THE DIAPASON JUNE 2013

First Baptist Church Washington, D.C. Cover feature on pages 26–28 Isabelle Demers Peter Fletcher

Christopher Houlihan THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 6, In this issue Whole No. 1243 Among the offerings in this issue of The Diapason, Domecq JUNE 2013 Smith reports on the 17th National Choral Conference, held Established in 1909 last September at the home of the American Boychoir in Jerome Butera ISSN 0012-2378 Princeton, . Presenters included Therees Tkach 847/391-1045; [email protected] Hibbard, Helen Kemp, James Litton, Fred Meads, Anton www.TheDiapason.com An International Monthly Devoted to the Organ, Armstrong, Lisa Eckstrom, and Fernando Malvar-Ruiz. The the Harpsichord, Carillon, and Church Music article also mentions the move by the American Boychoir from conversations with the people at each church, and various their current home, the Albemarle estate, to the Princeton aspects of the organ world: the many different ways to approach Center for Arts and Education, formerly St. Joseph’s Seminary a single instrument, how different an organ can sound under CONTENTS in Princeton. the hands of different players; the magic of reed stops, the Marijim Thoene presents a travelogue and description of variety of solo and chorus reeds, and the challenge of making, FEATURES organs and churches in Poland, including the cities of Warsaw, voicing, and tuning reeds; craftsmanship in organbuilding; and 17th National Choral Conference Princeton, New Jersey Białystok, Białowieza, and Kraków. The article relates some of the foibles of servicing pipe organs. September 27–29, 2012 the history of the places and instruments, and includes stoplists This issue also includes the Summer Carillon Concert by Domecq Smith 20 and photos of St. Anne’s Church, Warsaw; the Cathedral Basil- Calendar, compiled by Brian Swager, along with our regular ica of the Assumption of Our Lady and its chapel, Białystok; departments of news, reviews, new organs, an international A Brief Glimpse of Organs and Churches in Warsaw, Białystok, Białowieza, and Kraków the Church of St. Theresa, Białowieza; St. Casimir Church, calendar, organ recital programs, and more. by Marijim Thoene 22 Białystok; the Opera House, Białystok; the Paderewski School of Music, Białystok; and the Academy of Music, Kraków. In preparation NEWS & DEPARTMENTS The cover feature is Austin Opus 2795, of fi ve manuals and In the coming months, we will be publishing articles on Editor’s Notebook 3 118 ranks at First Baptist Church, Washington, D.C. Franz Liszt and Johann Gottlob Töpfer, fugal improvisation, Letters to the Editor 3 Gavin Black offers part nine of his organ method, which an interview with Robert Clark, pipe organs of Labrador and Here & There 3 begins the section on manual playing: position on the organ Newfoundland, and more. Nunc Dimittis 10 bench, playing simple note patterns with separate hands, On Teaching by Gavin Black 17 hands together, fi ngering, and hand position. The column Newsletters In the wind . . . by John Bishop 18 includes 10 examples. Be sure to watch for our free e-mail newsletters: classifi ed In his column “In the wind . . .”, John Bishop muses about ads the second week of the month, artist spotlights the third REVIEWS visits to churches that are working to acquire pipe organs, week, and general news the fourth week. Q Music for Voices and Organ 11 Book Reviews 12 New Recordings 13 Letters to the Editor New Organ Music 15 Heinz Wunderlich and Arthur Howes but “Arthur Howes.” Attached is a Karg-Elert SUMMER CARILLON CALENDAR 28 I received the April issue of The PDF fi le of Mr. Howes’ obituary from Excellent article on Karg-Elert in the CALENDAR 30 Diapason” in yesterday’s mail, and The Boston Globe. Mr. Howes was April 2013 issue of The Diapason! Karg- enjoyed reading Jay Zoller’s article very involved with the 1946 rebuild Elert’s 66 Choral-Improvisations, op. 65, ORGAN RECITALS 33 “Heinz Wunderlich: A Remembrance of the “Great Organ” in the Methuen are also available in three volumes from CLASSIFIED ADVERTISING 34 One Year Later.” Allow me to bring Memorial Music Hall. Please accept LudwigMasters Publications. “Praise to your attention one minor error. my ongoing admiration and gratitude the Lord with Drums and Cymbals” is In the section “1989”, the sentence for all you do for the organ world. The included in Diane Bish Classical Organ “Unknown to me, Heinz Wunderlich color in The Diapason is wonderful! Favorites (Hal Leonard Corporation). had been engaged for the dedication All the best. Richard Strattan recital through his friendship with Ed Sampson Choral-Organ Dept. Arthur Howells” is in error. The person President Dale Music Co., Inc. referenced is not “Arthur Howells,” Methuen Memorial Music Hall, Inc. Silver Spring, Maryland Here & There

Events works by Wagner and Verdi, takes place 7/28, Marisa & Roger Cazden; August Lunchtime Organ Recital Series at Benediktinerabtei unserer lieben 4, Daniel Sansone; 8/11, David Troiano; 2013 continues in Appleton, Kaukauna, Frau zu den Schotten in Vienna, eve- 8/18, Nick Capozzoli; 8/25, Russell Weis- Menasha, and Neenah, Wisconsin, nings at 8 pm: June 11, Thierry Mech- mann. For information: stpaulpgh.org. COVER organized by Frank Rippl, Wednesdays ler; July 9, Jörg Abbing; October 15, Austin Organs, Inc., Hartford, Connecticut; from 12:15–12:45 pm: June 5, Stephen Michael Gailit; November 5, Thomas Wanamaker Organ Day 2013 First Baptist Church, Washington, D.C. 26 Schnurr, St. Thomas Episcopal Church, Trotter; and December 10, Zuzana takes place on June 29, featuring Peter Menasha; 6/6 (Thursday), Rollie Hebeler, Ferjencikova. For information: www. Richard Conte with guests Ray Cornils St. