chordal accompaniment fol- of “Skinner era mood music.” Here the with harmonies reminiscent of Gersh- which seventh chords and nonharmonic lows. The first three variations are for strings and flutes get a further airing and win. The relentless plodding rhythm of embellishing tones add greatly to the manuals only. Variation 1 is a brisk, con- the Harp/Celesta is used to fine effect. the final movement, Pilgrimage, expressiveness. The piece ends softly fident march, with an embellished form After this comes a transcription by reminds me of Les Mages from Messi- with a snatch of the melody played on of the melody in the right hand, accom- 1930s theatre organist Rosa Rio of Louis aen’s La Nativité du Seigneur, and is the chimes. panied by sporadic left-hand chordal Alter’s Manhattan Serenade, composed coupled with a beautiful but slightly sad Festival Toccata on “St. Anne” is a interjections in the bass. Noble’s theme in 1928. The Gershwin-like harmonies and wistful solo melody. The note of loud, bombastic, virtuoso gallery-pleas- remains unadorned in the right hand in of this piece provide a bridge to the next sadness is replaced with triumph as the er. The hymn tune is hinted at in the variations 2 and 3, and attention is piece, Mark Laub’s transcription of piece builds up into a giant climax. introductory rushing passages of drawn in each variation to a flowing Gershwin’s Embraceable You. This is a This is a very well-produced compact chordal “chopsticks” for alternating eighth-note obbligato for the left hand much more uncompromisingly theatre disc that contains much of interest. hands and a wide-ranging pedal solo, in the bass clef. The pedals return for organ-style composition. The recording Harold Stover’s playing is excellent and then the majestic “St. Anne” tune is the last two variations, in which there is shows just how versatile a Skinner throughout, and one thing I particularly heard in the pedal against a background a sense of growing activity and excite- church organ can be at tackling the kind like is the way the pieces are arranged of 32nd-note arabesque ostinatos in the ment. The fourth is a quite ingenious of music we generally associate with the on the compact disc. For example, hands. The coup de grâce comes at the two-voice canon, with two free parts Wurlitzer theatre organ. This provides rather than all the Leo Sowerby pieces end with a full-organ chordal presenta- added, and a brilliant climax is reached an interesting contrast with yet another being placed together, they are inter- tion of the last phrase of the hymn tune, in the full-organ fifth variation, which piece by Sowerby, the Fanfare of 1938, spersed between other compositions in rounded off by a breathtakingly flippant has the hymn tune woven into a scintil- which follows immediately after. such a way that each track of the record- white-note pedal glissando from the top lating pattern of “chopsticks” chords for The rest of the compact disc is taken ing has its place and seems to lead natu- to the bottom of the pedalboard. alternating hands, supported by a slow- up with some of Harold Stover’s own rally to the next. To do these attractive works justice, a moving sustained pedal line. compositions. The three movements —John L. Speller large romantic three-manual instrument Although composed recently, Partita from Nocturnes, Book 1 were written in St. Louis, Missouri will be required. on “Ora Labora” is musically old-fash- 1972. Unusually for the 1970s they ioned. However, those who enjoy the demand a symphonic organ similar to Robert Cundick, Trilude: Three Victorian idiom may find the composi- the Portland Skinner for their proper Hymn Settings for a Sacred Service. tion pleasantly lyrical and charming. performance, rather than the neo-classi- New Organ Music Sonos (a division of Jackman Music cal style of organ that was popular at the Corp.), S-0281, $3.95. Francis Jackson, Georgian Suite. time. The first of the Nocturnes is a Robert Cundick is probably best Oxford University Press, 3754800, written-down improvisation inspired by Frederick Swann, Two Hymn known as organist at the Mormon $13.95. Vincent van Gogh’s painting The Starry Encores for Organ. Fred Bock Tabernacle in Salt Lake City, Utah, Francis Jackson (born 1917) began Night. It is followed by the lively Music Company (distr. Hal Leonard between 1965 and 1992. His organ his organ studies with Sir Edward Stover’s Rag, inspired both by the early Corporation), BG0953, $6.95. music is for church services and Bairstow (1874–1946) while he was a 1970s revival of Scott Joplin’s music and Frederick Swann, currently national includes several distinctive substantial chorister in York Minster Choir, and he by contemporary Manhattan nightlife— president of the American Guild of pieces of higher than average inspira- passed the Fellowship of the Royal Col- its subtitle is A Manhattan Nocturne. Organists, was probably the most visible tion, including the suite, Prelude, Air, lege of Organists with the Limpus Prize The third nocturne is The Song of Shad- organist in the world when he was and Recessional (1977). The short for highest marks in organ playing when ows, inspired by Walter de la Mare’s organist of the Crystal Cathedral, Gar- pieces under review are not particularly he was only twenty. He succeeded poem of the same title. den Grove, California, between 1982 memorable, but they are very pleasantly Bairstow as organist at York Minster in The last three tracks on the recording and 1998, as millions in every major city lyrical, and the harmonic vocabulary is 1946 and retired in 1982. For many are Harold Stover’s suite Mountain in more than 165 countries worldwide interesting. They are easy to play and decades well known internationally as a Music, and are based on traditional saw and heard him on the weekly tele- may be performed on a modest instru- virtuoso organist, Jackson has also com- Shaker tunes from the Appalachians. All vised services. Two Hymn Encores are ment of two manuals and pedals. posed over 30 works for the instrument, The first piece, based on the hymn including the famous Toccata, Chorale tune Come Unto Jesus, is in a buoyant and Fugue and four sonatas, and he is yet relaxed pastoral style, with rippling one of Britain’s most respected 20th- accompanimental figures in 6/8. The century organ composers. second piece, a setting of Jesus, the In the 14-minute Georgian Suite Very Thought of Thee, is more earnest (1992), which consists of six pieces titled and requires a good legato touch for the Prelude, Invention, Gavotte, Sarabande, long sustained phrases and some quite Fugue, and Jig, Jackson captures beauti- tricky under-thumbing. After a trou- fully the freshness, transparent textures, bled, highly chromatic F-minor middle and elegance of middle and late 18th- section, the work ends with the melody century composers. The second and returning to the serene, cheerful, dia- third pieces, for example, are Handelian tonic D-major ambiance of the opening and Haydnesque respectively. Perfor- section. The third composition is loud mance on a small one- or two-manual and quick, and is built around two tri- unenclosed British organ of Handel’s umphant statements of All Glory, day would be ideal. The writing is main- Laud, and Honor. The first statement is ly for manuals alone, but there are easy in the tenor voice in the left hand, sand- optional pedal parts in the Prelude and wiched between snatches of trumpet Sarabande, and pedals are obligatory in fanfares in the right hand and a the Invention. cantabile quasi ostinato pedal part. The style of the movements is not Then the hymn tune appears in the always entirely imitative of old music. soprano voice over flowing eighth-note For instance, in the heroic slow first counterpoint in parallel sixths, while movement, grand dotted rhythms and the pedal continues to develop the osti- swirling 32nd-note ornamental runs nato-like material heard earlier. redolent of the first section of a Lully French overture are combined with Austin C. Lovelace, Partita on “Ora British 1930s-style warm harmonies. Labora.” H. W. Gray Company, Similarly, the hauntingly beautiful (Warner Bros. Publications Inc.), modal fourth movement sees a mixing $3.95. of the slower, lyrical, elegance of late The majority of the approximately 18th-century music with occasional pas- thirty organ works by Austin Lovelace sages of mildly dissonant Jacksonian lin- (born 1919) are based on hymn tunes. ear counterpoint. Several recent pieces are in variation form, notably a collection of five works Francis Jackson, Fourth Sonata, entitled Variations on Five Hymn Tunes Opus 68, Banks Music Publications, for Organ (2000), Partita on “Veni, Cre- £6.85. ator Spiritus” (2001), and Partita on Jackson wrote his four sonatas for “Ora Labora” (2003). The registrations specific organs, and the composer gave provided in these theme and variation the first performances on these instru- scores indicate that a moderately large ments. No. 1 was premièred at the organ of two manuals (with no swell opening of the new J. W. Walker instru- box) and pedals is envisaged. Textures ment in Blackburn Cathedral, York- are transparent, technical demands shire, in 1970. No. 2, subtitled Sonata modest, and each set of variations con- Giocosa, was composed for the reopen- ORGAN HISTORICAL SOCIETY sists of four or five variations and a con- ing of York Minster in 1972. The Third BOX 26811 RICHMOND, VA 23261 cluding brilliant toccata for full organ. Sonata was written for the famous Order 24 Hours Daily www.ohscatalog.org Written in appreciation of his first Edmund Schultz organ in St. 804-353-9226 (REAL PEOPLE 9:30 TO 5 EST MON - FRI) composition teacher, T. Tertius Noble, Bartholomew’s Church, Armley, York- FAX 804-353-9266 e-mail [email protected] with whom Lovelace studied at Union shire, and first played there in 1979. Theological Seminary, New York, Parti- The Fourth Sonata was composed
18 THE DIAPASON between September 25 and October 2, Robert Hebble, Designs for Organ. with a rocking pattern of continuous return to the ethereal harmonies and 1985, for the famous Schulze organ in Sacred Music Press, KK 517, $8.50. 16th notes serving as accompaniment. A opening pedal chant set a mood of mys- Doncaster Parish Church, Yorkshire, Ten original works for organ are key change into a B section follows the tery at the end of this movement. and the composer gave the première included in this collection: Litany of first statement of the hymntune, then a Victimae Paschali laudes starts with a on this instrument on October 5 of that the Bells, Trumpet Tune, Chorale, Sup- return to the original key of G, and the double pedal passage and full chords, year. There are few registration indi- plication, Divertimento, Night Com- pedal returns with the melodic material, then a flourish into a subito piano sec- cated in the score, and only the great munion, Cantilene, The Majestic Trum- this time marked fff. A very satisfying tion. The chant then enters in the pedal; and swell manuals are mentioned, but pet, Romanza, and Prelude on an collection of music for the worship ser- as this section progresses, one can hear one can reasonably assume that a large American Folk Melody (“There is a vice or recital. all three of the cycle’s chants presented symphonic instrument like the one at balm in Gilead”). in juxtaposition. Another dance is insert- Doncaster Parish Church is ideal for Litany of the Bells does require Pamela Decker, Retablos, I: Pange ed, followed by a toccata and flying pedal performance of the sonata. An chimes (or perhaps one could substitute lingua, II: Ubi caritas, III: Victimae passages, driving into the massive chords advanced technique is required, and handbells or handchimes); there are Paschali [laudes]. Wayne Leupold that conclude the work. stamina—it consists of 40 pages and lovely seventh and ninth chords for Editions, WL 610008, $35.00. Because Pamela Decker is an organ- takes 23 minutes to play. those who like close harmonies. Retablos, literally “behind the altar,” ist, the piece lies well in the hands and The composition is uncompromising Divertimento is a light, frolicking are small oil paintings on wood, copper, feet. Although learning this piece will in its dissonance, notably the pervasive piece, with mixed meters: 6/8 and 5/8. It tin, or zinc that venerate numerous require a good amount of time, I think use of cross-relations and cluster would make a nice, short encore, or it Catholic saints. This Spanish folk art you will find it well worth your efforts chords, which result in numerous brief could be a good teaching piece for the genre is generally colorful, symbolic, and and energy. Highly recommended. atonal passages. But the work is essen- young organist, as the only pedal occurs allegorical. Pamela Decker’s three works —Sharon L. Hettinger tially tonal, and several sections have in the last two chords. are based on the chants for Holy Week: Lawrence, Kansas key signatures. Exquisitely lyrical lines Romanza is a lovely piece with the “Sing, my tongue, the glorious battle,” are the bedrock on which the composi- solo in the pedal (another good oppor- “Where charity and love prevail,” and tion stands. The title is misleading, for tunity for teaching young student “Praise the Paschal Victim.” this is not a traditional sonata, but a organists). The harmonies are luscious. Not for the faint of heart, these are New Handbell Music magnificent set of ten continuous vari- Although titled Romanza, it might concert pieces that require a performer ations on a theme, framed by a Pro- serve well for a communion piece with comfortable with extensive pedal work, logue and Epilogue. Arguably, the its quiet registration, or for general ser- alternating meters, changing manuals A Mighty Fortress Is Our God, Mar- work is Jackson’s masterpiece in varia- vice music. and registrations, and an organ of at least tin Luther, arranged for 3–6 octaves tion form. Fresh harmonies, melodic material in three manuals. of handbells, optional congregation, The dotted rhythms that pervade the both manuals and pedal, and changes of An organ and theory professor at the optional trumpet or brass quartet, Prologue—an Adagio that begins in a registration—from pp to ff—make Pre- University of Arizona-Tucson, Dr. keyboard, by John A. Behnke. Con- dramatic majestic fashion and gradually lude on an American Folk Melody Decker dedicated these demanding cordia Publishing House, #97-6942, subsides—include scotch snap rhythms (“There is a balm in Gilead”) another pieces to Sandra Soderlund, Donald $3.50 (M). that recur periodically throughout the fine teaching piece. If you have small Williams, and Marilyn Mason. In her The mighty Reformation hymn is sonata. After the exposition of the quiet hands, you may need to rework a few notes about this cycle, she writes that given solid treatment with some good stately theme, the melody is clearly rec- places to fit your reach. this is a triptych of pieces that “are rhythmic flare and a verse with malleted ognizable in the first two variations, intended to be as independent as they chords topped with the melody in rung which are marked Larghetto. In the David Cherwien, Joyful Praise: are interrelated. The cycle can be per- octaves. It is this verse that sets the faster and increasingly energetic varia- Three Hymn Settings for Organ. formed as a whole, and each individual arrangement apart from others. It tions 3–5, the theme is greatly trans- MorningStar Music Publishers, 10- piece can be performed by itself.” I sounds more difficult than it really is, formed and becomes almost unrecog- 738, $8.00. found the cycle to be reminiscent of and should be a sure winner for any nizable, but in the slower, softer varia- Settings of Slane (“Be Thou my Tournemire’s compositions based upon choir. tions 6 and 7, the theme is again clearly vision”), Hymn to Joy (“Joyful, joyful, chants. Each of the three movements in stated. The calm of these variations we adore Thee”) and Azmon (“Oh, for the cycle is an extended piece. Hymns for Handbells, Vol. 3, soon gives way, however, to the final set a thousand tongues to sing”) comprise Pange lingua begins with improvisato- arranged for 2–5 octaves of hand- of virtuosic variations for full organ, in this collection by David Cherwien, ry material, moving into a 5/8 dance of bells by Philip L. Roberts. GIA Pub- which there is a scherzo element. A composer of many chorale preludes for continuous motion. The forward lications, G-6660, $14.00 (E–E+). brief cadenza that recapitulates part of organists. momentum carries through various Here is a volume of multiple settings the Prologue leads into the extended His setting of Slane is similar to Paul meters into a chorale. Soon, the chant of 20 hymns and songs designed to sup- grandiloquent, powerful Epilogue, Manz’s setting of the tune, but his har- material is interjected, followed by port congregational singing. Each which is based on the theme, and in monic color palette is more experimen- another chorale section. A toccata hymn has two or more settings that which there are references to several of tal; the harmonies are extended, but not ensues, followed by a final pedal flurry in vary in level of difficulty, providing the variations. discordant. This is a brief 50-measure the cadenza, and large, bombastic appropriate arrangements for begin- The Fourth Sonata has been recorded piece, easily mastered. chords bring the movement to an end. ners to experienced ringers. The by the composer on Priory Records Lim- Hymn to Joy will require a bit of your The adumbration of the Ubi caritas arranger has created five suites, with ited, PRCD 930 (2004). practice time. The tune is in the pedal, chant begins in the pedal; the solo line is transitional music combining two or in the upper range (in G major). The finally heard in its entirety in the right more hymn settings. An index of the Francis Jackson, Capriccio, Opus accompanying pattern is a fun twist! hand, while the pedal and left hand pro- performable suites is provided. Here is 103. Banks Music Publications, Comprising all 16th notes, the notes are vide luscious harmonies. In the next sec- a great resource for being creative in £3.00. grouped 3+5 in the introductory mea- tion, an embellished version of the chant worship with the use of handbells com- Jackson has written a number of sures and interludes, and end with an is presented, and then Decker creates bined with congregational singing and organ pieces for special occasions, and upward flourish leading into the next another dance in 5/8 and 4/8 alternating the organ and/or piano. Volumes 1 and Capriccio is similar to his first work for phrase of pedal melody. It could serve as meters. In this section, a few notes in 2 are also available. “ . . . with this the instrument, Impromptu for Sir a prelude or postlude—perhaps even a this reviewer’s score appeared blurred, resource, many creative worship and Edward Bairstow on His 70th Birth- wedding recessional. but by looking ahead a few measures, concert possibilities are provided, lim- day (composed in 1944), in that it was The last piece is based on Azmon. one can determine the notes that should ited only by your imagination!” composed for a birthday. Capriccio Again, the pedals handle the melody, be played. A recapitulation and a gentle —Leon Nelson was written for Peter Backhouse, who, at the time of its composition in 1994, was the assistant organist at St. Mary’s Episcopal Cathedral, Edinburgh. The work was commissioned by Back- house’s family in celebration of his for- tieth birthday. The six-minute piece is a festive, light-hearted fantasia based on a pithy, twisting rhythmic motif introduced at the outset and a broad cantabile eight- bar theme. With a fine sense of balance, Jackson alternates these contrasting thoughts in an intensely argued devel- opment, and the work evolves through several climaxes to the final full organ apotheosis in which both ideas make their appearance. The work begins and ends with sections with B-flat signature, and there is a large middle section with an A-major key signature, but the tonal- ity is often blurred by the free use of linear counterpoint and less frequent cluster chords. There is no flamboyant virtuosity here, but the writing is diffi- cult, especially the pedal part, which is on an equal footing with the manual parts in the pervasive counterpoint. The score, which has few registration markings, calls for great, an enclosed swell, and pedals. Capriccio is idiomatic and well craft- ed, and it possesses a momentum throughout that is convincing and seems inevitable. —Peter Hardwick Brechin, Ontario
JUNE, 2006 19 Organs in the French Alps A juxtaposition of great sound and great scenery Aldo Baggia
rance is divided into “départe- tination” (buildings by their nature of Fments” that represent the political being cathedrals).2 This explains why the subdivisions of the country. Much work organ of Notre-Dame de Paris is owned has been done in the last decade by by the French state and not the city of governmental agencies to have a ready Paris. This clearly indicates the desire of inventory of organs by departments, the country to document the cultural and although the work has not yet been heritage that is represented by the mas- completed in the entire country, it has ter organbuilders over the centuries. In progressed very well in the area of the effect a great organ is a significant aspect Rhône valley. Quite a bit of information of French culture and worthy of public is available, and the inventory of the support. On the other hand, government organs of the department of l’Isère, financing of work is not automatic. A which encompasses the dioceses of request is made to the commission that Grenoble and Vienne, is available in oversees such things, and a positive or book form. The last edition was pub- negative judgment is rendered, depend- lished in 1996, and it is easy to check ing on the circumstances. out the various instruments and to see what the stylistic trends have been over L’Eglise Saint-Louis en l’île Saint- the years. Louis L’Isère is one of the most scenic areas From the information provided on in all of France because of the magnifi- the website of l’Eglise Saint-Louis en cent mountain ranges that come togeth- l’île Saint-Louis, one can see a good er to form part of the Alps, including the example of how an organ project devel- impressive Mont Blanc. And in this area ops. In spring 2005, the installation of there are some great organs that the new organ (III/51) by the organ- demonstrate the development that has builder Bernard Aubertin took place. taken place over the last two centuries. L’île Saint-Louis represents a very At one point there were practically no scenic location inasmuch as it is directly organs of any significance in this area, behind l’île de la Cité where Notre- but that is not the case now. Dame de Paris stands. As far back as 1977 the titulaire, Georges Guillard, Government ownership expressed an interest in the idea of a In France, organ maintenance, new organ for the church because the including rebuilds and restorations, as Mutin organ (III/33) at that time was in well as the building of new instruments, an unplayable state. In 1983 the city of oftentimes comes under the aegis of Paris became interested in this project, some governmental agency, thereby which was supported by L’Association relieving the pressure on an individual des grandes orgues de Saint-Louis-en- church to provide the total financing for l’île, because the new organ was to be a Saint-Antoine L’Abbaye (courtesy Orgues en Dauphiné, Dominique Domet de Mont) the work. Often it is the municipality special instrument suitable for baroque that owns the organ of a church, and this music of North Germany and that of applies throughout the country, includ- Bach in particular. In 1993 the commis- ing Paris, where the city owns a good sion approved the project in principle, number of the organs of the various but it was only in 1999 that Bernard churches. In the book, Les Orgues de Aubertin was chosen from eleven organ Paris, Jacques Chirac, mayor in 1992, builders to realize the work. The case is notes in the preface that 130 of the 250 absolutely stunning and makes a state- organs at that time were owned by the ment in its own way. It has a baroque city, making Paris one of the major pro- grandeur that is difficult to equal. The prietors of organs in the world.1 construction of this instrument took This situation has prevailed in France place over the span of six years at a cost since 1905, the year of rendering final of one million euros. About a dozen the separation of church and state. In members of the Aubertin team dedicat- Rollerboards, Saint-Antoine L’Abbaye the interest of fairness, a system of own- ed more than 20,000 hours of work to (courtesy Orgues en Dauphiné, Dominique ership that depended on the year of the project. [For a detailed report on Domet de Mont) construction of the organ was estab- this organ, see “A New Aubertin Organ lished. If it preceded 1905, the organ in the German Baroque Style,” by Car- was completed in 2001 when Michel became the property of the municipali- olyn Shuster Fournier, THE DIAPASON, Gaillard, an associate of Bernard ty; this was also the case if it had been March 2006, pp. 22–25.] Aubertin, added the final four stops to rebuilt after 1906 but included parts of bring the total specifications to IV/44. an older organ. In theory everything Saint-Antoine l’Abbaye As of 1996 there were 72 organs in new after 1906 was to be the property of Aubertin did the restoration work on the department of l’Isère, and their the parish or some other organization. the organ of Saint-Antoine l’Abbaye, ownership was divided between munic- An older organ could become the prop- which was completed for the most part ipalities and parishes, with the empha- erty of the parish if it had been bought in 1992. This organ is easily the most sis on the municipalities. More than back at the time of the application of the famous instrument in the department of half of the organs extant in the depart- law of separation of church and state. l’Isère. Numerous recordings have been ment have been built since 1960. The The government of the French made there; it is generally considered to organ of the Cathedral of Notre-Dame Republic owns the organs of cathedrals be one of the finest examples of a in Grenoble belongs to the state, but that are considered “immeubles par des- French classic organ. The restoration that of the Cathedral of Saint-Maurice West tower, Saint-Antoine L’Abbaye in Vienne belongs to the municipality. The church of Saint-Louis in Grenoble Bernard Aubertin, who did the restora- has the largest and one of the better- tion work in 1992, believes that the Built in the 21st Century known organs in the department Positif case from 1639 was replaced in (III/60). This was built by Bartolomeo 1748 when the Swiss builder, Samson Installations in the United States Formentelli in 1982 and belongs to the Scherrer, did the work for the new 4 United Congregational Church - Little Compton, Rhode Island 2001 municipality. The choir organ (I/6) was organ. The current organ loft was built Church of the Epiphany - Miami, Florida 2002 built in 1981 by a local builder, Michel in 1678, and further work on the instru- United Lutheran Church, Mt. Lebanon - Pittsburgh, Pennsylvania 2002 Giroud, and its main purpose was for ment was done through 1700. But 1748 Cathedral of the Immaculate Conception - Kansas City, Missouri 2003 use in the liturgical services while the was the year that the organ achieved its Brigham Young University - Rexburg, Idaho - fourth division addition 2004 installation of the large organ was tak- current character with 40 stops on four Phillips Church, Phillips Exeter Academy - Exeter, New Hampshire 2004 ing place. It is owned by the parish. The manuals and pedal. Scherrer, originally First Presbyterian Church - Naples, Florida 2004 acquisition of the Formentelli organ by from Saint-Gallen, had established him- Immanuel Baptist Church - Little Rock, Arkansas 2005 the church of Saint-Louis is interesting self in Geneva and had chosen to do ~ Coming Soon ~ because it is related to the intriguing much of his work in France between the Friendship Missionary Baptist Church - Charlotte, North Carolina 2006 story of the instrument at Saint-Antoine years of 1746 and 1755. He constructed Johns Creek Baptist Church - Alpharetta, Georgia 2006 l’Abbaye, which is within an hour’s an organ for the church of Saint-Louis Visit www.ruffatti.com for specifications drive of Grenoble. in Grenoble in 1746, and in 1750 built An organ at the Abbey Church goes organs for both the Collegiate Church back to 1491, and the elegant walnut of Saint-André in Grenoble and the case of five turrets for the Grand-Orgue Cathedral of Embrun, which is in the Distinguished pipe organ builders of Padua, Italy and Pedal divisions dates from around nearby department of Hautes-Alpes. 1634, but there is no information on the The success of the organ at Saint- Via Facciolati, 166 • 35126 Padua, Italy designer or the builder.3 The case for Antoine resulted from the stoplist, the Telephone 39-049-750-666 • Fax 39-049-850-483 • In the United States: 330-867-4370 the Positif de dos matches that of the mechanical action, the materials used, rest of the organ and has three turrets. the positioning of the instrument, and
20 THE DIAPASON the excellent acoustics of the church. built in the 1990s, at l’Eglise Saint- inventory as major instruments in need People at the church stated that they Nicolas in Autrans, a small village in the of work, and it was regretted that noth- had an organ “de huit pieds, sonnant mountains near Grenoble. There were ing had been done with them up to that seize, à quatre claviers et deux octaves rebuilds and modifications of organs at a time. It was good to find in the fall of de pédales, avec un positif en saillie sur number of churches, and some small 2004 that both of those organs had la tribune du grand portail” (of eight instruments were installed in the 1980s recently been completely restored. In feet, sounding like sixteen, with four in some of the picturesque villages of the case of Saint-Jean-Baptiste, major manuals and two octaves in the pedal the department. work had also been done to the interior division, and with a positif that projected There had not been a history of great of the church, and the sound of the from the organ loft of the main portal).5 interest in the organ in this region dur- instrument at the present time is This was a perfect organ for the works of ing the fifteenth and sixteenth cen- absolutely magnificent. Couperin, de Grigny, Charpentier, turies. In the area near Grenoble there Boyvin, Muffat, Böhm, Lebegue, is the monastery of La Grande Char- Saint-Bruno in Voiron Titelouze and Sweelinck as well as for treuse that played a great role in the Let us begin with the instrument at the music of the liturgy. It is interesting economic development of the depart- Saint-Bruno in Voiron. The financing of that the Dom Bedos organ that was ment, but the monks never expressed the work that was done from 1999–2002 restored in 1997 and is currently in the much interest in the organ as part of the involved the State, the region of Rhône- Abbey Church of Sainte-Croix in Bor- liturgy; that is one of the reasons why Alpes, the Department of l’Isère, and deaux was built in the same year of 1748. there were so few organs in the region the City of Voiron. This clearly showed Not much seemed to happen at Saint- until the eighteenth century.9 The how important the organ was in the life Antoine between 1750 and 1805, and Chartreux made generous donations to of the community from an historical the organ was primarily used for accom- a number of churches in the depart- point of view. This organ (IV/41) was paniment during services. The French ment, but that involved funds for originally built for the church of Saint- Grand Orgue, Saint-Bruno, Voiron Revolution did not bring damage to the stained-glass windows, choir stalls or the François de Sales in Lyon in 1838 by the (courtesy Orgues en Dauphiné, Dominique instrument, but in 1805, by a bizarre set construction of nineteenth-century Callinet brothers. In 1864 Cavaillé-Coll Domet de Mont) of circumstances, the organ was grandiose churches such as those at replaced the two small manuals (Récit removed and placed in the church of Voiron and Bourgoin-Jallieu. But they and Echo) with a récit expressif of ten ed in 1864, was built in 1881 when the Saint-Louis in Grenoble. In March 1805 never gave funds for organs. Their fac- stops as well as adding four new stops transfer to the church was made. The the municipality decided to sell the tory for the production of the famous and a new console. Through the inter- actual inauguration took place in 1883, organ because funds were badly needed green and yellow liqueurs is in the city cession of François Widor and his and modifications took place during the to repair the bridges of the gates of of Voiron, which is very close to Greno- famous son, Charles-Marie, the parish following years; in 1973 it was classified Lyon and Romans, which were in dan- ble and which has one of the best- acquired a new organ from Cavaillé- as an historic monument. Twenty-nine ger of collapsing. The town had no known organs in the department. Coll in 1879 and put the modified Call- stops by Callinet and four by Cavaillé- money, and therefore it was proposed to Both the organs of Saint-Bruno at inet up for sale. A neo-gothic case that Coll had been retained, but it was evi- sell the organ to the municipality of Voiron and Saint-Jean-Baptiste at Bour- harmonized with the style of the interi- dent by that date that the instrument Vienne, which had expressed an interest goin-Jallieu were mentioned in the or of Saint-Bruno, which was construct- was in a pitiful state, and therefore talk in it. But either Saint-Antoine wanted too much or Vienne was offering too lit- tle, and the transaction fell through. A number of other communities were The Johannus Revolution interested in the organ for which the municipality of Saint-Antoine l’Abbaye was expressing little need. The church 12 Organs in ONE of Saint-Louis in Grenoble had enough influence with the authorities that the Minister of Finance decreed that the organ should be sent to Grenoble posthaste. On November 22, 1805, the people of the town were not permitted access to the church by the army so that workers could complete their disman- tling of the organ for its removal to Saint-Louis. The people of Saint- Antoine used the term “enlèvement” to NEW COLLECTION describe the affair, and the word can be translated by “removal,” “abduction,” or AVAILABLE NOW “kidnapping.” Ultimately the coup de grâce was that Saint-Antoine received absolutely nothing for the organ.6 This brings us to 1981 when the organ was finally returned to Saint-Antoine. For many years the inhabitants of Saint- Romantic, Symphonic and Baroque Antoine had clamored for the return of the instrument and in 1968, thanks to the efforts of Father Jouffre, a priest at Saint-Antoine, and others in the area, Classical, Solo, Hymn and Trio some progress was made. On January 14, 1971, the High Commission for his- torical monuments (organ section) gave Chiff Dynamics a favorable opinion to the question of returning the case and the older pipes to Saint-Antoine; the transfer of the organ was to be done as soon as the new organ Easy Menu for Grenoble was ready for installation. The old pipework was classified as his- toric by a decree of April 10, 1974. It was stated that “the Minister of Cultural Affairs and the Environment has classi- fied as Historical Monuments: Isère. Grenoble. Eglise Saint-Louis. The organ coming from the Abbey Church of Saint-Antoine. The old pipework of the instrument: 530 pipes from Joli, XVII century, and Scherrer, XVIII century. Around 300 pipes from Zeiger (1850).”7 The organ was dismantled at Greno- TM ble in January 1981 and arrived at Saint- pipeLIFE Tuning Antoine on February 7; it had taken 175 years for this to take place. Monsieur Damien, the cabinetmaker at Saint- Real Time Sampling Antoine, needed seven coats of paint for the restoration of the case. The case was placed in the west gallery at the begin- ning of 1984, and the façade pipes were 3D Acoustics cleaned and re-installed in June 1984 by Promonet and Steinman, organbuilders from Rives. Next came the question of giving it back its voice, and that is what was done by Bernard Aubertin. Organbuilding in the 1990s The inventory of organs that was pub- lished in 1996 traces the work that was WWW. JOHANNUS .COM done through that year, and one finds that there was only one new instrument
JUNE, 2006 21 Console, Orgue de l’Eglise Saint-Jean-Baptiste, Bourgoin-Jallieu (Courtesy Les Amis de l’orgue et de l’église St. Jean Baptiste)
Grand Orgue de l’Eglise Saint-Jean- Baptiste, Bourgoin-Jallieu (Courtesy Les Amis de l’orgue et de l’église St. Jean Baptiste)
Notre-Dame-des-Neiges, Alpe Church of Saint-Bruno, Voiron (courtesy d’Huez Orgues en Dauphiné, Dominique Domet de Very close to Grenoble is the town of Mont) Alpe d’Huez, which is known by anyone who follows the Tour de France because of the 21 hairpin curves one must nego- tiate in leaving the highway at Le Bourg Pedalboard, Orgue de l’Eglise Saint- Pipework, Orgue de l’Eglise Saint-Jean- d’Oisans to go to the top of the moun- Jean-Baptiste, Bourgoin-Jallieu (Cour- Baptiste, Bourgoin-Jallieu (Courtesy Les tain. The stage to Alpe d’Huez was not tesy Les Amis de l’orgue et de l’église St. Jean Amis de l’orgue et de l’église St. Jean Baptiste) used two years ago in the tour, but one Baptiste) could still read the names of different installed an organ of eight stops there. riders on the road in November 2004 as near Lyon but still in the department of The instrument was enlarged by different well as noticing the placards in honor of l’Isère. It is a vast structure of cathedral builders over the years, but has not been riders at each curve. Most of the names proportions and has been refinished in used since 1990 because of all the con- are from the distant past, but there are white in the interior, which gives it an struction work being done. There are no two curves in honor of Marco Pantani. impressive allure. Previously the interior services at the cathedral because the Alpe d’Huez is very much a resort Console, Saint-Bruno, Voiron (courtesy was dark and gloomy. One interesting entire nave is a building site. Work on the town, which means that it is virtually Orgues en Dauphiné, Dominique Domet de characteristic of the organ is the borrow- organ will be done eventually, but it is not deserted out of season. In 1968 a Mont and Christine Bin) ing of stops in both the Grand-Orgue clear when that will take place. remarkable church, Notre-Dame-des- and the Positif. This technique of bor- A Cavaillé-Coll organ of 11 stops was Neiges, was built, the tower of which of restoration surfaced. By 1992 a deci- rowed stops with mechanical action con- installed in l’Eglise Saint-Marcel in the sion was made in favor of work but it was siderably augments the resources and town of Allevard in 1874. Work by not until 1999 that the contract was variety of the instrument.11 This organ Tschanun and Schwenkedel was done in given to Daniel Kern of Strasbourg. The was made for the French romantic 1922 and 1965, but the organ now crowning point of the work was the repertoire and makes a most favorable (II/23) has had the benefit of major addi- return of the organ to the west front impression, given the excellent acoustics tions and restorations over the past 30 gallery in 2002. It was indicated in a of the church. The restoration work was years at the hands of Xavier Silbermann, church brochure that Kern kept most of done by the Manufacture provençale in who is still listed as the curator of the the Callinet stops and some stops of Carcès (Var), which is directed by the instrument.12 Silbermann comes from Cavaillé-Coll from the Récit expressif.10 organbuilder Yves Cabourdin, who did the Strasbourg wing of the family and Saint-Bruno is of cathedral size and has the restoration work on the Isnard organ had his workshop in the Rhône Valley magnificent acoustics. The sound of the (IV/41) of the famous royal basilica of area until his recent retirement. Even organ is rich, airy, and majestic with no Sainte-Marie-Madeleine of Saint-Max- so, he has continued to work in tandem sense of harshness. This is a first-class imin-La-Sainte-Baume in Provence. The with the titulaire, Dr. Henri Perrin, to instrument that is surely worth seeing latter is considered to be an excellent upgrade the instrument. Monsieur Per- and hearing. example of the French classic organ and rin is a virtuoso organist and pianist and ranks with that of Saint-Antoine l’Ab- presently dedicates most of his time to Saint-Jean-Baptiste at Bourgoin- baye and the Dom Bedos instrument at composition. Even though this is not a Church of Notre-Dame-des-Neiges, Jallieu Sainte-Croix in Bordeaux as a marvelous large instrument, the sound is very Alpe d’Huez The organ at Bourgoin-Jallieu is an venue for baroque repertoire. impressive as it speaks into the nave of impressive instrument of some 40 stops the church. It can be used to good effect looks like a lighthouse. The architect, on three manuals from the workshop of Cathedral of Grenoble in the music of Vierne and Widor as well Jean Marol, worked with the German Joseph Merklin of Lyon in 1880. The The first mention of an organ at the as the music of Bach. Monsieur Perrin organbuilder, Detlef Kleuker, to give the church is situated at the Place Carnot in Cathedral of Grenoble goes back to 1426. demonstrated the organ in a piece of his organ (II/24) the form of a hand, “La the heart of Bourgoin-Jallieu, which is In the nineteenth century Cavaillé-Coll own, Lamento e Trionfo. Main de Dieu.” The celebrated organist
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22 THE DIAPASON Organ, Saint-Pierre et Saint-Paul, Crolles
Organ, Notre-Dame-des-Neiges, Alpe d’Huez Organ, Saint-Nicolas, Autrans and musicologist, Jean Guillou, was instrumental in the design of the organ. before the instrument was installed. It is In his book, L’Orgue Souvenir et Avenir, something that he thought about for a Guillou points out that the organ is in long time, and it was his way of saying the choir of the church, which is in the thanks to the people of the Vercors for middle of this church in the round, all they had given him over the span of immediately behind the altar. The pipes 50 years. On the left side of the case of the 16v Flûte make up the four fin- there is an inscription which reads “En gers, and the thumb contains the case of lui le Souffle de la Vie”—P. A. Chabrier, the Grand-Orgue. The swell box of the donateur. (“In it there is the breath of Récit is in the palm of the hand. The life”—P. A. Chabrier, donor.) And on entire case is made of American beech the right side it is added “Je me tiens Saint-Pierre et Saint-Paul, Crolles Organ, Saint-Pierre et Saint-Paul, wood.13 debout pour que mon chant / monte au- Crolles Guillou notes that it was necessary to dessus des paroles.” (I stand erect so that Buchet/Chastel, Paris 1996, p. 118. decide which stops would provide the my song will rise above the words.) 14. Ibid., pp. 196–197. Italian at Phillips Exeter Academy in New 15. Pierre-Marie & Michelle Guéritey, op. cit., Hampshire. He holds a bachelor’s degree most sound from the instrument, given When asked about why he did not use pp. 90–91. that the budget was limited to 24 stops. his funds in a different manner, he said 16. Ibid., pp. 136–137. from Iona College and the MA from Middle- The specifications of the Grand-Orgue that the organ would be there for 17. All translations and paraphrases from the bury College, and has completed graduate French were done by the author. work at Laval and Duke universities. He has and the Récit give a brilliance, clarity everyone and would last for centuries. studied and traveled extensively in Europe, and presence to the ensemble. The The all-enclosed case stands impres- Aldo J. Baggia is the retired chairman of and has written numerous opera reviews for Pedal division gives a solid foundation to sively against the right wall of the the department of modern languages and various publications as well as articles for the ensemble. From Guillou’s point of church, and the instrument with its 16v instructor in French, Spanish, German and THE DIAPASON. view, this small organ is ideal. The proof Soubasse in the Pedal division pro- of its quality can be seen in the quantity duces a resonant and weighty sound to of concerts, masterclasses and record- accompany the liturgy. ings that have been made since its con- struction. He further mentioned that Saint-Pierre et Saint-Paul in there have been few works from the Crolles baroque era to modern times that have Saint-Philibert in Saint-Ismier Eloquence and Artistry not been played on this organ to the Two organs by local builders are wor- complete satisfaction of musicians.14 thy of mention; they are fairly typical of what one would see in the small villages in Organ Building in the area. The organ at Saint-Pierre et Saint-Paul in Crolles was built by Promonet & Steinmann in 1982. The two symmetrical cases in the gallery give the impression that the organ (II/15) is much larger than it really is. It is used for the liturgy and concerts, and the sound is quite impressive because of the good acoustics.16 At l’Eglise Saint-Philibert in Saint-Ismier there is an interesting instrument from the workshop of Michel Giroud, who did the original installation in 1981 and further work in 1993. This organ (II/17) serves the church very well in the liturgy and has the resources that are necessary for concerts. Olivier Ver- net was featured in a concert of baroque music in October 2004. One can easily see that the organ scene in France is a very interesting one and that there are treasures to be found in any of the departments.17 I Notes 1. Michel Le Moël, Les Orgues de Paris, Délé- gation à l’Action Artistique de la Ville de Paris, Paris, 1992. Church of Saint-Nicolas, Autrans 2. Pierre-Marie & Michelle Guéritey, Les Orgues de l’Isère, Editions Comp’Act, Chambéry, 1996, p. 75. Church of Saint-Nicolas, Autrans 3. L’Abbé Henri Bin, Le Grand Orgue de Saint- Saint Andrew’s Episcopal Church, Denver, CO In the town of Autrans, a small village Antoine l’Abbaye, Saint-Antoine-Abbaye, 1992. Timothy Krueger, Music Director, Frank Nowell, Organist in the mountains very near Grenoble, 4. Ibid., p. 12. 5. Ibid., p. 13. there is the one new organ built in the 6. Ibid., p. 14. 1990s in l’Isère. The Church of Saint- 7. Ibid., p. 16. Nicolas has an austere stone tower that 8. Ibid., p. 16. Member, Associated Pipe Organ dates to the twelfth century, and the 9. Pierre-Marie & Michelle Guéritey, op. cit., p. 21. John-Paul Builders of America organ case of oak stands tall against the 10. l’Association des Amis de l’Orgue, l’Orgue de right wall of the choir. This organ l’Eglise Saint-Bruno, 38500 Voiron, p. 12. Buzard 112 West Hill Street (II/13), built by Dominique Promonet 11. Les Orgues de l’Eglise Saint-Jean-Baptiste, la Pipe Organ Builders Champaign, Illinois 61820 of Rives, owes its existence to the gen- Mairie de la Ville, 2004 38300 Bourgoin-Jallieu, p. 18. 800.397.3103 • www.Buzardorgans.com erosity and dedication of the parish 12. Pierre-Marie & Michelle Guéritey, op. cit., p. priest, Father André Chabrier, who 82. died on February 27, 1995, just a month 13. Jean Guillou, L’Orgue Souvenir et Avenir,
JUNE, 2006 23 Stanley Wyatt Williams, 1881–1971 The Odyssey of an Organbuilder R. E. Coleberd
Introduction St. Paul’s Episcopal Church, Los The careers of numerous American Angeles, California organbuilders in the late 19th and early Murray M. Harris, 1911; price: $12,500 20th centuries are the story of a jour- ney—from Europe to the United States GREAT or from shop to shop. From Germany 16v Double Open Diapason came George Kilgen and Philipp 8v First Open Diapason Wirsching; from England John T. 8v Second Open Diapason Austin, Octavius Marshall, and Henry 8v Gamba Pilcher. In the U.S., Adolph Reuter’s 8v Viol d’Amour 8v Grossflute sojourn took him from Barckhoff to 8v Doppelflute Pilcher, Verney, Casavant (South 4v Octave Haven), and Wicks before he founded 4v Harmonic Flute his own firm first in Trenton, Illinois, 16v Trombone and then Lawrence, Kansas. A. G. Spar- 8v Tuba (extension) ling moved from Lyon & Healy to 4v Clarion (extension) Stevens to Holtkamp. These individuals and their firms are typical of the rich SWELL 16v Bourdon and colorful history of pipe organ build- 8v Open Diapason ing in America. Yet perhaps none of 8v Horn Diapason them comes close to the odyssey of 8v Salicional Stanley Wyatt Williams 1881–1971 (see 8v Vox Celeste photo). Williams’ lifetime spans the arc 8v Concert Flute of his era—from Robert Hope-Jones to 8v Stopped Diapason G. Donald Harrison (Aeolian-Skinner) 4v Octave with stops at Electrolian, Wirsching, 4v Harmonic Flute III Dolce Cornet (12, 15, 17) Murray Harris, Robert-Morton, Kim- 16v Contra Fagotto ball, and E. M. Skinner. His talents as a 8v Cornopean voicer and tonal finisher played a piv- 8v Oboe (5w pressure) otal role in the succession of name- 4v Cornopean (extension) plates in the U.S. West Coast pipe organ industry, and his stellar reputa- CHOIR tion led to important sales by recog- 16v Double Dulciana nized national builders. 8v Open Diapason 8v Dulciana 8v Melodia Early Life 4v Flauto Traverso Stanley Wyatt Williams was born in 2v Piccolo London on October 29, 1881, the 8v Clarinet (Bell Clarinet) youngest of four sons and two daugh- 8v Orchestral Oboe ters of George Edward Williams, who Harp (A to a3) described himself as a “gentleman,” having made a comfortable living in the ECHO Stanley Williams 8v Aeoline brewing industry. His family was musi- 8v Unda Maris cal; his mother sang a solo for Queen 8v Vox Humana Victoria, and each of the sons was I voiced, I carpentered, I electrified— The Land of Opportunity Chimes taught a musical instrument.1 As he everything about organbuilding had to Voicers are the cornerstone of any recalled many years later: “I was always be learned. It was something I was organbuilding enterprise. Stanley PEDAL a little bit crazy about organs, not that later very grateful for.”9 “Not only a Williams was called to voice and finish 16v Open Diapason I knew anything about them.”2 After genius, but a great teacher,” said instruments built by the Los Angeles 16v Double Open Diapason (Gt) attending the Mostyn House School in Williams of Hope-Jones: “He taught all Art Organ Company, now relocated to 16v Violone Cheshire and the Whitgift Grammar of us to think for ourselves.”10 Hoboken and renamed the Electro- 16v Bourdon 15 16v Dulciana (Ch) School at Croydon, Surrey, he enrolled The controversial and enigmatic lian Organ Company. He installed 16v Lieblich Gedackt (Sw) in Dulwich College (southeast of Lon- Hope-Jones would exert a profound and and finished the Electrolian-built 19- 8v Violoncello don), founded in 1619.3 G. Donald far-reaching influence on the King of rank, two-manual and pedal instru- 8v Flute Harrison graduated from there some Instruments through his revolutionary ment in the Wolcott School in Den- 32v Bombarde (ext Gt Trombone) years later. Suffering a health setback, tonal and mechanical innovations. He ver, Colorado (among whose pupils 16v Trombone (Gt) Williams withdrew from school on the pioneered what would emerge as the was Mamie Dowd, the future wife of 8v Tuba (Gt) advice of a London physician.4 In the symphonic-orchestral voicing paradigm President Dwight Eisenhower), and Source: Ochse, Orpha, ed., David Lennox ensuing soul-searching, a well-known that swept the American industry in the finished an instrument built for a Smith, Murray M. Harris and Organbuilding London organist, Charles Lawrence, 1920s. This type of instrument was Presbyterian church in Philadelphia. in Los Angeles, 1894–1913, pp. 282–284. took him to see an organbuilder and marked by an ensemble of different His reputation as a gifted voicer and the instrument in the builder’s home. tonal groups all at the same pitch, in finisher soon became well-known, for, “That interested me more than ever,” contrast to the time-honored chorus of as he later recounted, when he While finishing an instrument in he later commented, and he deter- different pitches within the same tonal returned from Philadelphia to Hobo- Terre Haute, Indiana, Williams mined to become an organbuilder.5 family. Mixtures and mutations were ken, seven job offers awaited him.16 received a telegram from the Murray His daughter, Mary Cowell, recalled discarded and replaced with unison The Electrolian assets were next M. Harris Organ Company in Los that the family apparently was none too voices of comparatively wide or narrow acquired by the legendary Philipp Angeles asking him to come to the West pleased with his choice of vocation, scale pipes on higher wind pressures. Wirsching of Salem, Ohio, whom Coast to finish voicing the instrument considering organbuilding a “trade” The entire instrument was enclosed.11 Stanley met when he finished the they were building for St. Paul’s Epis- and thus beneath the dignity of their Hope-Jones’s mechanical inventions instrument Wirsching built in 1907 for copal Church in Los Angeles19 (see aristocratic image.6 Nonetheless his included double-touch, a key character- Our Lady of Grace Roman Catholic stoplist). Charles McQuigg, the Harris father paid the two or three hundred istic of theatre organs, and high resis- Church in Hoboken.17 Wirsching head voicer, had left the company, no pounds required to enroll him as an tance electro-magnets requiring very lit- moved the business to Ohio, and Stan- doubt mindful of its precarious finan- apprentice to the legendary organ- tle current.12 ley joined him there. cial condition.20 Williams responded, builder, Robert Hope-Jones.7 After completing shop routines, Among the Electrolian assets completed the assignment, and An electrical engineer by profession Williams joined the road crew and Wirsching acquired was a contract for a returned to Ohio. Then the Harris peo- who held an important position with worked on the organ in the Hereford two-manual and pedal organ with play- ple, having recognized his skills and the National Telephone Company in cathedral. There he met and fell in love er attachment for the new palace of the eager to maintain their reputation for Liverpool, Hope-Jones was organist with Isabel Robbins, whom he would Maharaja of Mysore, India. In January fine instruments, offered him the head and choirmaster of St. John’s Church marry in January 1908. When Hope- 1908, Williams returned to England, voicer position in the newly reorga- in Birkenhead, across the Mersey Jones immigrated to the United States married his sweetheart Isabel, and in nized firm. Williams accepted and River from Liverpool. With local finan- in the spring of 1903, Stanley elected July the couple set sail for India to moved to Los Angeles in 1911 where he cial backing he organized the Hope- to remain with the former partner, install the organ, traveling through the would remain for the balance of his Jones Organ Company in Birkenhead, Eustace Ingram, finishing instruments Mediterranean and the Suez Canal.18 career. As David Lennox Smith, Harris building instruments first in the facto- then under construction. A fellow This was to be the “Great Adventure,” scholar, observed: “the most notable ry of Norman & Beard in Norwich, and worker asked whether he had ever con- surely one of the most fantastic addition to the staff of the Murray M. then in the Ingram, Hope-Jones shop sidered moving to the States, and told episodes (see photo, page 25) in the his- Harris Company in its final years was in Hereford.8 Williams joined him in him that an American firm, the Elec- tory of organbuilding the world over, Stanley Wyatt Williams.”21 1899 at age 18 (see photo, page 25). trolian Company of Hoboken, New and long a familiar topic of conversa- He couldn’t have found a better Jersey, was looking for a voicer. He tion in the rich folklore of the industry Los Angeles Organbuilders teacher or a more prophetic environ- interviewed, accepted an offer, and (see James Stark and Charles Wirsching At the turn of the century the market ment in which to acquire organbuild- bidding farewell to his sweetheart in Jr., The Great Adventure, forthcoming). for the King of Instruments on the ing skills and prepare for what would Hereford crossed the Atlantic in Stanley and Isabel returned to England West Coast was vibrant and growing become a most interesting career. “As 1906.13 Williams was to be among sev- in January 1910, and in March sailed for rapidly, built upon the tidal wave of an apprentice . . . I was assigned to eral former Hope-Jones apprentices America where Stanley resumed work immigration and the rapid pace of work at every phase of organ building. who came to America.14 with Wirsching. church construction in the emerging
24 THE DIAPASON Isabel and Stanley Williams, Mysore, India, 1908
inches wind pressure, was gentle and First Church of Christ, Scientist, Los clear. Flutes were not exaggerated, i.e., Angeles, California no tibia tone, strings were precise and Murray M. Harris Company, 1912 clear, and pedal stops were well bal- Williams as Hope-Jones apprentice, 1899–1906 anced with the manuals. In contrast, GREAT the St. Paul’s specification (see stoplist, 16v Double Open Diapason metropolitan landscapes. Moreover, August 1903, the Los Angeles Times page 24) was confined to an ensemble 8v First Open Diapason the spirit of enterprise was everywhere, reported that shareholders, including of unison and octave voices at 16v, 8v, 8v Second Open Diapason marked by numerous “self-made” men Harris, his wife Helen, and others, were and 4v pitches, with emphasis on the 8v 8v Gamba eager to apply their talents and fortunes delinquent in court-ordered assess- voice, representing the trend of the 8v Viol d’Amour 8v Tibia Clausa to railroad building, telegraph, mercan- ments of $10 per share on their stock. day. Diapason scales were much larger, 8v Doppel Flute tile trade, real estate development— The problem resulted when only 352 and string scales much smaller than in 4v Octave 37 2 and organbuilding. Local businessmen shares, par value $100 per share, were earlier instruments. This characteris- 2 ⁄3v Octave Quint and their funding initially played a piv- actually subscribed, and thus of the tic most likely reflected the influence 2v Super Octave otal role in the succession of organ- authorized capitalization of $100,000, of John Whitely, the voicer who was 8v Harmonic Trumpet builder nameplates in Los Angeles, as only $35,200 was paid-in and perhaps closely associated with Audsley and they did in establishing the industry even less. The court stipulated that the who joined Harris in 1903, as well as SWELL elsewhere, for example, in Erie, Penn- additional stock be auctioned off at the Charles McQuigg, said to have 16v Bourdon sylvania.22 But these “outsiders” invest- company offices to acquire the funds “absorbed much of Whitely’s technic 8v Open Diapason 30 38 8v Violin Diapason ed with virtually no inkling of the inher- necessary to keep operating. and ideal.” 8v Salicional ently high-risk business of building Enter Eben Smith, an archetypical The first organ where Stanley’s 8v Aeoline pipe organs. Cost estimating, pricing, entrepreneur who was described in the design influence is found is the 1912 8v Voix Celeste competition, and, especially, critical press as a “mining man” and “Colorado instrument for the First Church of 8v Stopped Diapason problems of cash flow vexed most banker.” He had made a fortune in Col- Christ, Scientist, Los Angeles (see stop- 4v Harmonic Flute builders and overwhelmed others.23 As orado silver mines and was president of list). Having also felt the impress of 2v Harmonic Piccolo Stanley explained: “You had to watch the Pacific Wireless Telephone Compa- Whitely in England, he substituted a III Dolce Cornet your pennies very closely to have a cou- ny.31 Smith purchased 500 shares of Tibia Clausa, a Hope-Jones stop, for the 8v Cornopean 24 39 8v Oboe ple left when you finished an organ.” Harris stock, thereby acquiring a con- customary Gross Flute on the Great. 8v Vox Humana For a while the euphoric atmosphere of trolling interest in the business. He But as Rosales points out, the absence Tremolo large buildings, talented employees, renamed it the Los Angeles Art Organ of a tremolo on this division indicates and fine, heavily publicized instru- Company.32 In 1905 a patent infringe- this voice was viewed as filling out the CHOIR ments masked these fundamental con- ment lawsuit threatened the company ensemble, in contrast to a solo voice as 8v Open Diapason cerns. But before long financial reali- with liquidation, whereupon key found in a theatre organ. This organ 8v Dulciana ties took over. employees, led by Fleming, moved east contained a Dolce Cornet on the Swell 8v Quintadena 2 8v Melodia for a brief sojourn in Hoboken, New and a 2 ⁄3v and 2v on the Great in what 4v Flute d’Amour Murray M. Harris Jersey, under the name of Electrolian might be termed a vestigial chorus, but 33 8v Clarinet Organbuilding in Los Angeles began Organ Company. By September 1907, in no way could it be considered a well- Concert harp in 1895 when Fletcher & Harris built a the employees, minus Fleming (who developed Great chorus, which by this Tremolo two-manual instrument for the Church moved to Philadelphia where he was time had largely disappeared from of the Ascension, Episcopal, in Sierra subsequently employed to superintend American stoplists. What emerges is an PEDAL Madre.25 Murray M. Harris the installation of the St. Louis Exposi- accompanimental instrument in which 32v Resultant Bass (1866–1922), a skilled voicer who had tion organ in the Wanamaker store), the high-pressure Tuba, dominating the 16v Open Diapason 16v Bourdon apprenticed with Hutchings in Boston, were back in Los Angeles, having joined ensemble or playing solo against it, is 16v Lieblich Gedeckt (Sw) continued on his own. In 1900 he the reorganized Murray M. Harris symbolic of the trend.40 34 8v Violoncello recruited a cadre of skilled artisans led Organ Company. The head voicer was 8v Flute by William Boone Fleming now Charles W. McQuigg, a protegé of Tonal Philosophy, 1913 16v Trombone (1849–1940) who became superinten- John W. Whitely, who had remained in Williams’ expertise in voicing and fin- dent. Harris acquired a spacious factory Los Angeles and served briefly as the ishing was soon recognized. In February Source: Ochse, Orpha, ed., David Lennox building and prospered by building Pacific Coast representative of the 1913, he was the featured speaker at a Smith, Murray M. Harris and Organbuilding instruments for the local market.26 In Barckhoff Church Organ Company of meeting of the Los Angeles Chapter of in Los Angeles, 1894–1913, p. 292. July 1900, the firm was incorporated as Pomeroy, Ohio.35 the American Guild of Organists.41 His the Murray M. Harris Organ Company comments reflected his knowledge of and capitalized at $100,000.27 In 1903 St. Paul’s Episcopal Church and English organbuilding, his background number. Hard, stringy and nasal, they Harris contracted to build a 140-stop First Church of Christ, Scientist with Hope-Jones, and focused on the were brilliant in a way that favored Audsley-designed instrument for the St. The 1911 instrument Stanley character and content of foundation upper partials, sacrificing fundamental Louis Exposition. It was to be voiced, at Williams was called to voice and finish tone. True diapason tone must predom- tone and thereby blending well with Audsley’s request, by John W. Whitely, reflected the manifold changes in stop- inate, he asserted. Subject to broad lim- mutations and reeds. Then the pendu- a well-known English voicer, described list design and voicing taking place in its, it is bounded by string tone at one lum swung back to the other extreme as “one of the pioneer spirits in the the industry. With Harris’s training at end of the spectrum and flute tone at and high-cut mouths produced a flabby Birkenhead shops of Mr. Hope- Hutchings and acquaintance with other the other. Old diapasons were “mellow tone devoid of the necessary partials Jones.”28 The St. Louis organ was some- work in the east, it was not surprising and sweet,” a cantabile sound suited to and bordering on the fluty. thing of a watershed in American organ- that his early stoplists closely paralleled today’s Choir organ. He faulted “Old He outlined the foundations of a building history. As David Lennox the work of these builders.36 The 1901 Masters” for failing to preserve the three-manual organ, reflecting the Smith commented: “The influence of Murray Harris at Stanford University is character and power of voicing through- Hope-Jones influence and the tastes of the St. Louis organ could soon be seen a good example. As described by out the entire compass, which he attrib- the time. On the Great manual the first in the String Organ divisions, multiple Manuel Rosales, who restored this uted to imperfect scaling. The preva- diapason should be large scale and with enclosures, and other new features that instrument in 1986, the Stanford Har- lence of upperwork and the introduc- a leathered lip; the second diapason, of were included with growing frequency ris was a typical 19th-century instru- tion of “harsh” reeds, in the middle of medium scale, not leathered, but not in in specifications for large new organs.”29 ment featuring a well-developed prin- the 19th century, overbalanced diapa- any way stringy. The third should be a Soon financial problems began that cipal chorus on the Great, a secondary son tone, Williams said, leading cynics “mild and sweet” voice, and quite soft, would continue to plague Harris. Work- chorus on the Swell, and a small Choir to refer to the “sausage frying” sound of much like the work of Father Bernard ing capital proved inadequate to finish organ with not a full chorus but other a full Swell. To remedy this result, dia- Smith. On the Swell, a Hope-Jones the mammoth St. Louis instrument. In colors. The voicing, on three to four pasons were increased in scale and phonon-type should be the first diapa-
JUNE, 2006 25 son, large scale and leather-lipped, nec- building in America would be virtually Southern California never left their common philosophy of organbuilding. essary to balance the Swell reeds. The divided into two separate industries, work benches to take up fabrication of The much-traveled Elliot, who joined second should be a violin or horn diapa- with Wurlitzer, Robert-Morton, Barton, the Robert-Morton pipe organ.”52 California Organ as vice president and son. For the choir organ, a mild geigen Link, Marr & Colton, Page, and Geneva The new company increasingly general manager in October 1916, left or gemshorn was the preferred voice. identified almost exclusively with the focused on the theatre instrument, but in May 1918 to become head of the He cautioned that every stop in a well- theatre paradigm. Other builders, initially it continued to service a spec- organ department at Kimball in Chica- voiced organ must have its “individuali- although they built theatre organs, were trum of the local market, including go.60 A dynamic and aggressive firm, ty,” and lamented builder fads, which he primarily identified with the church churches. In 1917 Morton built a Kimball was ever alert to market oppor- found detrimental to the advancement instrument and market. $10,000 instrument for the A. Hamburg- tunities, and recognized that their of the instrument. He challenged organ- The California Organ Company was er and Sons Department Store in Los name, well-established in pianos and ists and organbuilders to work together at a crossroads. Would they continue in Angeles. The Los Angeles Times noted reed organs, carried over into the mar- to uphold the dignity of the instrument the church organ industry, now well that it was the first organ of its kind on ket for pipe organs. A large newspaper and its music to insure its high place in established nationwide and well repre- the Pacific Coast, and was acquired “for advertisement by the Eilers Music the church service. Williams’ comments sented on the West Coast? Or would the purpose of giving the people a musi- House in Los Angeles, in April 1912, offer an interesting contrast to today’s they recognize and capitalize on the cal education and making shopping promoting the Kimball Player Piano, perspective and were superseded in his growing theatre organ market? The more pleasant.”53 In 1920 Williams sold mentioned Kimball as “America’s own thinking as reflected in his work resources were in place in Van Nuys: a and most likely designed a 72-rank, six- Greatest Pipe Organ Builders.”61 with Kimball and Skinner. well-appointed modern factory, skilled division, four-manual organ for Bovard During this period the Kimball com- artisans, and a talented, experienced Auditorium at the University of South- pany was making far-reaching changes Murray M. Harris, continued senior management, which together had ern California in Los Angeles.54 Edward in the mechanical and tonal character In 1912, a year after Williams joined guaranteed the succession of name- Hopkins lauded Williams’ “English of their instrument, attributed primari- the Harris firm, financial problems plates. As the late Tom B’hend, whose training, practical experience at the voic- ly to the influence of Elliot and George reappeared. Murray Harris sold his research chronicles much of the history ing machine, and open-minded progres- Michel, the latter widely acclaimed for interest to a retired mining man from of this era, observed: “The Wurlitzer siveness,” saying the Bovard organ his superb reed and string voicing. As Mexico named Heuer, who soon Hope-Jones instruments were gaining “stands pre-eminent.”55 This instrument Junchen noted: “If George Michel was became disillusioned with the meager popularity; the unit principle was being featured Morton’s horseshoe console the voice of the Kimball organ, R. P. (if any) profits in organbuilding, and accepted without reserve by up and (Morton didn’t build drawknob con- Elliot was its soul.”62 Improvements in sold out.42 In August 1913, control of coming theatre organists . . . If the Cal- soles) and concrete swell boxes enclos- Kimball engineering and action design, the company passed to E. S. Johnston, ifornia Organ Company were to enter ing the entire instrument. coupled with elegant workmanship, former manager of the Eilers Music the theatre field, it would be necessary were marked by abandonment of two- Company in Los Angeles, who in to produce a unit instrument of compa- W. W. Kimball Company pressure bellows and two-pressure November that year advertised the rable quality.”46 With his rich back- Williams, a realist in business mat- ventil windchests with hinged pouches Johnston Organ and Piano Manufactur- ground as an apprentice of Hope-Jones, ters, recognized that Morton made the in favor of a pitman-action windchest ing Company as successor to the Murray who could be better qualified to design right choice in electing to build theatre with springs under the pouches. Tonal- M. Harris Co.43 Johnston and real estate and build such an instrument than Stan- pipe organs. Yet his heart was with the ly, Kimball moved away from the litur- developer Suburban Homes then ley Williams? As Williams later reflect- classic church organ, and the Bovard gical motif in church organ design agreed to build a 75,000 square foot fac- ed: “I was the one man on the West instrument no doubt reinforced his toward a pronounced symphonic and tory in Van Nuys, which opened in Coast who could put this sort of instru- convictions. As his daughter reflected: orchestral paradigm, a new direction November 1913. Soon, however, work- ment into production.”47 “He didn’t like traps and toy coun- for American organbuilders.63 ing capital was again exhausted. John- Enter the American Photo Player ters.”56 He resigned from Morton in ston and his partner Bell journeyed east Company of Berkeley, California. In early 1922, and was feted by employees In Los Angeles in search of funds but apparently 1912 this firm produced a small tubular- at a Saturday afternoon gathering at the Stanley Williams opened his Kimball returned empty-handed.44 Then Subur- pneumatic pit instrument combining a shop in recognition of his eleven years office in the downtown emporium of the ban Homes of Van Nuys, having turned few ranks of flue pipes and perhaps a service to Morton and its predeces- Sherman-Clay Music Company. “For down Johnston’s plea for financial back- reed stop with a piano. Booming sales sors.57 Momentarily, he elected to go half a century, Sherman, Clay & Co. has ing, were the new owners by default. and nationwide distribution alerted out on his own. He and his wife Isabel, been the philosopher and friend of good They renamed the business California them to the tremendous potential for a together with Carl B. Sartwell, his col- music on the Pacific Coast,” they adver- Organ Company and promptly palmed unit theatre organ.48 Negotiations league at Morton, formed Stanley W. tised.64 When churches went looking for it off to the Title Insurance and Trust beginning in the spring of 1916 led to Williams, Incorporated and built per- a pipe organ, they logically began with a Company of Los Angeles, holders of the the merger of the California Organ and haps one or two instruments, his daugh- music retailer. The connection between mortgage on the factory building.45 American Photo Player companies and ter believes; the details are unknown.58 music retailers and organ sales was a on May 2, 1917, the Robert-Morton But the odds were against them. By this salient but long-overlooked feature of Robert-Morton Organ Company Organ Company was duly time what local capital had been avail- marketing the instrument during this At this time a sea change was taking incorporated.49 As the late David able was already committed to the the- time. As early as 1902, Harris was repre- place in the whole concept of pipe Junchen, noted theatre organ biograph- atre organ business, and nationally sented by Kohler & Chase in San Fran- organs and in the industry that built er, commented: “Werner (Harry J. known church organ builders were well cisco and then independently by Robert them. The theatre market, with its radi- Werner, Photo Player promoter) had represented on the West Coast. Stanley Fletcher Tilton, a well-known musician cally different instrument, was growing found just the ticket for expanding his soon wisely recognized that with his with an office in the Kohler & Chase rapidly, having displaced the higher-cost theatre sales, and the owners of the Cal- interests, his next opportunity lay with building.65 In Los Angeles, the Aeolian pit orchestra. Equipped with tibias, kin- ifornia Organ Co. had found a buyer for an established (i.e., well-capitalized) Company was represented by the uras and other voices as well as traps and the albatross they didn’t want any- church organ builder. George J. Birkel Music Company, and toy counters, these instruments were way.”50 Stanley Williams was named Williams then began a five-year Welte-Mignon by the Barker Brothers ideally suited for accompanying silent plant superintendent and the following sojourn with the W. W. Kimball Com- department store. Showrooms soon movies. The Rudolph Wurlitzer Compa- year vice president. Opus 1, a two-man- pany of Chicago as their West Coast appeared. By 1926 Wurlitzer, Robert- ny, whose name would soon become the ual organ designed by Williams, was representative.59 His decision was no Morton, and Link all maintained show- generic term for the theatre pipe organ, built for the California Theatre in Santa doubt influenced by his former col- rooms in Los Angeles.66 was already enjoying a nationwide busi- Barbara.51 As B’hend noted: “The men league in Van Nuys, Robert P. Elliot, Williams’ work with Kimball began ness. Within less than ten years, organ- and women who built pipe organs in with whom he shared many details in a immediately, as did the maintenance business he established. He installed, finished, and perhaps sold the 23-rank, three-manual Kimball organ in the world-famous Angelus Temple in Los Log On and take the tour! Angeles, an early megachurch seating 5,300 (see stoplist, page 27). This church, dedicated on New Year’s Day 1923, was built by the flamboyant evan- ANNUAL AND ONE-TIME COPYRIGHT gelist Aimee Semple McPherson, founder of the International Church of PERMISSIONS WITH THE the Four Square Gospel.67 It is a color- ful instrument now undergoing CLICK OF A MOUSE restoration in what was once a wonder- ful acoustic, ideally suited to the wor- ship style and tastes of the founder and the congregation. In what must have been the pinnacle of unification and duplexing, 23 ranks of pipes were spread over 61 speaking stops. Each rank was playable at three or more pitches and duplexed to two or more manuals. Synthetic stops included a saxophone and orchestral oboe. Cou- plers greatly increased the power and versatility of the instrument. The Orchestral division is in the same chamber as the Great, sharing voices • EASY—online permission and reporting and thereby giving the illusion of a • ECONOMICAL—based on average weekend attendance larger organ as does the number of stop 68 • THOROUGH—your favorite songs tabs on the console. Other Kimball sales by Williams in • CONVENIENT—includes a growing list of publishers Los Angeles churches included organs in Hollywood Presbyterian, St. James Episcopal, Precious Blood Roman Catholic, and Rosewood Methodist LOG ON TODAY! WWW.ONELICENSE.NET churches.69 He also supervised the re- installation of the 1911 Murray Harris
26 THE DIAPASON W. W. Kimball Mechanicals The Angelus Temple, Los Angeles, Swell expression for Great & Orchestral California, 1923 (lower level in chamber) Swell expression for Swell (upper level in GREAT chamber) 1. 16v Open Diapason, 85 pipes Register Crescendo pedal 2. 8v Principal Diapason, 73 pipes Cancel expression for Great and Orchestral 3. 8v Small Diapason (from #1) (lower level in chamber) 4. 8v Tibia Clausa, 73 pipes Cancel and seven thumb pistons for Great 5. 8v Gamba, 73 pipes and Pedal stops 6. 8v Concert Flute (from #21) Cancel and seven thumb pistons for Orches- 7. 8v Gemshorn, 73 pipes tral and Pedal stops 8. 4v Octave (from #1) Five pedal toe pistons for Pedal stops 9. 4v Traverse Flute (from #21) Hitch-down for Harp Sustain 10. 2v Fifteenth (from #15) Hitch-down for Chimes Sustain 11. Quint Tierce Mixture (wired from Hitch-down for Full Organ #21) 12. 16v Ophicleide (from #13) Source: Prof. Thomas Murray, Yale University 13. 8v Harmonic Tuba, 85 pipes 14. 4v Tuba Clarion (from #13) Great to Great 16v Great to Great 4v W. W. Kimball, First Baptist Church, Great Unison Off (on/off in left key Los Angeles, California, 1926 cheek) Swell to Great 16v GREAT Swell to Great 8v 16v Double Open Diapason Swell to Great 4v 8v Diapason Phonon (large scale) Orchestral to Great 16v 8v Open Diapason II Orchestral to Great 8v 8v Gross Flote Orchestral to Great 4v 8v Melodia Harp 8v Gemshorn (tapered) Chimes 8v Harmonic Flute Cymbal 4v Principal (large scale) 2 2 ⁄3v Twelfth ORCHESTRAL 2v Fifteenth 3 15. 16v Contra Viole, 97 pipes 1 ⁄5v Tierce 16. 8v Diapason (from #1) 8v Tromba 17. 8v Tibia Clausa (from #4) Cathedral Chimes (Deagan Class A) 18. 8v Violoncello (from #5) Harp Celesta (from Choir) 19. 8v Viol d’Orchestre (from #15) 20. 8v Violes Celestes, 2 ranks, 146 pipes SWELL 21. 8v Concert Flute, 85 pipes 16v Lieblich Bourdon 22. 8v Flute Celeste, 61 pipes (tc) 8v Open Diapason 23. 4v Violin (from #15) 8v Stopped Diapason 24. 4v Traverse Flute (from #21) 8v Viole d’Orchestra 25. 2v Harmonic Piccolo (from #21) 8v Viole Celeste G. Donald Harrison and Stanley Williams, Royce Hall, UCLA, 1930 26. 8v Harmonic Tuba (from #13) 8v Echo Salicional 27. 8v Clarinet, 73 pipes 4v Flauto Traverso 28. 8v Saxophone (wired) 4v Octave (large scale) instrument in St. Paul’s Episcopal three-, and four-manual instruments 29. 8v Orchestral Oboe (wired) 2v Harmonic Piccolo Cathedral in the new edifice in 1924, began immediately: a four-manual for Orchestral to Orchestral 16v IV Sesquialtera replacing the original console with one Immanuel Presbyterian Church, Los Orchestral to Orchestral 4v 16v Double Trumpet built by Kimball.70 The largest Kimball Angeles, in 1927, Opus 676, and in 1930 Orchestral Unison Off (on/off in 8v Cornopean organ he sold, in 1926, was a 56-rank, a 78-rank, four-manual organ for the left key cheek) 8v Oboe 65-stop, four-manual for the First Bap- University of California, Los Angeles Swell to Orchestral 16v 4v Clarion tist Church of Los Angeles (see stop- (UCLA), Opus 818, designed by Harold Swell to Orchestral 8v 8v Vox Humana list).71 The West Coast correspondent of Gleason in consultation with Lynwood Swell to Orchestral 4v Tremulant THE DIAPASON, Roland Diggle, Farnam and G. Donald Harrison (see Harp 76 Chimes CHOIR described it as having “lovely solo voices photo above). The same year another Cymbal 16v Contra Dulciana and a stunning ensemble.”72 four-manual organ was built for Temple General Tremulant for Orchestral 8v Violin Diapason Methodist Church in San Francisco, & Great 8v Dulciana Skinner and Aeolian-Skinner Opus 819.77 Sales in 1931 included a 8v Concert Flute In 1927 Stanley Williams made his last four-manual organ for First Congrega- SWELL 8v Flute Celeste move, the capstone of his illustrious tional Church, Los Angeles, Opus 856, 30 16v Bourdon, 97 pipes 4v Flute Harmonique career, joining Ernest M. Skinner of and the following year a four-manual for 31. 8v Open Diapason, 73 pipes 2v Flageolet 73 32. 8v Viola, 73 pipes 8v Clarinet Boston as Pacific Coast representative. the residence of prominent Pasadena 33. 8v Doppel Flute, 73 pipes 8v French Horn He welcomed the opportunity to affiliate pediatrician Dr. Raymond B. Mixsell, 34. 8v Clarabella (from #30) Harp Celesta (Deagan Class A, with America’s foremost builder of this Opus 893. Organizer of the Bach Festi- 35. 8v Salicional, 73 pipes from tenor C) era, and Skinner in turn was pleased that val in Pasadena, Dr. Mixsell engaged 36. 8v Voix Celeste, 61 pipes (tc) Tremulant a man of such knowledge and reputation Marcel Dupré to play the inaugural 37. 8v Aeoline, 73 pipes 78 SOLO would now add luster to his prestigious recital on his instrument. Williams’ 38. 4v Quintadena, 61 pipes firm. This association was celebrated extensive service business, established 39. 4v Wald Flute (from #30) 8v Stentorphone (leathered lips, 2 with a dinner for the local organ frater- when he began working for Kimball in 40. 2 ⁄3v Nazard (from #30) special metal) 41. 2v Flautino (from #30) 8v Harmonic Flute nity at a fashionable downtown restau- 1922, carried him through World War 3 74 42. 1 ⁄5v Tierce (from #30) 8v Doppel Flote rant. In July 1928, Williams installed a II, when organ companies could no 43. 16v Contra Oboe (from #45) 8v Gamba two-manual, ten-rank, duplexed and longer build new instruments. After the 44. 8v Orchestral Trumpet, 73 pipes 8v Gamba Celeste unified Skinner instrument, Opus 690, war, heavy sales resumed. 45. 8v Oboe Horn, 85 pipes 4v Flute Octaviant in his home. An enclosed instrument 46. 8v Vox Humana, 61 pipes 8v English Horn representative of small residence organs Tonal Philosophy, 1959 Vox Vibrato (separate tremolo) 8v Orchestral Oboe built by the Boston patriarch, it com- In 1959 Stanley was asked to appraise 47. 4v Oboe Clarion (from #45) 16v Tuba Profunda (ext) Swell Tremolo 8v Tuba prised a diapason, unit flute, flute and and recommend updates for the 1926 Swell to Swell 16v 4v Clarion (ext) celeste, string and celeste, and four Kimball organ at the First Baptist Swell to Swell 4v Tremulant reeds: vox humana, clarinet, French Church in Los Angeles, an instrument Swell Unison Off (on/off in left key horn, and an English horn—the latter he had sold and installed.79 The docu- cheek) ECHO two Skinner favorites.75 Sales of two-, ment he prepared sheds light on the Orchestral to Swell 8v Echo Viole 8v Celeste (tenor C) PEDAL 8v Chimney Flute 48. 32v Acoustic Bass (wired) 4v Fern Flote (wood) 49. 16v Diapason Wood (ext. from #2) 8v Vox Humana 50. 16v Diapason Metal (from #1) Cathedral Chimes (Deagan Class A) 51. 16v Contra Tibia Clausa (from #4) Tremulant 52. 16v Contra Viole (from #15) 53. 16v Bourdon (from #30) PEDAL 54. 8v Octave (from #1) 32v Double Open Diapason (ext Sec- 55. 8v Cello (from #15) ond Open), 12 pipes 56. 8v Flute (from #30) 16v Open Diapason (large scale, not 57. 4v Flute (from #30) bearded) 58. 16v Ophicleide (from #13) 16v Second Open Diapason (bearded) 59. 16v Contra Oboe (from #45) 16v Bourdon (lower notes large, square 60. 8v Harmonic Tuba (from #13) scale) 61. 4v Tuba Clarion (from #13) 16v Lieblich Gedeckt (Swell) Great to Pedal 8v 16v Contra Dulciana (Choir) Swell to Pedal 8v 8v Octave (ext Second Open) Orchestral to Pedal 8v 8v Flute (ext Bourdon) Orchestral to Pedal 4v 32v Bombarde (ext Solo) Chimes 16v Tuba Profunda (Solo) Cymbal 16v Double Trumpet (Swell) Bass Drum Roll 16v Trombone Bass Drum 8v Clarion (ext Trombone) Tympani Chimes Source: THE DIAPASON, June, 1926, p. 3, col. 1.
JUNE, 2006 27 replacements or additions by Ken Simp- 23. See Coleberd, Robert E., Jr., “Built on the Suggested changes in the specification of the Kimball organ, First Baptist Church, Bennett System: A History of the Bennett Organ Los Angeles, 1959 son, one-time Chicago Kimball man and Company,” The American Organist, January, 1968, long-time Williams associate in Los vol. 51, no. 1, pp. 20–25. Angeles. The changes were largely those 24. B’hend, p. 5. GREAT wind pressure not more than 5w if pouch springs permit 25. Smith-Ochse, pp. 9, 10, “Organ Recital,” Los 16v Quintaton new pipes on old chest Stanley recommended, but also included Angeles Times, December 4, 1895, p. 6. Jim Lewis, 8v Principal “ changes suggested by Clarence Mader, “The History of the Murray M. Harris Organ Com- 8v Bourdon (metal) “ the leading figure in the Los Angeles pany, 1894–1913,” pp. 110–116, and Nye, Eugene 8v Gemshorn regulate present stop organ scene of this period—organist at M., “Notes on Early-day Organ Building and Organ 8v Melodia “ Immanuel Presbyterian Church, profes- Builders in the Southwestern United States,” pp. 4v Octave new pipes on old chest 117–123, The Bicentennial Tracker, The Organ His- sor at Occidental College, and a highly- torical Society, 1976. See also, “New Pipe Organ,” 4v Flute “ 80 2 respected consultant. Los Angeles Times, April 22, 1896, p. 7. 2 ⁄3v Twelfth “ Stanley Williams retired in 1959 and 26. Hopkins, Edward Cadoret, “Organbuilding in 2v Fifteenth “ the Southwest,” The American Organist, March, IV Fourniture new top board passed away on June 17, 1971 in Santa 81 1926, pp. 62, 63. III Scharf “ Monica, California, at the age of 89. 27. Smith-Ochse, p. 26. 28. Smith-Ochse, op. cit., pp. 47, 49–60, Hopkins, SWELL wind pressure not more than 7w on account of reeds Summary p. 64, Lewis, p. 113, Nye, p. 119, Junchen, p. 492, 16v Lieblich Gedackt unchanged The Williams odyssey marks mile- “Greatest of Pipe Organs,” Los Angeles Times, v December 20, 1902, p. A 1. 8 Principal new pipes, old chest stones in the heritage of the King of 29. Smith-Ochse, p. 59. 8v Rohrflute “ Instruments in the first half of the last 30. Los Angeles Times, “Organ Stock Assessed,” 8v Viola “ August 11, 1903, p. 7, “Legal, Delinquent Notice,” 8v Viola Celeste “ century, especially on the U.S. West October 21, 1903, p. A 6. The October notice lists B. 4v Prestant “ Coast. It uniquely symbolizes the rich C. Lattin as “pledgee” with 189 shares. Thus the 4v Nachthorn “ and colorful history of organbuilding, a actual amount paid in may have been $16,300. 2 2 ⁄3v Nazard “ story of individuals, nameplates, stop- 31. See also “Among Real Estate Owners and 2v Octavin “ Dealers,” Los Angeles Times, March 8, 1903, p. A 1. lists, the theatre organ epoch, the sym- Also, “The Biggest Organ Shop,” Los Angeles Times, IV Mixture increase scale and revoice louder phonic-orchestral paradigm, and the December 27, 1903, p. A 8, “Multi-Millionaire Eben 16v Fagotto regulate for lower pressure classical motif. If organbuilding ulti- Smith Dead,” Los Angeles Times, November 6, 8v Trompette on Cornopean chest; small scale, bright tone mately is persons, there are few better 1906, p. II 1, Smith-Ochse, pp. 44, 45. 8v Oboe as is, regulate 32. “The Biggest Organ Shop,” ibid., “Controver- 8v Vox Humana “ examples than the talented and accom- sy Over Organ,” Los Angeles Times, August 6, 1904, 4v Clarion louder and brighter plished voicer and finisher, Stanley p. 2. Tremulant Wyatt Williams. I 33. “Fine Organs Stand Idle,” Los Angeles Times, August 31, 1907, p. II 3, Lewis, pp. 113, 114, CHOIR Junchen, p. 492, Smith-Ochse, pp. 60–64. wind pressure 5w or less if pouch springs permit R. E. Coleberd, an economist and retired 34. Smith-Ochse, p. 64, Lewis, p. 114, Nye, p. 8v Nason Flute new pipes, old chest petroleum industry executive, is a contribut- 120. 8v Dulciana as is ing editor of THE DIAPASON 35. Smith-Ochse, p. 63, Lewis, p. 114, Nye, p. 8v Unda Maris upper pipes of Dul 16v; new chest for lower notes 120. 4v Octave new pipes, old chest This paper is dedicated to the blessed mem- 36. Smith records the virtually identical stoplists 4v Concert Flute old Concert Flute becomes four foot ory of Frances D. Larkin. of the 1895 Odell organ in Immanuel Evangelical 2 2 ⁄3v Nazard new pipes, old chest Lutheran Church in New York City and the 1900 2v Blockflote “ For research assistance and critical com- Murray M. Harris organ in the First Methodist 1 Episcopal Church in Los Angeles, Smith-Ochse, pp. 1 ⁄3v Tierce “ ments on earlier drafts of this paper, the 20, 21. 8v Krummhorn author gratefully acknowledges: Jonathan 37. Smith-Ochse, pp. 172–199. Author’s inter- Harp regulate Ambrosino, Mary Cowell, Steuart Goodwin, view, Manuel Rosales, April 15, June 16, 2005. Tremulant Eric Johnson, Allen Kinzey, Frances Larkin, 38. Hopkins, p. 64. Jim Lewis, Judith McManis, Thomas Murray, 39. See stoplist, Smith-Ochse, pp. 292, 293. SOLO restore original wind pressure for sake of reeds George Nelson, Albert Neutel, Orpha Ochse, 40. Rosales. 8v Doppel Flute Michael Quimby, Robert Reich, Manuel Ros- 41. Notes: Stanley Williams lecture, Los Angeles 8v Gamba revoice strings broader and softer ales, Alan Sciranko, Jack Sievert, James Stark, Chapter, American Guild of Organists, February 3, 1913, Larkin Collection. 8v Gamba Celeste “ and R. E. Wagner. 42. B’hend, p. 5, Junchen, p. 494. 4v Octave pipes from old Swell Diapason 43. Los Angeles Times, August 17, 1913, p. VI 1, 4v Harmonic Flute Notes November 3, 1913, p. I 10. “Van Nuys Gets First 2v Piccolo if possible replace with Choir clarinet 1. Interviews with Stanley Williams’ daughters Factory,” Los Angeles Times, May 18, 1913, p. VI 1. 8v English Horn Frances Larkin, August 14, 2003, June 24, 2004, and Also, “Elated Over New Factory,” Los Angeles 8v Orchestral Oboe Mary Cowell, September 19, 2004. Their family Times, August 17, 1913, p. VI 1. 16v Tuba Profunda records and vivid recollections made possible this 44. B’hend, p. 9, Nye, 121. 8v Tuba article. Obituary, Stanley W. Williams, THE DIAPA- 45. B’hend, p. 9, Junchen, p. 495, Nye, p. 121. SON, October, 1971, p. 8, col. 3. 46. B’hend, p. 9. 4v Clarion 2. Tom B’hend, interview with Stanley Williams, 47. B’hend, p. 14. Tremulant May 22, 1963, in B’hend, Tom, The Robert Morton 48. Smith-Ochse, p. 85, Junchen, p. 495. Pipe Organ, p. 9. See also Junchen, David L., Ency- 49. On May 2, 1917, the secretary of state of Cali- ECHO clopedia of the American Theatre Organ, Vol. II, p. fornia sent notification that the Robert Morton 8v Echo Viole 937. Company was a duly constituted corporation. Nye, 8v Echo Celeste 3. “Joins the Skinner Staff,” THE DIAPASON, 122. November, 1927, p. 3, col. 3. Obituary, Stanley W. 50. Junchen, p. 496. 8v Chimney Flute Williams. 4v Fern Flute 51. Junchen, p. 498. 4. B’hend, p. 9. 52. B’hend, p. 1. 8v Echo Vox Humana 5. Ibid. 53. “Great Organ For People’s Benefit,” Los Chimes 6. Cowell. Angeles Times, January 17, 1917, p. 16. 7. Larkin. 54. “Will Dedicate New Structure,” Los Angeles PEDAL 8. B’hend, pp. 9, 12, 14. “Joins the Skinner Times, June 19, 1921, p. V 2 , “Lemare Opens Organ 32v Open Diapason Staff,” THE DIAPASON, November 1927, p. 3, col. 3. in Great College Hall,” THE DIAPASON, August, 16v First Open Diapason Ochse, Orpha, ed., David Lennox Smith, Murray M. 1921, p. 1, col. 1. Harris and Organ Building in Los Angeles, 55. Hopkins, p. 65. 16v Second Open Diapason 1894–1913, Organ Historical Society, 2005, p. 81. 16v Bourdon 56. Larkin. 9. B’hend, p. 12. 57. “Williams Joins Kimball Staff,” THE DIAPA- 16v Lieblich (Swell) 10. B’hend, p. 14. SON, April, 1922, p. 19, col. 1. 16v Dulciana (Choir) 11. Smith-Ochse, p. 70. 58. Newspaper clipping, Larkin Collection, n.d. 8v Octave Great Open pipes on new chest 12. B’hend, p. 9. 59. “Williams Joins Kimball Staff.” 8v Flute 13. B’hend, p. 14, Larkin files. 60. Hopkins, p. 65, Nye, 121, Junchen, 495, 498. 14. Among them were David Marr of the Marr & For a brief history of Kimball and Elliott’s career see 4v Flute Great Harmonic Flute, new chest Colton Company of Warsaw, New York, chiefly 4v Choral Bass old Great Octave pipes on new chest “American Organ Builders Today,” THE DIAPASON, known as theatre organ builders; Joseph J. Car- February, 1925, p. 6, cols. 1–3. See also obituary, III Mixture new chest; pipes from old Ch Diapason, Gt 12th and 15th ruthers, John W. Whitely, James Nuttall, and Fred- v Robert Pier Elliott, THE DIAPASON, November, 32 Bombard erick W. Smith (Smith Unit Organ Co.). Marr and 1941, p. 3, col. 1. 16v Tuba Profunda Smith’s close association with the theatre pipe organ would be directly linked to their training with Hope- 61. Los Angeles Times, April 18, 1912, p. II 9. 16v Fagotto (Swell) 62. Junchen, vol. 1, p. 208. 16v Tromba Jones. Fox, David H., A Guide to North American Organbuilders, Richmond, Va.: The Organ Histori- 63. Rosales. 8v Tromba cal Society, pp. 69, 157, 177, 215, 244. See also obit- 64. Los Angeles Times, June 14, 1923, p. II 2. 65. Smith-Ochse, p. 40. 4v Clarion Clarion will require 12-note chest using 12 Gt Tromba pipes uary, James H. Nuttall, THE DIAPASON, April, 1950, p. 25, col. 3. 66. Hopkins, p. 67, Nye, p. 123. At present the Pedal Organ has 15 stop keys. This spec calls for 16. Chimes and a 4ft. manual 15. James Stark believes Electrolian may have 67. “Great Temple Is Dedicated,” Los Angeles to Pedal coupler can be used to better advantage. been formed as a subsidiary of LA Art Organ to pro- Times, September 27, 1922, p. II 1, January 2, 1923, tect assets in the patent suit. He has not found any pp. II 2. See also Cleveland, Edward J. Landon Pipe Organ Company, “Interesting Facts about Angelus Source: Stanley Williams, “The Kimball Organ in the First Baptist Church of Los Angeles,” record indicating LA Art Organ was in bankruptcy. Stark, e-mails to author, June 18, 2004, and letter to Temple’s Kimball Pipe Organ,” July 23, 1981, Tem- December 8, 1959. the author, April 11, 2005. See also Stark, “The Art ple files. Organ Company of New York,” The Tracker, vol. 49, 68. Rosales. no. 2, Spring 2005, pp. 13–23. See also “Fine Organs 69. Author’s interview, Jim Lewis, September 10, Stand Idle,” Los Angeles Times, August 31, 1907, II 2003. Obituary, Stanley W. Williams. evolution of Williams’ tonal philosophy able for worship services, choir accom- 3. 70. Smith-Ochse, pp. 178, 179, 282–284. 16. B’hend, pp. 3, 4. For Wolcott School stoplist 71. THE DIAPASON, June, 1926, p. 3, col. 1. and offers key insights into the prevail- paniment, and interpretation of the see Smith-Ochse, p. 255–256. 72. THE DIAPASON, September, 1927, p. 40, col. ing orthodoxy of the 1920s, especially instrument’s great literature. These 17. See stoplist, Audsley, George Ashdown, The 1. the practices of the Kimball Company, a revisions included replacing all flue Organ of the Twentieth Century, New York: Dover 73. “Joins the Skinner Staff,” THE DIAPASON, long-neglected major builder. He pipes in the Great division except the Publications, Inc., 1970, pp. 482–484. November, 1927, p. 3, col. 3. Obituary, Stanley W. 18. “The Messina Holocaust,” Hereford Times, Williams. asserted that during the 1920s, the Gemshorn and the Melodia, substitut- January 9, 1909. “Organ Recital in Mysore,” Daily 74. Larkin. entire organbuilding industry in the ing a Quintadena for the 16v Double Post, November 17, 1908, p. 6, Madras Mail, Banga- 75. Kinzey, Alan, Skinner Shop Notes, and Eric United States was “to some degree” Open Diapason, and eliminating the lore, India. Johnson comment. This instrument was altered, 19. B’hend, p. 4. enlarged and installed in the First Baptist Church in influenced by the theatre pipe organ. Tromba (see stoplists, pages 27 and 20. In November 1905 McQuigg opened offices Ontario, California in 1948. Shop Notes. Williams lamented this trend, which above). On the Swell manual the many in the Severance Building in Los Angeles as repre- 76. THE DIAPASON, April, 1930, p. 3, col. 1. saw higher wind pressures and voicing new ranks recommended included a sentative of the Barckhoff Church Organ Company 77. This instrument was relocated as Opus 819-A of flutes, diapasons, strings, and reeds “small scale bright tone trumpet” in of Pomeroy, Ohio. McQuigg was employed by a Los to Thorne Hall, Occidental College, in 1938. Kinzey Angeles piano and organ retailer, the George J. and Lawn, E. M. Skinner/Aeolian-Skinner Opus that tended to isolate and magnify their place of the Cornopean, and on the Birkel Company, local representatives of the Estey List, pp. 71, 72. differences. He acknowledged the posi- Choir new mutations and a Organ Company. He was later employed by Estey. 78. Obituary, Dr. Raymond Mixsell, THE DIAPA- tive contribution of the theatre epoch in Krummhorn. He recommended revoic- Smith-Ochse, p. 63, 82, 306. SON, February, 1950, p. 4, col. 1. 21. Smith-Ochse, p. 81, B’hend, pp. 4, 5. 79. Williams, Stanley, “The Kimball Organ in the “better engineering practice and the ing the Gamba and Celeste on the Solo 22. R. E. Wagner, Organ Supply Industries, First Baptist Church of Los Angeles,” December 8, speed and reliability of action.” division for a “broader and softer” points out that organbuilding in Erie, Pennsylvania 1959. Williams called for major tonal revi- sound. In 1965 this instrument was was also financed by businessmen in contrast to New 80. THE DIAPASON, July, 1965, p. 4. col. 3. sions to make the instrument more suit- enlarged to 88 ranks, of which 56 were England where firms were capitalized from within. 81. Obituary, Stanley W. Williams.
28 THE DIAPASON New Organs
subsequent rebuilds, including pipes RÉCIT EXPRESSIF 16v Flûte à Cheminée from the Estey firm of Brattleboro, Ver- 8v Flûte à Cheminée (ext) mont (1920s), as well as other builders 8v Salicional and supply houses (1970s & 1980s). In 8v Voix Céleste (TC) June 2003, all of the salvaged pipework 4v Prestant and mechanisms were transported to 4v Flûte Ouverte 2 the Reuter facility in Lawrence, Kansas 2 ⁄3v Nazard 2v Flûte (ext) to be reconditioned and assimilated into 3 the new instrument. After the installa- 1 ⁄5v Tierce IV Plein Jeu tion, tonal finishing, and tuning—which 16v Contre Trompette happened over the course of about eight 8v Trompette (ext) weeks—the organ was heard for the first 8v Hautbois time by the organ committee on Mon- 8v Voix Humaine day evening, November 24, 2003, and 8v Trompette en Chamade (G.O.) used for its first Mass on that Thanks- Tremblant giving weekend. MIDI Forty-three ranks are engineered into POSITIF EXPRESSIF the tower chamber in the gallery, and 16v Dolce the remaining five ranks and chimes are 8v Diapason installed inconspicuously in a small 8v Cor de Nuit chamber (the Echo division) behind the 8v Dolce (ext) high altar. The Grande Orgue and 8v Unda Maris (TC) Pédale are mounted high, front and cen- 4v Octave Diapason (ext) ter in the tower chamber. The Récit 4v Flûte Traversière 2v Flageolet Expressif and Positif Expressif are 1 1 ⁄3v Quint installed at the back of the tower cham- III Mixture ber behind large banks of mechanical 8v Petit Trompette shutters. The Echo division became the 8v Clarinette new home for some of the most beauti- 8v Trompette en Chamade (G.O.) ful and beloved sounds from the original Tremblant Estey organ. Intended primarily for MIDI accompanying the cantors during Mass, the Echo is enclosed with a small bank of ECHO 8v Principal shutters mounted on the chamber ceil- 8v Voix Aetheria ing. The polished copper and polished 8v Voix Céleste (TC) zinc speaking façade pipes of the Pédale 8v Bourdon 16v Montre are displayed in front of the 4v Octave gallery tower chamber, accentuating the 4v Flûte Ouverte Gothic arch and maintaining the tradi- Cloches (Chimes) tional style of the building. Cymbelstern — Reuter Organ Co. / ECHO PÉDALE S. Christopher Leaver 16v Bourdon (ext, 1–12 digital) 8v Bourdon (Echo) The Reuter Organ Company, 100-plus year-old cathedral architecture, Photo: Reuter Organ Co. / Bill Klimas Lawrence, Kansas which is eclectic English Gothic style, PÉDALE St. Francis Xavier Cathedral, rendered in indigenous brick on the Reuter Opus 2218 32v Acoustic Bass Alexandria, Louisiana, Opus 2218 exterior and wood and plaster on the 38 stops, 48 ranks 16v Montre 16v Soubasse A handsome and acoustically mar- interior. We were particularly impressed GRANDE ORGUE velous space, St. Francis Xavier Cathe- with two features of the Reuter design: 16v Dolce (Positif) 16v Diapason (Positif) 16v Bourdon (Récit) dral in Alexandria, Louisiana is truly a 1) the antiphonal organ is completely 8v Montre 8v Octave (ext) remarkable home for Reuter opus 2218. concealed behind the ornate Gothic 8v Bourdon 8v Soubasse (ext) Given the historic beauty of the building reredos; 2) the design of the façade 8v Flûte Harmonique 8v Diapason (Positif) and the care with which it has been pipes in the choir loft is truly beautiful 4v Prestant 8v Dolce (Positif) restored, the goal of the project was to and reflects the form and shapes of the 4v Flûte à Fuseau 8v Bourdon (Récit) craft an instrument worthy of such a reredos and the stained glass window 2v Doublette 4v Octave (ext) space and sensitive to existing resources. above it, which depicts Christ ascending IV Fourniture 4v Soubasse (ext) “We evaluated three designs from major with arms upraised amid radiant clouds. III Cornet 32v Basson (ext, Récit) 16v Contre Trompette (Récit) 16v Bombarde (ext, G.O.) organ builders,” says Jack Randall, an The façade sits perfectly in the Gothic 8v Bombarde 16v Contre Trompette (Récit) Alexandria architect and member of the arch behind the choir.” 8v Trompette en Chamade 8v Bombarde (G.O.) cathedral’s organ committee. “The After much discussion, an organ Glockenstern 8v Trompette (Récit) Reuter design was far superior to the design of 48 ranks was developed, using Cloches (Echo) 4v Trompette (Récit) others in that it was so respectful of the 17 ranks from the original organ and its MIDI 8vZrompette en Chamade (G.O.) MIDI
Orgues Létourneau Limitée, Saint- bone naturals and ebony accidentals, Hyacinthe, Québec, Canada while the pedalboard features maple The Lutheran Church of the naturals with ebony accidentals. Nativity, Alexandria, Virginia —Andrew Forrest Létourneau’s Opus 94 was completed in late 2004 with a dedicatory concert Photo © Dupont Photographers Inc. played by Haig Mardirosian, who also served as consultant to the project. GREAT (enclosed with Swell) 8v Open Diapason (façade) Though physically a small instrument— 8v Chimney Flute measuring 11v wide, 11v tall and 8v9w 8v Salicional deep including pedalboard—this 18- 4v Octave stop mechanical action organ was 4v Harmonic Flute designed and voiced to produce an 2v Fifteenth 1 exceptionally wide variety of sonorities. 1 ⁄3v Mixture III (Swell) Based on an 8v Principal and boasting a 8v Echo Trumpet (Swell) variety of other unison stops, the instru- Swell to Great ment has proven adept at accompanying SWELL (enclosed) the church’s liturgy and performing 8v Stopped Diapason (wood) organ repertoire. Where practical, pipes 8v Gamba in the bass octave have been shared 8v Voix Celeste (TC) between similar stops to save space (e.g., 4v Principal the Great 8v Chimney Flute and the 4v Spitz Flute 1 1 ⁄3v Larigot Swell 8v Stopped Diapason share com- 1 mon pipes for the first 10 notes). The 1 ⁄3v Mixture III entire instrument is enclosed within one 8v Echo Trumpet swell box—excepting the Great 8v Open PEDAL Diapason and Pedal 16v-8v Bourdon— 16v Bourdon though the traditional dynamic relation- 8v Octave Bourdon ship between Great and Swell has been Great to Pedal preserved through voicing. The Swell to Pedal attached two-manual console features General Tremulant
JUNE, 2006 29 Cover feature
Wicks Organ Company, Highland, GREAT Illinois 16v Violone First Congregational Church, 8v First Open Diapason Kalamazoo, Michigan, Opus 6419 8v Second Open Diapason From the spectacular display of floral 8v Violoncello color found at the annual Tulip Festival 8v Bourdon in Holland, to the ingenuity of the great 8v Harmonic Flute Christopher Columbus Smith as he 4v Principal 4v Night Horn launched the first-ever Chris-Craft 4v Flute Octaviante speedboat, Western Michigan has pro- 2 2 ⁄3v Twelfth vided us with a rich cultural, artistic, 2v Fifteenth and recreational history. Kalamazoo is V Full Mixture no exception to this trend; in fact, when 8v Tromba (Ch) it comes to the presence and popularity Tremolo of the pipe organ, Kalamazoo reigns as Chimes a leader. 8v Subterranean Tuba (Echo) When I first went to First Congrega- SWELL (enclosed) tional Church in the year 2001, I was 16v Minor Bourdon told that the new organ would be in the 8v Horn Diapason company of a host of large, new instru- 8v Stopped Diapason ments. Moreover, I learned that these 8v Viola* new organs were within walking dis- 8v Viola Celeste TC* tance of one another! The Congrega- 4v Octave Diapason 4v Transverse Flute tional church’s organ would share turf 2 2 ⁄3v Flute Twelfth with two instruments by Létourneau 2v Harmonic Piccolo (one in the Methodist church and one in V Chorus Mixture the Baptist church), two older Casa- 16v Waldhorn vants (one in the Christian Science 8v Cornopean church and one in the Presbyterian 8v Oboe church), a newer Dobson in the Episco- 8v Vox Humana pal church, a Kilgen in the Reformed 4v Clarion church, and, of course, the soon to Tremolo arrive Nichols & Simpson in St. 8v Subterranean Tuba (Echo) Augustine’s Cathedral. Having so many CHOIR (enclosed) intriguing, contrasting organs in such a 8v Violin Diapason small area is a true gift to the organ 8v Melodia enthusiast and an invaluable tool to the 8v Muted Viol* deliberating organ committee. It was 8v Viol Celeste TC* from this impressive list of instruments 4v Octave 4v Magic Flute that the committee of First Congrega- 2 2 ⁄3v Gemshorn Twelfth tional Church began to study. 2v Tapered Fifteenth The organ committee instructed the 2v Recorder 3 bidding builders to propose something 1 ⁄5v Seventeenth special: something unique that would 8v Trumpet* complement rather than duplicate the 8v Basset Horn other instruments on the block. Howev- Completed instrument set up in Wicks’ erecting room 8v English Horn er, they were not yet sure of the actual 8v Tromba style they desired. Even though several 8v Subterranean Tuba (Echo) Tremolo of the other organs on the square pro- Harp vide an interesting spectrum of tonal Celesta styles, representing varying degrees and spins upon the American-classic school ECHO (enclosed, floating) of tonal design, they were not sure 8v Open Diapason* whether they wanted to venture too far 8v Chimney Flute* from this tried and true “comfort zone.” 4v Octave Diapason Nevertheless, the Wicks team took a 4v Flute Tremolo leap of faith and proposed an instru- 8v Subterranean Tuba ment of the firm’s so-called “Neo-Victo- rian” style—the first ever to be pro- PEDAL posed in this region of the country. 32v Acoustic Bass After many months of deliberation and 16v Major Bass soul searching, First Congregational 16v Violone (Gt) Church selected the Wicks proposal; 16v Bourdon and, they too took a leap of faith with 16v Minor Bourdon (Sw) 8v Principal regards to this “new” Wicks style of 8v Violoncello (Gt) tonal design, voicing, and construction. 8v Stopped Flute (Gt) 4v Fifteenth The Wicks “Neo-Victorian” sound 32v Double Trombone The Wicks Organ Company of High- 16v Trombone land, Illinois, has ventured into an excit- 16v Waldhorn (Sw) ing realm of tone, unknown by the firm 8v Subterranean Tuba (Echo) or its customers for some fifty years. 8v Tromba (Ch) 8v Trumpet (Ch) Indeed, this somewhat unique style is v Rebuilt Austin console 4 Tromba Clarion (Ch) little known in most organ circles. Fur- 4v English Horn (Ch) thermore, it is rather shocking for most Chimes (Gt) musicians to find out that Wicks is now described with words and phrases that Wicks struggled with the arrival of the building high-pressure organs, utilizing we have all heard: “it’s so muddy,” “it “American Classic style” from compa- *Reused pipework from original 1928 stops and tonal palettes that have not just can’t articulate repeated notes in nies in parts east. The 1960s saw the Austin organ been typically associated with the firm. the texture,” “the action is so clumsy,” dawn of the style most commonly asso- The “Neo-Victorian” label is not one “this thing is so treble deficient,” “it’s ciated with Wicks, the low-pressure, Couplers Sw/Gt 16-8-4 of our own making. Credit for this tubby,” “it’s contrapuntally challenged open-toe voicing era. And from the late Ch/Gt 16-8-4 somewhat curious name of the new style and I cannot hear the voice leading at 1970s through the beginning of the Echo/Gt must be given to the Wicks North Texas all,” “it is lacking in a solid classic chorus 2000s, Wicks has dabbled in various Echo/Sw area sales director John Dill. When he up through mixture,” and yes, I have degrees of “American Classicism.” Sw/Ch 16-8-4 played the first Diapason chorus on our even heard this one: “it’s so frumpy!” Henry Vincent Willis was the son of Gt/Gt 16-UO-4 display organ, Opus 6295 from 2002 So what makes Wicks Opus 6419 at Vincent Willis, the “other brother” who Sw/Sw 16-UO-4 (which still stands in shop’s erecting Kalamazoo’s First Congregational made up the “Willis II” era of the Willis Ch/Ch 16-UO-4 room), he coined this term, which I Church “Neo” instead of “old-school” firm in England. He came to Wicks with Echo/Echo 16-4 Gt/Ped 8-4 believe to be quite apropos on many lev- Victorian? Well, it is truly a long story, much the same knowledge and voicing Sw/Ped 8-4 els. What he experienced was new for one that has been about 100 years in the skills that would have been utilized in Ch/Ped 8-4 him, even as an experienced American making for the Wicks Organ Company! creating some of England’s largest Echo/Ped 8-4 organ man. He is among the many folk It is important to remember that Wicks Willis masterpieces. Most of the Ameri- who, when they hear the description of has been around for more than 100 can “Willis Wicks” organs, however, “Victorian” applied to an American- years. The firm has dabbled in virtually took on a slightly different role than in building organs for the tradition. As made organ of the early 20th century, every 20th-century stylistic trend of their English, Anglican-inspired sisters. a result, a majority of these Wicks conjure up less-than-savory images to American organbuilding. The first truly In the days before Vatican II, many organs were designed for the pre-Vati- describe the sound. We have all been “solid” Wicks style came about in the Roman Catholic churches in the U.S. can II liturgy. They provided “Holy told in our organ studios that most Vic- 1930s with the arrival of Henry Vincent commissioned either Kilgen or Wicks Hush” for the mystical parts of the torian organs have certain universal Willis on American soil. The 1950s organs. Both were Roman Catholic liturgy, choral accompaniment for the traits. Most of these traits have been stood as a transitional phase in which companies, and both were experienced singing of plainsong and other Mass
30 THE DIAPASON they worked to make some important onsite mechanical upgrades to the instrument, making it even better and more serviceable. The installers also worked for two weeks with the tonal fin- ishers to help lift some very tall pipes as fine adjustments were made. The tonal finishing and final voicing was then accomplished by Mark Scholtz and me over four weeks in Jan- uary 2005. A spectacular flue voicer and a first-rate organist, Mark was, never- theless, new to the world of tonal fin- Releathered Austin harp ishing. However, during this “initiation by fire” he has become quite skilled at the art of fine adjustment and balancing of sounds. I am certain that Mark’s tenure at Wicks will be one character- ized by the finest, most musically fin- ished instruments in the company’s his- tory. The resulting organ stands as a Finisher Michael Ratermann preparing the 32v Double Trombone for painting masterpiece in that everyone, the 60 craftsmen and women at Wicks, as well as the committee and congregation of First Congregational Church, believed in the dream. The leap of faith has land- ed with success. —Bill Hamner Magic Flute during voicing Tonal Director (2002–2006) ordinaries, and improvisation during From the church the receiving of Communion. As a It is never easy to bid farewell to an result, such organs were resplendent old friend, but that was the situation fac- with silvery undulating stops, warm ing the congregation of First Congrega- and subtle accompanimental flutes, full tional Church in the late 1990s. The and luscious Willis-voiced diapasons, church’s venerable 1928 Austin organ and powerful, yet accompanimental was showing grave signs of trouble, most Willis-voiced chorus reeds. stemming from several “modernization” Larger instruments had some of the attempts in the late 1960s. Such was the more fanciful stops like the 4v Magic love of the congregation for their Flute, the Silvestrina II, the French beloved Austin that every possible Horn, or the Orchestral Oboe, all of avenue to save and rebuild it was thor- which were very “English Willis-like” in oughly examined. Finally, the sad fact nature. Although choruses were very had to be faced that very little of the “singing” and quite contrapuntally clear, original pipework was left after the very rarely, except in the largest of modernization attempts. Our very capa- organs, would there be more than one ble councilor, Jonathan Tuuk, helped us independent stop of 2v pitch. In the realize that the best stewardship would same spirit, mixtures were usually not be to purchase a new pipe organ. even a whimsical thought for a designer Pipemaker Rick Renko mitering the 32v Double Trombone Thus began the long, arduous process of these organs, with the exception of of selecting an organbuilder. Mr. Tuuk the Dulciana-scaled Harmonia Aetheria! From the organs of the 1930s–1940s, undergirds the entire organ with a fun- was an invaluable help to the committee By and large, however, these organs the Neo-Victorian Wicks Opus 6419 damentally powerful rumble rather than with his extensive organ knowledge, make up one of the most uncelebrated rediscovers and celebrates the beauty a “jack hammer.” And last, but certainly hard work, and never-failing optimism. chapters of American organbuilding his- of the individual stop. Nevertheless, not least, the 20w wind-pressure Subter- The committee listened, learned, debat- tory. Most of them are still in decent from the organs of the 1960s and ranean Tuba, a stop located in the base- ed, and finally selected the Wicks Organ working order (thanks to those famous 1970s, the Neo-Victorian Wicks ment and speaking up through the floor Company of Highland, Illinois, to build leather-free DIRECT-ELECTRIC® units!), upholds the importance of clarity in behind expression shades, truly envelops the new organ. The Wicks firm was cho- and they deserve greater recognition ensembles in performing horizontal the listener with a firm sonic thrill rather sen for several reasons: their willingness from organ historians and appreciators, as musical textures. Indeed, in Opus than piercing him with a strident “laser to listen to our needs and desires, their they are quite remarkable. Certainly, they 6419, one can draw any one stop of beam” of sound. high-quality product, their longevity in have provided the present-day Wicks unison pitch and be satisfied for hours Sometimes a leap of faith is a scary the organbuilding business, and their Organ Company with living examples of just playing upon it alone. Not only will proposition, and the Wicks Organ Com- talented and dedicated craftspeople. good Victorian work, which we have stud- the stop’s individual timbre inspire pany team always will be grateful to the The committee felt strongly that they ied with high-powered microscopes. with a singular beauty of tone, but the kind people of First Congregational wanted their instrument to be all pipe Wicks responded to the arrival of the player will be amazed that something Church for taking the plunge and with no digital sounds, and Wicks was up Classic revival in American organ build- so rich will allow his choir or congrega- entrusting us with this exciting commis- to the challenge. Wicks representative ing, in a full-throttle manner beginning tion to clearly identify every voice in a sion. The church and the firm built an Larry Boekeloo and Wicks tonal director in 1965. Almost all of the scaling and four-part texture! Furthermore, the initial trust that allowed Wicks to build Bill Hamner determined that eight pipe-making/voicing techniques of the musician can come out in the organist an organ in the new tonal style. The ranks still remaining from the 1928 past were set aside in order to embrace when he or she sits at the console of organist, Mrs. Helene S. Stuurwold, Austin could be refurbished and reused what customers were demanding. Opus 6419, for the stops are a sonic understood the tonal vision for the in Wicks Opus 6419. Wicks craftspeople Often, instruments could reach the painter’s palette. Every voice is organ, recognized the vastly expanded also spent extra effort to rebuild the 10–15 rank mark without having a single designed to work well in ensemble with musical parameters the organ would original 61-note Austin harp because it 8v Open in the manuals. Languids and what seems to be an endless array of offer, and therefore embraced the pro- had special meaning to the congrega- lower lips were left unscathed by the other voices in combination. ject wholeheartedly. tion. Exciting stoplists were prepared, ravages of the nicking knife, and regula- Back again are the full, rich, yet con- The organ committee did the church revised, and reworked until everything tion was accomplished at the lower lip trapuntally clear Diapasons (of which and the firm a great service by appoint- seemed in good balance, both tonally of most metal pipes. Gone were the this organ possesses six of 8v pitch!). ing one of their own, Charles Krenick, and financially. Then, we waited. Sylvestrinas and Salicionals, VDO’s, Some familiar 1930s flutes, like the as the liaison between the church and When the organist played the first Clarinets, and French Horns in favor of Melodia and the Transverse Flute, as the company. Charlie was most helpful chords on the new Wicks Opus 6419 set Gemshorns, Schalmeis, Barpfeifen, and well as favorite strings, like the 16v Vio- in coordinating the building plans with up in the factory, tears sprang to her other neo-classically inspired sounds. lone and the 8v Violoncello, also have the arrival of the organ. He also did so eyes: it was better than she had hoped All this was done, of course, as an resurfaced. We seized the distinct much to ensure that our installation for. That first impression has proven true answer to the demands of the times. opportunity of working with select ranks crew did not run into any hurdles. as luscious sounds fill the sanctuary Sun- People were demanding clear, contra- of 1920s pipework that were still present Many thanks must also be given to day after Sunday. The congregation is puntally precise choruses inspired by in the church’s 1920s/1970s Austin the Michigan area Wicks director, delighted, the organist is thrilled, and the the notion of the Werkprinzip. organ. The strings of the Swell and the Larry Boekeloo. Larry was an invalu- hymn singing is more energetic than ever The company indeed answered the Choir were restored to their 1920s able resource to both the church and before. We look forward to many years of call. My predecessor, John Sperling, glory—they stand as a testimony to the the firm, spending many weeks with exciting exploration of Wicks Opus 6419. designed, voiced and finished several of enduring legacy of Austin Organs, Inc. Helene and members of the committee • the most elegant neo-classic-style The new chorus reeds certainly show a to ensure the proposal was well under- The Wicks Organ Company will be organs to be found anywhere. In fact, he 1930s influence with their powerful, yet stood. He was also available at the drop taking attendees of the 2006 AGO has just spearheaded the restoration, re- accompanimental/blending characters. of a hat to get little details for our national convention in Chicago to visit installation and revoicing of this era’s The color stops like the Magic Flute, design team, and he spent countless this instrument on Tuesday July 4. A bus magnum opus, which has been provided English Horn, Harmonic Flute, Bassett hours on site with the installation crew will be leaving from Chicago at 8:00 am. for Mary, Mother of Hope Catholic Horn, and Oboe recall the great sounds from the factory assisting with much of A lunch will be provided, and the bus Church in New Castle, Pennsylvania. I of the symphonic-style organ, but they the initial installation. will be back in Chicago for the evening fear that this and other notable organs can also serve as clever coloration for the Finally, credit must be given to the events. To reserve your space on this of this vintage are also unduly ignored creative ensemble-building, orchestral- “A-Team,” the factory installation crew bus, please contact the Wicks offices by by the organ public. However, the pres- minded musician. The Great Tromba who worked for many months on site. calling 877/654-2191, or using the con- ent tonal administration has learned a towers over the full ensemble in a firm, Jack Haase, chief installer; Mae tact form at
JUNE, 2006 31 2006 Summer Carillon Concert Calendar by Brian Swager
Albany, New York July 23, Charles Dairay Detroit, Michigan Grand Rapids, Michigan Albany City Hall July 30, Linda Dzuris Jefferson Avenue Presbyterian Church Grand Valley State University Sundays and July 4 at 4 pm August 6, Steven Ball July 2, noon, James W. Smith Wednesdays at 12 noon June 4, Adrian Gebruers August 13, Ray McLellan July 27, 7:30 pm, Linda Dzuris July 5, Dennis Curry June 11, Amy Heebner August 20, Karel Keldermans July 12, 19, 26, TBA June 18, Charles Semowich September 10, Dennis Curry St. Mary’s of Redford Catholic Church June 25, Ann-Kirstine Christiansen Saturdays at 3 pm Grosse Pointe Farms, Michigan July 2, George Matthew, Jr. St. Hugo of the Hills Catholic Church July 1, James W. Smith Grosse Pointe Memorial Church July 4, TBA Thursdays at 7 pm July 8, Suzanne Magassy Tuesdays at 7 pm July 9, Marcel Siebers July 6, Suzanne Magassy July 15, Claude Aubin July 11, Suzanne Magassy July 16, Gerald Martindale July 13, Claude Aubin July 22, Julia Walton July 23, TBA July 20, Charles Dairay July 29, Linda Dzuris Hartford, Connecticut July 30, Hans Uwe Hielscher July 27, Joseph Daniel August 5, Patrick Macoska Trinity College Chapel Wednesdays at 7 pm Alfred, New York Bryn Mawr, Pennsylvania East Lansing, Michigan June 21, Trinity College Guild of Caril- Alfred University, Davis Memorial Carillon Bryn Mawr Presbyterian Church Michigan State University, Beaumont Tower lonneurs Tuesdays at 7 pm Sundays at 7 pm Wednesdays at 6 pm June 28, Suzanne Magassy July 11, Anne Kroeze June 4, Janet Tebbel June 28, Ray McLellan July 1, George Matthew, Jr. July 18, Linda Dzuris June 11, Ann-Kirstine Christiansen July 5, Dennis Curry July 5, Daniel Kerry Kehoe July 25, Charles Dairay June 18, Vegar Sandholt July 12, Suzanne Magassy July 12, Peter Langberg August 1, Carlo van Ulft June 25, Doug Gefvert July 19, Charles Dairay July 19, Marcel Siebers July 2, Anne Kroeze July 26, Linda Dzuris July 26, Hans Uwe Hielscher Allendale, Michigan July 9, Daniel Kerry Kehoe August 2, TBA Grand Valley State University, Cook Carillon July 16, Lara West Fort Washington, Pennsylvania St. Thomas Church, Whitemarsh August 9, Sally Slade Warner Sundays at 7 pm August 16, Trevor Workman June 18, David Hunsberger Chicago, Illinois Tuesdays at 7 pm July 4, Lisa Lonie June 25, July 2, July 9, July 16, July 23, University of Chicago, Rockefeller Chapel Kennett Square, Pennsylvania July 30, August 6, 8/13, TBA Sundays at 6 pm July 11, Janet Tebbel July 18, Lara West Longwood Gardens August 20, Karel Keldermans June 18, Christine Power June 10, 7 pm, Ann-Kirstine Christiansen June 25, Wylie Crawford July 25, Marcel Siebers August 1, Peter Langberg June 17, 6 pm, Vegar Sandholt Ann Arbor, Michigan July 2, David Hunsberger July 29, 7 pm, Peter Langberg University of Michigan, Lurie Tower July 9, Jim Fackenthal Frederick, Maryland August 5, 7 pm, Dennis Curry Mondays at 7 pm July 16, Charles Dairay Joseph Dill Baker Memorial Carillon August 12, 6 pm, Carlo van Ulft July 10, Steven Ball July 23, Peter Langberg Sundays at 6 pm July 17, Gijsbert Kok & Traveling Caril- July 30, Andrea McCrady June 11, James W. Smith Madison, Wisconsin lon of Prague August 6, Kimberly Schafer June 18, Ann-Kirstine Christiansen University of Wisconsin July 24, Linda Dzuris August 13, Trevor Workman June 25, John Widmann Thursdays at 7:15 pm July 31, Dennis Curry August 20, Daniel Kerry Kehoe July 2, Margo Halsted July 13, Gijsbert Kok August 7, John Gouwens July 9, Jon Lehrer July 20, Dave Johnson August 14, Teun Michiels Cohasset, Massachusetts July 16, Edward Nassor July 27, Lyle Anderson August 21 Gideon Bodden St. Stephen’s Episcopal Church July 23, John Widmann with the Fred- August 3, Andrea McCrady Sundays at 6 pm erick Pipes and Drums Arlington, Virginia June 25, Roy Lee July 30, Marcel Siebers Mariemont, Ohio Arlington National Cemetery, Netherlands July 2, Ulla Laage August 6, Claire Marie Moblard Mary M. Emery Memorial Carillon Carillon July 9, TBA August 13, Steven Ball Memorial Day, Independence Day and Saturdays in June, July & August at 4 pm July 16, Marcel Siebers August 20, Traveling Carillon of Prague Labor Day at 2 pm July 23, Dave Johnson August 27, Tim Sleep Sundays May 28–September 3 at 7 pm Berea, Kentucky July 30, TBA Berea College, Draper Building Tower August 6, Margaret Angelini Glencoe, Illinois Middlebury, Vermont Mondays at 8 pm August 13, Sally Slade Warner Chicago Botanic Garden Middlebury College June 5, Adrian Gebruers Mondays at 7 pm Fridays at 4 pm July 3, Peter Langberg Culver, Indiana June 19, Christine Power June 30, Suzanne Magassy August 7, TBA Culver Academies Memorial Chapel June 26, Wylie Crawford July 7, Sergei Gratchev September 4, John Courter Saturdays at 4 pm July 3, David Hunsberger July 14, Marcel Siebers June 3 (7:30 pm), June 24, July 1, 15, July 10, Jim Fackenthal July 21, Daniel Kerry Kehoe Bloomfield Hills, Michigan 22, 29, September 2, 30, John Gouwens July 17, Charles Dairay July 28, Hans Uwe Hielscher Christ Church Cranbrook July 8, Justin Ryan July 24, Peter Langberg August 4, Alexander Solovov Sundays at 5 pm July 31, Andrea McCrady August 11, Elena Sadina July 2, James W. Smith Danbury, Connecticut August 7, Kimberly Schafer August 18, George Matthew, Jr. (7 pm) July 9, Suzanne Magassy St. James Episcopal Church August 14, Trevor Workman July 16, Claude Aubin Wednesdays at 12:30 pm August 21, Daniel Kerry Kehoe Naperville, Illinois July 23, Charles Dairay July 5, George Matthew, Jr. August 28, Sue Bergren Naperville Millennium Carillon July 30, Linda Dzuris July 12, Marcel Siebers Tuesdays at 7 pm August 6, Steven Ball July 19, Gerald Martindale Gloucester, Massachusetts June 20, Christine Power July 26, Hans Uwe Hielscher Our Lady of Good Voyage Church June 27, Wylie Crawford Kirk in the Hills Presbyterian Church August 2, TBA Wednesday, July 5 and Tuesdays at 7 pm July 4, David Hunsberger Sundays at 10 am and 12 noon July 5, Ulla Laage July 11, Jim Fackenthal June 18, Dennis Curry Dayton, Ohio July 11, Marilyn Clark July 18, Charles Dairay July 9, Suzanne Magassy Deeds Carillon July 18, Marcel Siebers July 25, Peter Langberg July 16, Claude Aubin July 2, 3 pm, Peter Langberg July 25, Dave Johnson August 1, Andrea McCrady August 8, Kimberly Schafer August 15, Trevor Workman August 22, Daniel Kerry Kehoe New Britain, Connecticut First Church of Christ, Congregational July 11, 7 pm, Marcel Siebers Northfield, Vermont Norwich University Saturdays at 1 pm June 24, George Matthew Jr. July 1, Suzanne Magassy July 8, Sergei Gratchev July 15, Marcel Siebers July 22, Daniel Kerry Kehoe July 29, Hans Uwe Hielscher Norwood, Massachusetts Norwood Memorial Municipal Building Mondays at 7 pm June 26, Roy Lee July 3, Ulla Laage July 10, TBA July 17, Marcel Siebers July 24, Dave Johnson July 31, TBA August 7, Margaret Angelini August 14, Daniel Kerry Kehoe Ottawa, Ontario Peace Tower Carillon July and August, weekdays except Cana- da Day (July 1), 2 pm September–June, most weekdays, 12 pm Gordon Slater, Dominion Carillonneur Owings Mills, Maryland McDonogh School Fridays at 7 pm July 7, Peter Langberg
32 THE DIAPASON July 14, TBA Springfield, Illinois July 21, Hans Uwe Hielscher Thomas Rees Memorial Carillon Bert Adams, FAGO July 28, Marcel Siebers June 3, 7 pm, Sara and Ana Elias; 7:45 August 4, Dennis Curry pm, Wim Brioen and Karel Keldermans Park Ridge Presbyterian Church June 4, 7 pm, Jill Forrest; 7:45 pm, Park Ridge, IL Philadelphia, Pennsylvania Vegar Sandholt First United Methodist Church of Ger- June 5, 7 pm, Peter Langberg; 7:45 Pickle Piano & Church Organs mantown pm, Ana Elias Bloomingdale, IL Mondays at 7:30 pm Tuesday, June 6, 7 pm, Jeremy Ches- June 5, Janet Tebbel man; 7:45 pm, Peter Langberg June 12, Ann-Kirstine Christiansen June 8, 7 pm, Vegar Sandholt; 7:45 June 19, TBA pm, Sara Elias June 26, Margo Halsted June 9, 7 pm, Charles Dairay; 7:45 pm, Jill Forrest Princeton, New Jersey June 10, 7 pm, Sue Bergren; 7:45 pm, Princeton University, Grover Cleveland Aime Lombaert; 9:30 pm, fireworks Tower June 11, 7 pm, Charles Dairay; 7:45 Sundays at 1 pm pm, Wim Brioen and Karel Keldermans June 25, Margo Halsted July 2, Anne Kroeze Springfield, Massachusetts July 9, Janet Tebbel Trinity United Methodist Church July 16, Lara West July 13, 7 pm, Marcel Siebers July 23, Marcel Siebers July 30, Peter Langberg Stamford, Connecticut August 6, Dennis Curry First Presbyterian Church August 13, Carlo van Ulft July 12, 7 pm, Marcel Siebers August 20, Lisa Lonie August 27, Trevor Workman September 3, Scott Parry Storrs, Connecticut Storrs Congregational Church July 10, 7 pm, Marcel Siebers Rochester, Minnesota Mayo Clinic July 30, 4 pm, Jeff Daehn Valley Forge, Pennsylvania August 5, 4 pm, Andrea McCrady Washington Memorial Chapel August 13, 4 pm, John Gouwens Wednesdays at 7:30 pm July 5, Doug Gefvert St. Paul, Minnesota July 12, Anne Kroeze House of Hope Presbyterian Church July 19, Lara West Sundays at 4 pm July 26, Marcel Siebers July 4, Dave Johnson August 2, Peter Langberg July 9, Ellen Dickinson and Roy Lee August 9, Dennis Curry July 16, Justin Ryan August 16, Carlo van Ulft July 30, Helen Hawley August 23, Doug Gefvert with Irish August 6, Andrea McCrady Thunder Bag Pipe Band August 13, Dave Johnson August 30, Janet Tebbel
Simsbury, Connecticut Victoria, British Columbia Simsbury United Methodist Church Netherlands Centennial Carillon The Foreman Carillon Sundays, 3 pm, May–December July 9, 7 pm, Marcel Siebers Fridays, 7 pm, July–August Rosemary Laing, Carillonneur Spokane, Washington Cathedral of St. John the Evangelist Williamsville, New York Thursdays at 7 pm Calvary Episcopal Church July 4, 9 pm, Andrea McCrady Wednesdays at 7 pm July 6, Roy Lee and Ellen Dickinson July 5, Anne Kroeze July 13, Charles Dairay July 19, Linda Dzuris July 20, Peter Langberg July 26, Charles Dairay July 23, Andrea McCrady August 2, Carlo van Ulft July 27, Dave Johnson August 9, Gloria Werblow
Calendar
This calendar runs from the 15th of the month 20 JUNE of issue through the following month. The deadline Felix Hell; Portland City Hall, Portland, ME is the first of the preceding month (Jan. 1 for 7:30 pm Feb. issue). All events are assumed to be organ Carl Klein; Old West Church, Boston, MA recitals unless otherwise indicated and are grouped 8 pm within each date north-south and east-west. •=AGO VocalEssence; Bethel University, St. Paul, chapter event, • •=RCCO centre event, +=new MN 7:30 pm organ dedication, ++= OHS event. Information cannot be accepted unless it spec- 21 JUNE ifies artist name, date, location, and hour in writ- Elaine Chard; Methuen Memorial Music Hall, ing. Multiple listings should be in chronological Methuen, MA 8 pm order; please do not send duplicate listings. THE Orchestra of St. Luke’s; St. Bartholomew’s, DIAPASON regrets that it cannot assume responsi- New York, NY 8 pm bility for the accuracy of calendar entries. Etienne Walhain; St. James’ Episcopal, Richmond, VA 7 pm Nigel Potts; Trinity Episcopal Cathedral, Columbia, SC 7:30 pm UNITED STATES Joanne Peterson; St. Joseph Catholic East of the Mississippi Church, Appleton, WI 12:45 pm Patrick Collins; Sinsinawa Mound, Sinsi- nawa, WI 7 pm 15 JUNE Evensong; St. James’ Episcopal, Richmond, 23 JUNE VA 5 pm Choral Evensong; St. John’s Episcopal, Stur- gis, MI 7 pm Antone Godding 16 JUNE John Scott; St. Bede Catholic Church, 24 JUNE Nichols Hills Williamsburg, VA 7:30 pm Arthur LaMirande; Basilica of St. Peter and United Methodist Church St. Paul, Lewiston, ME 8 pm Oklahoma City 17 JUNE John Gouwens, carillon; The Culver Acade- Vegar Sandholt, carillon; Longwood Gar- mies, Culver, IN 4 pm dens, Kennett Square, PA 6 pm 25 JUNE LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. 18 JUNE Murray Foreman; Grace Lutheran, Lancast- Andrew Henderson; Cathedral of St. Patrick, er, PA 4 pm New York, NY 4:30 pm Russell Weismann; Basilica of the National Associate Professor Christopher Jennings; Christ Church, Shrine of the Immaculate Conception, Washing- New Brunswick, NJ 6:30 pm, Vespers at 6 ton, DC 6 pm University Organist pm Diane Heath; Old Presbyterian Meeting Karel Paukert; Washington National Cathe- House, Alexandria, VA 5 pm Valparaiso University dral, Washington, DC 5 pm John Scott; Washington National Cathedral, Valparaiso, IN Peter Latona; Basilica of the National Shrine Washington, DC 5 pm of the Immaculate Conception, Washington, •Karen Jacob, with Carolina Pro Musica; St. www.valpo.edu DC 6 pm John’s Episcopal, Charlotte, NC 7:30 pm Mary Mozelle, with trumpet; Old Presbyterian Meeting House, Alexandria, VA 5 pm 26 JUNE 219-464-5084 Herndon Spillman; St. James Episcopal, Joan Lippincott; Cathedral of All Saints, [email protected] Alexandria, LA 4 pm Albany, NY 8 pm
JUNE, 2006 33 Marilyn Keiser, Eucharist Service; Christ •House of Hope Choir & Glen Ellyn Children’s Church Cathedral, Indianapolis, IN 10 am Chorus; Grace United Methodist, Naperville, IL Karen Beaumont; Elliott Chapel, The Pres- 9 am, 10:30 am byterian Homes, Evanston, IL 1:30 pm •Alan Morrison & Jeannine Morrison; Col- lege Church, Wheaton, IL 9 am, 10:30 am 27 JUNE •Mickey Thomas Terry, with Chicago Com- Amy Johansen; Portland City Hall, Portland, munity Choir; The Moody Church, Chicago, IL ME 7:30 pm 7:30 pm George Bozeman; Old West Church, Boston, •Paul Bisaccia, piano; Marriott Hotel, Chica- MA 8 pm go, IL 10 pm Thomas Murray; Westminster Presbyterian, Thomas Trotter; Overture Hall, Madison, WI Albany, NY 9:30, 11:00 am 7:30 pm Brian Jones Holden Alee; Trinity Episcopal, Mackinac Director of Music Emeritus Island, MI 7 pm 7 JULY John Eggert; Bethel Lutheran, Ishpeming, MI TRINITY CHURCH 28 JUNE 7:30 pm Ann Labounsky; Methuen Memorial Music Cherry Rhodes; Queen of All Saints Basilica, BOSTON Hall, Methuen, MA 8 pm Chicago, IL 7:30 pm Gerre Hancock, hymn festival; Second Pres- Thomas Trotter; Overture Hall, Madison, WI byterian, Indianapolis, IN 10:30 am 11 am Naomi Rowley; First United Methodist, Appleton, WI 12:15 pm 8 JULY Michael Elsbernd; Sinsinawa Mound, Sinsi- Gordon Turk; Ocean Grove Auditorium, nawa, WI 7 pm Ocean Grove, NJ 12 noon John Gouwens, carilllon; The Culver Acade- 29 JUNE mies, Culver, IN 4 pm Diane Meredith Belcher; St. James’ Roman Catholic Church, Albany, NY 8 pm 9 JULY Alexander Fiseisky; Trinity Church Wall Maxine Thevenot, with Cathedral Choir of St. Street, New York, NY 1 pm John, St. Thomas Fifth Avenue, New York, NY 11 am DAVID K. LAMB, D.MUS. 1 JULY David Pickering; Washington National Gordon Turk; Ocean Grove Auditorium, Cathedral, Washington, DC 5 pm Director of Music/Organist Ocean Grove, NJ 12 noon Domenico Severin; Basilica of the National John Gouwens, carilllon; The Culver Acade- Shrine of the Immaculate Conception, Washing- First United Methodist Church mies, Culver, IN 4 pm ton, DC 6 pm Columbus, Indiana Ken Cowan; First United Methodist, Oak Edward Moore; Old Presbyterian Meeting 812/372-2851 Park, IL 7 pm House, Alexandria, VA 5 pm •Bruce Neswick, with Gerre Hancock, con- 2 JULY ductor, Evensong; Myers Park Baptist, Char- Paul Bisaccia, piano; Unitarian Universalist lotte, NC 4 pm Church, Provincetown, MA 5 pm Peter Richard Conte; University of the Naji Hakim; Washington National Cathedral, South, Sewanee, TN JAMES R. METZLER Washington, DC 5 pm Louis Perazza; Basilica of the National 10 JULY TRINITY CATHEDRAL Shrine of the Immaculate Conception, Washing- John Eggert; St. Paul Lutheran, Laurium, MI LITTLE ROCK ton, DC 6 pm 7:30 pm •Mary McFarland, carillon; Covenant Presby- terian, Charlotte, NC 6 pm 11 JULY Charles Huddleston Heaton; Trinity Luther- William Tortolano; First Parish Church, an, Frankfort MI 7:30 pm Brunswick, ME 12:10 pm •Philippe Belanger, Thierry Escaich, Daniel Zaretsky; Merrill Auditorium, Portland, Escaich Concerto for Organ and Orchestra, ME 7:30 pm David Schrader, Maxine Thevenot, with Louise Mundinger; Old West Church, orchestra; Orchestra Hall, Chicago, IL 7:30 Boston, MA 8 pm pm John Walker; The Riverside Church, New York, NY 7 pm 3 JULY Maxine Thevenot, with Cathedral Choir of St. •Martin Jean; Chapel of the Resurrection, John, choral Evensong; Washington National Valparaiso University, Valparaiso, IN 9 am Cathedral, Washington, DC 5:30 pm, also 7/12 •James O’Donnell; Chapel of the Resurrec- Peggy Howell; Christ Episcopal, Roanoke, tion, Valparaiso University, Valparaiso, IN VA 7:30 pm 11:30 am Peter Richard Conte; University of the •Chelsea Chen; St. Chrysostom’s, Chicago, South, Sewanee, TN IL 4 pm •Alexander Fiseisky; Church of the Ascen- 12 JULY sion, Chicago, IL 4 pm Daniel Zaretsky; Methuen Memorial Music Hall, Methuen, MA 8 pm 4 JULY Todd Wilson; Syracuse Federal Credit Leonardo Ciampa; King’s Chapel, Boston, Union, Syracuse, NY 7 pm MA 12:15 pm Hans Hielscher; Ocean Grove Auditorium, •Stefan Engels; Fourth Presbyterian, Chica- Ocean Grove, NJ 7:30 pm go, IL 10:30 am, 1:15 pm Alan Morrison; Cathedral of St. Philip, •Janette Fishell; Holy Name Cathedral Atlanta, GA 7:30 pm Chicago, IL 10:30 am, 1:15 pm Jared Stellmacher; Holy Cross Catholic •David Schrader, with Cathedral Singers and Church, Kaukauna, WI 12:15 pm orchestra; Holy Family, Chicago, IL 8 pm Patricia Gallagher, OP; Sinsinawa Mound, •Trinity Church Wall St. Choir; St. Mary of the Sinsinawa, WI 7:30 pm Angels, Chicago, IL 8 pm 14 JULY 5 JULY Janette Fishell; St. Paul’s Episcopal, Mario Duella; Methuen Memorial Music Hall, Greenville, NC Methuen, MA 8 pm John Eggert; Our Saviour’s Lutheran, Iron Paul Bisaccia, piano; Trinity College Chapel, Mountain, MI 7:30 pm Hartford, CT 6 pm Daniel Zaretsky; Ocean Grove Auditorium, 15 JULY Ocean Grove, NJ 7:30 pm John Gouwens, carilllon; The Culver Acade- Diane Bish; Peachtree Road United mies, Culver, IN 4 pm Methodist, Atlanta, GA 7:30 pm Huw Lewis; National FABM Conference, •Sophie-Véronique Cauchefer-Choplin; St. Green Lake, WI Ita’s, Chicago, IL 9 am, 10:30 am •Thomas Murray; St. Luke’s Episcopal, 16 JULY Evanston, IL 9 am, 10:30 am Domenico Severin; Cathedral of St. Patrick, •Wolfgang Seifen; Trinity United Methodist, New York, NY 4:30 pm Wilmette, IL 9 am, 10:30 am Gregory Hooker; Washington National •St. Clement Choir; First United Methodist, Cathedral, Washington, DC 5 pm Evanston, IL 9 am, 10:30 am Richard Fitzgerald; Basilica of the National •Trinity Church Wall St. Choir; St. Mary of the Shrine of the Immaculate Conception, Washing- Angels, Chicago, IL 8 pm ton, DC 6 pm •David Schrader, with Cathedral Singers and Jason Abel; Old Presbyterian Meeting orchestra; Holy Family, Chicago, IL 8 pm House, Alexandria, VA 5 pm Cathedral Church of St. John Mary Kay Easty; First Congregational, •Daniel Hannemann; First Baptist, Charlotte, Albuquerque, New Mexico Appleton, WI 12:15 pm NC 7:30 pm www.stjohnsabq.org A two-inch Charles Barland; Sinsinawa Mound, Sinsi- 505-247-1581 nawa, WI 7:30 pm 18 JULY Professional Card Brittany Haskell; First Parish Church, 6 JULY Brunswick, ME 12:10 pm in THE DIAPASON Walt Strony; Merrill Auditorium, Portland, ME Maurice Clerc; Merrill Auditorium, Portland, 7:30 pm ME 7:30 pm For information on rates and •Thierry Escaich; St. Paul’s United Church of Leo Abbott; Old West Church, Boston, MA 8 pm specifications, contact: Christ, Chicago, IL 9 am, 10:15 am Erica Johnson; Christ Episcopal, Roanoke, •Carol Williams; St. Vincent de Paul, Chica- VA 7:30 pm Jerome Butera go, IL 9 am, 10:15 am •Chicago a cappella; St. Clement’s, Chicago, 19 JULY [email protected] Q x IL 9 am, 10:15 am Nicole Keller; Methuen Memorial Music Hall, Iain uinn Ma ine Thevenot •Aaron David Miller, with Agape Ringers and Methuen, MA 8 pm Director of O - 847/391-1045 Associate rganist Heritage Chorale; St. Raphael, Naperville, IL 9 Cj Sambach; Covenant Central Presbyterian, Cathedral Music Choir Director am, 10:15 am Williamsport, PA 7:30 pm
34 THE DIAPASON Robert Unger; Faith Lutheran, Appleton, WI David Brock; Cathedral of St. Mary of the 12:15 pm Assumption, San Francisco, CA 3:30 pm Joanne Wright; Sinsinawa Mound, Sinsi- Carol Williams; Balboa Park, San Diego, CA RICHARD M. PEEK nawa, WI 7 pm 2 pm IN MEMORIAM 22 JULY 26 JUNE John Gouwens, carilllon; The Culver Acade- Diane Bish; Balboa Park, San Diego, CA May 17, 1927–November 28, 2005 mies, Culver, IN 4 pm 7:30 pm 2 JULY 23 JULY Christoph Tietze; Cathedral of St. Mary of Hans Hielscher; Basilica of the National the Assumption, San Francisco, CA 3:30 pm Shrine of the Immaculate Conception, Washing- Carol Williams; Balboa Park, San Diego, CA ton, DC 6 pm 2 pm •John Cleaveland; Calvary Church, Char- lotte, NC 7:30 pm 3 JULY ElRay Cook; Central Lutheran, Eugene, OR 25 JULY 12 noon John Ward; First Parish Church, Brunswick, Robert Plimpton, with soprano; Balboa Park, ME 12:10 pm San Diego, CA 7:30 pm Yuko Hayashi & Jon Gillock; Old West Church, Boston, MA 8 pm 6 JULY James Leland; Christ Episcopal, Roanoke, John Jantzi; First Christian Church, Eugene, VA 7:30 pm OR 12 noon 9 JULY 26 JULY Charles Talmadge; Cathedral of St. Mary of Frederick Hohman; Methuen Memorial the Assumption, San Francisco, CA 3:30 pm Music Hall, Methuen, MA 8 pm Nigel Potts; Ocean Grove Auditorium, Ocean 10 JULY Grove, NJ 7:30 pm Janette Fishell & Colin Andrews; Balboa Jeffrey Verkuilen; First Presbyterian, Park, San Diego, CA 7:30 pm Neenah, WI 12:15 pm William Tinker; Sinsinawa Mound, Sinsi- 11 JULY nawa, WI 7 pm Carole Terry; Central Lutheran, Eugene, OR 8 pm 29 JULY Peter Langberg, carillon; Longwood Gar- 12 JULY dens, Kennett Square, PA 7 pm Carole Terry, masterclass; Central Lutheran, John Gouwens, carilllon; The Culver Acade- Eugene, OR 10 am mies, Culver, IN 4 pm 16 JULY 30 JULY David Hatt; Cathedral of St. Mary of the DONALD W. WILLIAMS Vincent de Pol; Cathedral of St. Patrick, New Assumption, San Francisco, CA 3:30 pm York, NY 4:30 pm Sean Jackson; Washington National Cathe- 17 JULY IN MEMORIAM Donald MacKenzie; Balboa Park, San Diego, dral, Washington, DC 5 pm CA 7:30 pm August 5, 1939–September 22, 2005 Leo Abbott; Basilica of the National Shrine of the Immaculate Conception, Washington, DC 23 JULY 6 pm Derek Nickels; Cathedral of St. Mary of the •Henry Lebedinsky; St. Alban’s Episcopal, Assumption, San Francisco, CA 3:30 pm Davidson, NC 7:30 pm Davis Wortman 24 JULY RONALD WYATT Richard Elliott; Balboa Park, San Diego, CA UNITED STATES 7:30 pm St. James’ Church Trinity Church West of the Mississippi New York 25 JULY Galveston 15 JUNE James Welch, with piano and strings; St. James David Christie, workshop; Graham Mark’s Episcopal, Palo Alto, CA 8 pm, also 7/26 Chapel, St. Louis, MO 9 am 30 JULY 18 JUNE Robert Knupp; Cathedral of St. Mary of the Jonas Nordwall; Zion Lutheran, Portland, Assumption, San Francisco, CA 3:30 pm OR 4 pm Marcia van Oyen mvanoyen..com Emma Lou Diemer, Mahlon Balderston, & 31 JULY David Gell; Trinity Episcopal, Santa Barbara, Dennis James, film accompaniment; Balboa CA 3:30 pm Park, San Diego, CA 7:30 pm Plymouth First United Methodist Church,,Plymouth,,Michigan Carol Williams; Balboa Park, San Diego, CA 2 pm INTERNATIONAL 19 JUNE Carol Williams, with sopranos; Balboa Park, 15 JUNE San Diego, CA 7:30 pm Peter Dyke; Hereford Cathedral, Hereford, UK 7:30 pm 25 JUNE David Bednall, Messiaen, Livre du Saint Rodney Gehrke; Grace Lutheran, Tacoma, Sacrement; Blackburn Cathedral, Blackburn, WA 3 pm UK 7:30 pm
Windy City Pipes - #0623. . . sounds of some noteworthy (and J historic) instruments in and around Chicago, as prelude to U upcoming national conventions of the American Guild of Organists N and Organ Historical Society. E Getting Folksy #0624. . . everybody loves a familiar tune, and these composers take advantage of some popular melodies from diverse 2 cultures. 0 For Two to Play - #0625...consideringwhatoneplayeratthe 0 console can accomplish, just imagine what is possible with organ 6 duos and duets. American Blessings - #0626...therichresourceofournation'sown compositional talent store gives our ears and hearts much for which to be thankful.
JUNE, 2006 35 Peter Ouwerkerk; St. John’s Smith Square, 25 JUNE 5 JULY Daniel Zaretsky; All Saints, Rome, Italy 9 pm London, UK 1 pm Peter Planyavsky; Palace of Arts, Budapest, John Hosking; St. Asaph Cathedral, Liver- Paul Provost; Anglican Cathedral, Liverpool, Robert Quinney; St. Matthew’s Westminster, Hungary 7:30 pm pool, UK 7:30 pm UK 4 pm London, UK 1:05 pm John Keys; Rochdale Town Hall, Rochdale, Paul Hale; Bridlington Priory, Bridlington, UK Emanuele Cardi; St. Margaret Lothbury, Lon- UK 2:45 pm 6 JULY 6 pm don, UK 1:10 pm Stephen Disley; Westminster Cathedral, Michael Kleinschmidt; Minato Mirai Hall, Stephen Farr; St. John the Evangelist, Isling- Quentin Thomas; Haileybury Chapel, Hert- London, UK 4:45 pm Yokohama, Japan 7 pm ton, UK 7:30 pm ford Heath, Broxbourne, Herts, UK 7:30 pm Ashley Grote; Westminster Abbey, London, UK 5:45 pm 9 JULY 30 JULY David Hamilton; St. Bride’s Church, Hynd- 16 JUNE Daniel Pandolfo; All Saints, Rome, Italy 9 pm Felix Hell; Evangelische Bruderschaft land, Glasgow, Scotland 3 pm Wayne Marshall & David Briggs; Symphony “Kecharismai,” Dettingen/Erms, Germany 5 pm Hall, Birmingham, UK 7:30 pm 10 JULY Daniel Zaretsky; Chiesa S. Martiri Canadesi, 26 JUNE Pascal Reber; All Souls, Langham Place, Rome, Italy 9 pm Martin Baker; St. Dominic’s Priory, London, Csaba Király, János Pálúr, Bálint Karosi; UK 7:30 pm London, UK 7:30 pm Palace of Arts, Budapest, Hungary 7:30 pm 31 JULY 11 JULY Gail Archer; Chiesa di S. Lorenzo, Crevola, 17 JUNE 27 JUNE Mario Duella; Chiesa S. Martiri Canadesi, Italy 9 pm Gail Archer; Chiesa di S. Giorgio, Collalto, László Fassang & Philippe Lefebvre, with Rome, Italy 9 pm Italy 8:45 pm instruments; Palace of Arts, Budapest, Hungary Jane Watts; Hereford Cathedral, Hereford, 7:30 pm UK 7:30 pm 18 JUNE Raymond Perrin; St. James United Church, Kurt-Ludwig Forg; St. James United Church, Organ Recitals Gianluca Libertucci; Westminster Cathe- Montreal, QC, Canada 12:30 pm Montreal, QC, Canada 12:30 pm dral, London, UK 4:45 pm Matthew Martin; Westminster Abbey, Lon- 28 JUNE MALCOLM ARCHER, Westminster 16 JULY United Church, Winnipeg, MB, Canada, don, UK 5:45 pm Hatsumi Miura, with trumpet; Minato Mirai Roger Fisher; All Saints, Rome, Italy 9 pm Hall, Yokohama, Japan 12:10 pm February 21: Suite Gothique, Boëllmann; Marco Lo Muscio; St. Gorans Kyrka, Prelude and Fugue in a, BWV 543, Bach; 20 JUNE 18 JULY Trumpet Minuet, Hollins; Choral No. 3 in a, Paul Jacobs; Victoria Concert Hall, Singa- Mariehamn, Finland 1 pm Marco Lo Muscio & Dario Paolini; Chiesa Olivier Latry; Palace of Arts, Budapest, Hun- S. Martiri Canadesi, Rome, Italy 9 pm Franck; Four Sketches, Schumann; Fantaisie pore 7:30 pm in E-flat, Saint-Saëns; The Swan, Saint- Duruflé, Requiem; St-Etienne-du-Mont, Paris, gary 7:30 pm Davidson United Methodist Church Senior Matteo Imbruno; Stadtkirche, Preetz, Ger- High Choir; St. James United Church, Montre- Saëns, arr. Guilmant; Suite for Organ, France 8:30 pm Archer. Jean-Willy Kunz; St. James United Church, many 8 pm al, QC, Canada 12:30 pm Montreal, QC, Canada 12:30 pm 29 JUNE 19 JULY F. ALLEN ARTZ, III, St. Stephen’s Church, Millburn, NJ, January 29: Praeludi- 22 JUNE Etienne Walhain; Eglise St. Eustache, Paris, Gail Archer; St. Petri, Hamburg, Germany France 8 pm 12 noon um in g, BuxWV 149, Buxtehude; Wer nur Derek Longman; Haileybury Chapel, Hert- den lieben Gott läßt walten, Böhm; Prélude ford Heath, Broxbourne, Herts, UK 7:30 pm Carol Williams; St. David’s Cathedral, 30 JUNE Haverfordwest, UK 8:15 pm sur l’Introït de l’Épiphanie, Duruflé; Three Short Settings of Vom Himmel hoch, da 23 JUNE Philippe Lefebvre & Olivier Latry; Palace of Arts, Budapest, Hungary 7:30 pm 21 JULY komm ich her, Pepping; Noël X: Grand Jeu Wim van Beek; Grote Kerk, Harlingen, et Duo, D’Aquin; Fuga a 5 con pedale pro Netherlands 8 pm Darryl Nixon; Christ Church Cathedral, Van- Gillian Weir; Haderslev Cathedral, Hader- couver, BC, Canada 7:30 pm slev, Denmark 4:30 pm Organo pleno, BWV 552(2), Bach; Sonata in Thomas Corns; St. Stephen Walbrook, Lon- A, op. 65, no. 3, Mendelssohn; Toccata and don, UK 12:30 pm 1 JULY 22 JULY Fugue in d, BWV 538, Bach; Cornet Volun- Gail Archer; Matyas Templom, Budapest, tary, Berg; Trumpet Voluntary, Bennett; 24 JUNE D’Arcy Trinkwon; Canterbury Cathedral, Hungary 8 pm Kirchliche Fest Ouvertüre über den Chorale Marco Lo Muscio; Moscow Catholic Cathe- Canterbury, UK 7:30 pm John Scott & Huw Williams; St. Bavo’s Ein feste Burg, op. 31, Nicolai, transcr. Liszt. dral, Moscow, Russia 7:30 pm Cathedral, Haarlem, The Netherlands 3 pm Philip Scriven; Victoria Hall, Hanley, Stoke- 2 JULY Douglas Cleveland; La Cathédrale de Lau- MARILYN & JAMES BIERY, Cathedral on-Trent, UK 12 noon Roman Perucki; All Saints, Rome, Italy 9 pm sanne, Lausanne, Switzerland 8 pm of St. Paul, St. Paul, MN, February 9: Fanta- Alan Spedding; Beverley Minster, Beverley, Shean Bowers; Anglican Cathedral, Liver- UK 3 pm 4 JULY sia in f, K. 608, Mozart; Largo ma non tanto pool, UK 4 pm Martin Setchell; Bridlington Priory, Bridling- Daniel Pandolfo; Chiesa della S. Trinità dei (Concerto in d, BWV 1043), Bach, transcr. Alan Spedding, with trumpet; Beverley Min- ton, UK 6 pm Monti, Rome, Italy 9 pm Biery; Le Tombeau de Couperin, Ravel, arr. ster, Beverley, UK 6 pm +Gillian Weir; St. John the Evangelist, Isling- David Carle; St. James United Church, Mon- Biery; Alléluias sereins d’un âme qui désire le ton, London, UK 7:30 pm treal, QC, Canada 12:30 pm ciel (L’Ascension), Messiaen; Psalm Varia- 23 JULY tions, Hopkins. Henryk Gwardak; All Saints, Rome, Italy 9 pm BYRON L. BLACKMORE, American Iain Quinn; Westminster Abbey, London, UK Lutheran Church, Sun City, AZ, February 5:45 pm 12: Improvisation, op. 150, no. 7, Saint- Sylvie Poirier & Philip Crozier; Cathédrale Saëns; The Feast of All Saints (Six Offer- de Langres, Langres, France 7:30 pm toires), Charpentier; Suite du Second Ton, Guilain; Méditation, Duruflé; Tu es petra 24 JULY (Esquisses Byzantines), Mulet. Gillian Weir; Jesuskirk, Copenhagen, Den- mark 1 pm JAMES RUSSELL BROWN, St. Chrysos- Carol Williams; All Saints’, Hastings, UK tom’s Church, Chicago, IL, February 26: 7:30 pm Preludio (Deuxième Symphonie, op. 26), Dupré; Communion (Les oiseaux et les 25 JULY sources) (Messe de la Pentecôte), Messiaen; Henryk Gwardak; Chiesa S. Martiri Canade- Annum per annum, Pärt; Trio Sonata IV in e, si, Rome, Italy 9 pm BWV 528, Bach; Phantasie über den chorale •Diane Meredith Belcher, masterclass; St. Wachet auf, ruft uns die Stimme, op. 52, no. Matthew’s United Church, Halifax, NS, Canada, 2, Reger. 9 am Federico Andreoni; St. James United Church, Montreal, QC, Canada 12:30 pm PHILIP CROZIER, McGill University, Montreal, QC, Canada, February 17: Prae- ludium in F-Dur, op. 698, no. 1, Czerny; Epi- 26 JULY NEW INSTRUMENTS •Diane Meredith Belcher; St. Matthew’s grams, Kodály; Präludium und Fuge c-moll, MAINTENANCE United Church, Halifax, NS, Canada, 8 pm op. 37, no. 1, Mendelssohn; Sei gegrüsset, RESTORATIONS Yuuichiro Shiina; Minato Mirai Hall, Yoko- Jesu, gütig, BWV 768, Bach. hama, Japan 12:10 pm 974 AUTUMN DRIVE HENRY DI CRISTOFANO, Immaculate ANTIOCH, ILLINOIS 60002 Conception BVM Church, Chicago, IL, Feb- ABR 847-395-1919 27 JULY F INCY PIPE ORGANS FAX 847-395-1991 Adrian Gunning; Union Chapel, Upper ruary 20: Ave Regina Caelorum, Proulx; Duo www.fabryinc.com Islington, UK 7 pm (Veni Creator), de Grigny; Fishers of Men, Gabaráin, arr. Trapp; Prelude in G, BWV 28 JULY 541, Bach; La Bamba (Tríptico Mexicano), Sylvie Poirier & Philip Crozier; Pfarre Breit- Noble; Minuet in A, Boccherini, transcr. enfeld, Breitenfeld, Austria 6 pm Lemare; The Washington Post March, Sousa, transcr. Linger. 29 JULY Gail Archer; Parrocchia S. Vincenzo Martire, JAMES DORROH, First Presbyterian Nole Canavese, Italy 9 pm Church, Bessemer, AL, January 22: Proces-
WOLFF & ASSOCIÉS Facteurs d’orgues Organbuilders
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36 THE DIAPASON sional, Mathias; Wachet auf, ruft uns die gegrüsset, Jesu gütig, BWV 768, Bach; Fan- MARY PRESTON, The Neighborhood K. SCOTT WARREN, Church of St. Stimme, BWV 645, In dulci jubilo, BWV 729, fare to the Tongues of Fire, King; In paradis- Church, Palos Verdes Estates, CA, February Ignatius Loyola, New York, NY, January 22: Bach; Come, Thou Fount of Every Blessing, um, Gibson; Hymne d’Actions de Grâce Te 12: Crown Imperial (Coronation March), Fantaisie in A, Franck; Elevation—Tierce en Phillips; America, The Beautiful, Hampton; Deum, op. 5, no. 3, Langlais. Walton; Herr Jesu Christ, dich zu uns wend, Taille (Messe pour les Couvents), Couperin; God of Grace and God of Glory, Manz; Ada- BWV 709, 655, Bach; A Sweet for Mother Prelude and Fugue in E, BWV 566, Bach; gio (Troisième Symphonie), Vierne; Choral MARTIN JEAN, St. Mark’s Lutheran Goose, Akerley; Pièce Héroïque, Franck; Lyric Interlude, The Prayer of Faith, in a, Franck; Irish Air from County Derry, Church, Anchorage, AL, March 5: Praeludi- Variations on America, Ives; Even Song, Schreiner; Allegro, Adagio, Finale (Sympho- Lemare; Hornpipe Humoresque, Raws- um in d, BuxWV 139, Buxtehude; Jesu, du LaMontaine; Sonata Eroïca, Jongen. ny No. 6, op. 42), Widor. thorne. bist allzu schöne, Böhm; Theme and Varia- tions (Hommage to Frescobaldi), Langlais; H. RICARDO RAMIREZ, Cathedral of BRADLEY HUNTER WELCH, St. Nor- DAVID A. GELL, Emanuel Lutheran Praeludium et Fuga in D, BWV 532, Bach; the Holy Angels, Gary, IN, January 29: Trio bert Abbey, De Pere, WI, January 21: Tocca- Church, Santa Barbara, CA, January 28: Wie Fantasy in f, K. 608, Mozart; Nun komm der Sonata in G, BWV 630, Bach; Scherzo, op. 2, ta and Fugue in d, BWV 565, Bach; Varia- schön leuchtet der Morgenstern, Scheidt, heiden Heiland, BWV 659, Bach; Es ist ein Duruflé; Variations on Silence! Frenzied, tions on O Run, Ye Shepherds, Drischner; Buxtehude, Pachelbel, Kauffmann, Reger, Ros’ entsprungen, Brahms; Ein feste Burg, Unclean Spirit, Ramirez; Toccata (Sonata), Aria on a Chaconne, Martinson; Allegro Dupré, Walcha, Manz, Lenel. Bender; Passacaglia, BWV 582, Bach. A. de Elías; Cancíon de Cuna, Preludio (Symphonie VI, op. 42), Widor; Fanfare Elegíaco, M. de Elías; Scherzo, Final (Sym- (Psalm 81:1–3), Cook; Come, Sweetest DAVID HATT, First Presbyterian YOON-MI LIM, The Presbyterian phonie VI in b, op. 59), Vierne. Death, Come, Blessed Rest, Bach, arr. Fox; Church, Oakland, CA, January 25: Donne Homes, Evanston, IL, February 27: Sonata Sonata I in d, op. 42, Guilmant. Secours, A Mighty Fortress, Johnson; Gangs- No. 6, op. 65, Mendelssohn; Mein Jesu, der JOHN SCOTT, St. Paul Episcopal ta’, Timpson; Chorale Variations on Old du mich (Eleven Chorale Preludes, op. 122), Church, Concord, NH, February 19: Tocca- CAROL WILLIAMS, The Church of St. American Hymn Tunes (Christian Soldier, Brahms; Ciacona in f, Pachelbel; Toccata, ta, Adagio and Fugue, BWV 564, Wer nur Paul in the Desert, Palm Springs, CA, March Arlington, Toplady), Hatt; Prelude and Toc- Adagio and Fugue in C, BWV 564, Bach. den lieben Gott lässt walten, BWV 647, 10: Toccata Primi Toni, op. 11, Sark; Fanta- cata, Etler; Testify!, Lee. Meine Seele erhebet den Herren, BWV 648, sia in c, BWV 562, Bach; Voluntary on the DAN LOCKLAIR, with Kathryn Levy, Ach bleib’ bei uns, Herr Jesu Christ, BWV Old 100th, Purcell; Cantilène improvisée, Te 649, Nun komm’ der Heiden Heiland, BWV DAVID HERMAN, with Julie Nishimura, flute, Stewart Carter, recorder, and John R. Deum (Cinq Improvisations), Tournemire; piano, The University of Delaware, Newark, Beck, percussion, Wake Forest University, 659, Herr Jesu Christ, dich zu uns wend’, BWV 655, Schmücke dich, o liebe Seele, Etude Symphonique, op. 78, Bossi; En DE, February 19: Allein Gott in der Höh sei Winston-Salem, NC, January 23: Paean, Bateau, Debussy, transcr. Roques; Trumpet- Ehr, BWV 715, Komm, Gott, Schöpfer, Leighton; Trio Sonata in C, Telemann; In BWV 654, Prelude and Fugue in G, BWV 541, Bach; Te Deum, Langlais; Cantabile, ing Organ Morgan, Jenkins; Amazing Grace! heiliger Geist, BWV 631, 667, Kyrie, Gott Mystery and Wonder (The Casavant Dip- How Sweet the Sound, Shearing; Flapperette, tych), Locklair; Le Banquet Céleste, Messi- Franck; Alleluias sereins d’une âme qui Vater in Ewigkeit, BWV 669, Meine Seele desire le ciel, Transports de joie d’une âme Greer, arr. Williams; The Brothers Gershwin, erhebet den Herrn, BWV 648, Vor deinen aen; Concerto in b del Sigr. Meck, Walther; devant la gloire du Christ (L’Ascension), arr. Cable. Thron tret’ ich hiermit, BWV 668a, Ricercar Constellations (A Concerto for Organ and Messiaen; Te lucis ante terminum, Iste Con- a 6 voci (Das Musikalische Opfer, BWV Percussion), Locklair. fessor, Placare Christe servulis (Le Tombeau RUDOLF ZUIDERVELD, Augustana 1079), Bach; Alma Redemptoris Mater (Four de Titelouze), Variations sur un Nöel, Dupré. College, Sioux Falls, SD, February 16: Toc- Marian Antiphons, op. 50), Routh; Organ AARON DAVID MILLER, St. Giles cata noni toni, Cornet; Adagio, Fiocco; Concerto No. 13 in F, Handel; Trivium, Pärt; Church, Northbrook, IL, January 21: Festival LYNN TRAPP, Cathedral of St. Paul, St. Tarantella (Concerto No. 2 in B-flat), Village Organist’s Piece, Britten; Choral No. Alleluia, Britten; Fantasy and Fugue in g, BWV Paul, MN, February 23: Praeludium, Lübeck; Wassenaer; Looft God, looft Hem overall, 3 in a, Franck. 542, Bach; Three Character Pieces, Schumann; Liebster Jesu, wir sind hier, BWV 731, Bach, Hagen; Chorale, Basse de Trompette, Toccata, Gigout; improvised sonata. Walther; Impromptu (Pièces de Fantaisie, op. Canon, The Praestants, Vox Humana, AUDREY JACOBSEN, Church of the 54), Vierne; Variations on the Norwegian Flutes & Bagpipes, Manual Flutes and Blessed Sacrament, Hollywood, CA, March BRUCE NESWICK, St. Brigid Church, Folktune O How Glory Shall It Be for the Trumpets en taille, Hobo and Flutes, Two 9: Improvisation sur le Te Deum, Tourne- Alpharetta, GA, January 22: Praeludium und Children of God, Slogedal; Amazing Grace, Sesquialteras (Zend, Heer, uw licht en mire; Allegro (Sonata in D), Carvalho; Dia- Fuge in E-moll, BWV 548, Bach; Sonata I, Middlebury, Shearing; Choral and Fugue on waarheid neder), Bolt; Wilt heden nu treden logue sur les grands Jeux (Suite du Premier op. 2, Howells; Fanfares to the Tongues of O Traurigkeit, O Herzeleid, Brahms; Alle- voor God, den Here, Twillert; Hoe groot, O Ton), Clérambault; Prélude, Fugue et Varia- Fire, King; Evening Song, Hurd; O Welt, ich gretto, Allegro, Gade; Images of the Exsultant Heer, en hoe vervaerlic (Ode to Adriaan tion, op. 18, Franck; Gloria in excelsis, op. muss dich lassen, Brahms; Suite, op. 5, Duru- Chant of the Great Paschal Vigil, Trapp; Vic- Valerius), Kee; Dans une douce joie, Klop; 59, no. 8, Reger; Paean, Leighton; Sei flé; improvisation on a submitted theme. timae Paschali Laudes, Benoit. Toccata in d, Mailly.
JUNE, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ HARPSICHORDS/ AVAILABLE RECORDINGS RECORDINGS CLAVICHORDS
Berghaus Organ Company, 2151 Madison July 4th is approaching soon. Treat your con- CD Recording, “In memoriam Mark Buxton Harpsichords from the workshop of Knight Street, Bellwood, IL 60104 is accepting appli- gregation to a patriotic postlude: A fun fugue on (1961-1996).” Recorded at Église Notre-Dame Vernon. Authentic replicas of historic instru- cations for the position of Service Manager. America or variations on The Star Spangled de France in Leicester Square, London, ments carefully made and elegantly decorated. Qualified candidates will have strong skills in Banner. Order Eugene Thayer’s 1860s between 1987 and 1996. Works of Callahan, 8201 Keystone, Skokie, IL 60076. Telephone interpersonal relations, correspondence and Sonata II. www.michaelsmusicservice.com; Widor, Grunewald, Salome, Ropartz, and Boëll- 847/679-2809. Web site: organization, as well as extensive experience in 704/567-1066 mann, along with Buxton’s improvisations. $15 www.vernonharpsichords.mykeyboard.com. pipe organ tuning, maintenance, and restora- postpaid: Sandy Buxton, 10 Beachview tion. Ten years experience required; AIO certi- Crescent, Toronto ON M4E 2L3 Canada. fication preferred. This is a growing depart- OHS Catalog 2006 of organ and theatre organ PIPE ORGANS CDs, books, sheet music, DVDs, and VHS 416/699-5387, FAX 416/964-2492; e-mail ment. The Service Manager will work closely [email protected]. FOR SALE with the President, Service Coordinator and videos. Free. Thousands of items. Mailed gratis Sales Director in developing business. He or upon request to Organ Historical Society, P.O. she will also work closely with technicians and Box 26811, Richmond, VA 23261, or request Two genuine English pipe organs for sale the printed catalog at www.ohscatalog.org. Aging of Organ Leather by Harley Piltingsrud tuners in project management, quality assur- tells how to test and select leathers for longevi- from an established UK organ building compa- ance, and training and development. Salary ty of 60 years or more in organs. Also, other ny. These enchanting organs would suit a commensurate with experience and demon- church, private residence, school, college or Reflections: 1947-1997, The Organ Depart- aspects of leather production and the history of strated skills. Benefits include health insurance, testing for longevity. New 48-page edition in university. Both instruments are competitively paid vacation, and company matched retire- ment, School of Music, The University of Michi- priced and installed in your choice of location, ment program. Interested parties should post gan, edited by Marilyn Mason & Margarete 1994, $9.95 + $2.50 per entire order for ship- ping in U.S. Published by Organ Historical Soci- worldwide. Visit our website today: or e-mail a résumé and cover letter to the Thomsen; dedicated to the memory of Albert www.ellisscothon.co.uk for full details, or attention of Brian Berghaus at Stanley, Earl V. Moore, and Palmer Christian. ety, Box 26811, Richmond, VA 23261. contact Dr. Richard Scothon at [email protected]. Includes an informal history-memoir of the 804/353-9226 by telephone with Visa or Master- [email protected]. organ department with papers by 12 current and Card. FAX 804/353-9266. former faculty and students; 11 scholarly arti- Looking for experienced pipe organ tuners, cles; reminiscences and testimonials by gradu- Our 5-stop chapel/house/practice organ service technicians and builders to start work ates of the department; 12 appendices, and a Historic Organ Surveys on CD: recorded dur- (independent Subbass optional), for immediate immediately in the New York area. Immediate CD recording, “Marilyn Mason in Recital,” ing national conventions of the Organ Histori- delivery. www.goberorgans.com (click on benefits including paid holidays, paid vacation recorded at the National Shrine of the Immacu- cal Society. Each set includes photographs, Columbus, Ohio) or call Hal Gober, and a health care package. 631/254-2744, late Conception in Washington, DC. $50 from stop-lists, and histories. As many organists as 519/846-9888. [email protected]. The University of Michigan, Prof. Marilyn organs and repertoire from the usual to the Mason, School of Music, Ann Arbor, MI 48109- unknown, Arne to Zundel, often in exceptional Passion for pipe organs? Mechanically 2085. performances on beautiful organs. Each set 1967 Wicks 2-manual, 3 ranks extended, inclined? Enjoy a rewarding field position at includes many hymns sung by 200-400 musi- under 8v residence ceiling, excellent condition; Foley-Baker, Inc. serving our Long Island $6,500 or best offer, buyer to remove. 870/772- ATTENTION ORGANISTS! New historically cians. Historic Organs of Louisville (western clients. Whether entry level or experienced, we Kentucky/eastern Indiana) 32 organs on 4 8184; [email protected]. would like to hear from you. Benefits available. informed pedal technique instruction method: “Stomp Your Way to Pedal CDs, $29.95. Historic Organs of Maine 39 Pay based on experience. 631/476-8425. organs on 4 CDs, $29.95. Historic Organs of E-mail: [email protected]. Virtuosity.” Learn the secrets of Baroque 1876 13-rank George Stevens tracker organ. all-toe pedaling. No more fussy toe-and- Baltimore 30 organs on 4 CDs, $29.95. Historic Interesting tonal design. Pipework original. heel fannying about. Get down and stomp Organs of Milwaukee 25 organs in Wisconsin Excellent worship instrument for congregation Be sure your company is included in THE on those pedals! Also available: Barock- on 2 CDs, $19.98. Historic Organs of New with sanctuary 200–250 seating capacity. DIAPASON Resource Directory 2007 edition. Meister OrgelShoes, with heels already Orleans 17 organs in the Bayous to Natchez Repairable heat/water damage. Purchaser To add your company’s information, visit removed—ideal for use with this new pedal on 2 CDs, $19.98. Historic Organs of San restore, or contract Levsen Organ Company to our website
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; e-mail:
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38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PIPE ORGANS ELECTRONIC ORGANS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Fabry Inc. has the following instruments for Allen Renaissance digital organ—two-manu- Columbia Organ Leathers sells the finest Top Quality Releathering. Pouch rails, pri- sale on consignment: Wicks 1964, 2 manuals, 6 al, 35-stop, built 2003. Four speaker cabinets. leathers available for organ use. We sell pre- maries, reservoirs and any other pneumatic ranks, in storage; Moller 1925, 2 manuals, 10 $19,950. Call 800/710-8330 or e-mail punched pouches and pre-assembled pouches, action. Removal and installation service avail- ranks, in church; Moller 1949, 3 manuals, 30 [email protected]. and we specialize in custom releathering ser- able. Full warranty. Skinner, Casavant and ranks, in church; SOLD: Moller 1966, 2 manu- vices. Call today for a catalogue. 800/423-7003 Kimball specialty. Spencer Organ Company, als, 10 ranks, in storage; SOLD: Moller/Kim- or e-mail: [email protected]. Inc. Call, Fax or visit our website for quotation ball/Kilgen, 2 manuals, 15 ranks in church; MISCELLANEOUS and information. 781/893-7624 Voice/Fax, Reuter 1950s, 2 manuals, 9 ranks, in church; FOR SALE www.spencerorgan.com. Kimball 1940s, 2 manuals, 4 ranks, in storage; Tuning with your laptop—Send $5 for a CD- Berghaus 1976, 2 manuals, 11 ranks, in church; ROM that features articles on temperaments, Schantz 1962, 3 manuals, 33 ranks, in church. Atlantic City Pipe Organ—Tellers 5-rank tuning, and reed pipe construction. RELEATHERING: also Pipe Organ Rebuild- All storage is climate controlled. Purchase in “as unit chest, regulator, $900 or best offer; C.S. Contact: www.mdi.ca/hhuestis or e-mail: ing, Repair and Maintenance Service in New is” condition or Fabry, Inc. offers removal, Haskell—4-rank slider chest with 16 Bour- [email protected]. Herbert L. Huestis, 1574 Gulf England area. Years of experience, fine work- rebuilding, new DC electric systems, re-engi- v manship. Reading Organ Works, A. Richard don, 16v Lieblich, 10-2/3v Quint, 5-1/3v Quint Rd., #1502, Pt. Roberts, WA 98281. Phone neering, and installation at new location. For 604/946-3952. Hunter, P.O. Box 267, 1324 Vermont Route specifications please e-mail, fax, or write our (prepared), $1,200 or best offer. Class A 106, Reading, VT 05062. 802/484-1275. office. Large used pipe inventory also available. Deagan 25-note chimes with Estey action, E-mail [email protected]. Call for info. Fabry, Inc., 974 Autumn Drive, $1,300; nice 16v Estey open wood Antioch, IL 60002, fax 847/395-1991, e-mail: with chests, clarinets, harp, Highest quality organ control systems since [email protected]. capped oboes. For more info visit 1989. Whether just a pipe relay, combination Austin actions recovered. Over 30 years http://mywebpages.comcast.net/acorgan. action or complete control system, all parts are experience. Units thoroughly tested and fully E-mail: [email protected]. Phone compatible. Intelligent design, competitive pric- guaranteed. Please call or e-mail for quotes. 2-manual, 6-rank, electro-pneumatic action 609/641-9422. ing, custom software to meet all of your require- Technical assistance available. Foley-Baker, Schaefer organ, unified to 8 stops, with full ments. For more information call Westacott Inc., 42 N. River Road, Tolland, CT 06084. couplers. Disassembled and in storage. Avail- Organ Systems, 215/353-0286, or e-mail Phone 1-800/621-2624. FAX 860/870-7571. able immediately. Make offer. St. Peter the Fish- 1985 Austin pedal contact assembly with 25 [email protected]. [email protected]. erman Catholic Church, Frank Birr, Music Direc- switches, $150. Klann complete three-division tor, 3210 Tannery Road, Two Rivers, WI 54241- console system wired, $200. Relays, combo 1699, 920/793-4531. actions, pipes and other parts available. Need help with your re-leathering Inquiries: e-mail [email protected], phone project? All pneumatics including Flue pipes in metal and wood–Mixtures 215/353-0286 or 215/788-3423. Austin. Over 45 years experience and upperwork are available from stock or 1927 Moller, electro-pneumatic action, four (on the job assistance available). specify custom orders to meet your exact manuals, drawknob console, 28 ranks. Avail- 615/274-6400. Sets of organ pipes for sale by Herb requirements. Tuning Sleeves with able for removal after Christmas, 2006. Buyer to flare–Order complete sets ready to install remove. Make offer. Currently in use. Salem Huestis, #1502—1574 Gulf Road, Point Roberts, WA 98281, phone 604/946-3952, e- or bulk quantities in each diameter. These United Church of Christ, 435 South 9th Street, sleeves are guaranteed to fit and will not Quincy, IL 62301, 217/222-0601, mail: [email protected]. Shipping extra to U.S. tarnish or corrode. For excellent quality, or Canada—no overseas. $275—Casavant off- offi[email protected]. ALL REPLIES great pricing and timely delivery contact: set pedal chest 48w x 9.5w x 9w, 8 notes, no International Organ Supply, P.O. Box 401, rackboard. Originally for 16v pedal reed bass- 1860 Wm. A. Johnson 1/8, including 12-note TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX es. Includes shipping. $600—8v Regal made 708/447-0702. 16v Subbass. Meticulously restored, $39,500; by Detlef Kleuker, 1964 from a 2-rank continuo that appear Pedal extension optional. Details: organ. Very good condition throughout. Bottom without an address Andrew Smith Pipe Organs, 522 East Rd., two octaves open shallots, Bertouneche shal- Cornish, NH 03745. 603/542-8316; lots from cv upwards. Very nice tone at 50 to should be sent to: Postal regulations require that mail [email protected]. 60mm. Price includes shipping. $450—Bottom to THE DIAPASON include a suite num- 12 notes of Oboe/Bassoon, made by Casavant THE DIAPASON ber to assure delivery. Please send Frères c. 1970. Originally from a Fagott 16v Wahl 2-stop practice organs for sale. 380 E. Northwest Hwy., Suite 200 all correspondence to: THE DIAPA- Custom casework available. Fall 2006 delivery. (half length). Very suitable for extending 4v Prices start at $34,500. Visit Oboe to 8v pitch where bottom octave is need- Des Plaines, IL 60016-2282 SON, 380 E. Northwest Hwy., Suite www.wahlorganbuilders.com or call ed. Good tone at 70-80mm. Price includes 200, Des Plaines, IL 60016-2282. 920/749-9633. shipping.
J. H. & C. S. Odell East Hampton, Connecticut • web: www.odellorgans.com voice: 860-365-0552 email: [email protected] PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
CHARLES W. M CMANIS In Memoriam March 17, 1913–December 3, 2004
JUNE, 2006 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Yoon-mi Lim AGO National Competition Winner Available 2004-2006
Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*
Vincent Dubois Calgary 2002 Recital Gold Medal Winner
David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison
László Fassang Calgary 2002 Improvisation Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie Gold Medal Winner Grand Prix de Chartres, 2004
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 13-24, 2006 Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver The Choir of Saint Thomas Church, NYC John Scott, Director March 1-8, 2007 WEBWEB SSITE:ITE: The Choir of Winchester Cathedral, UK wwwwww.concertorganists.com..concertorganists.coconcertorganists.com Andrew Lumsden, Director October 17-29, 2007
Gillian Weir* Todd Wilson Christopher Young *=European artists available 2006-2007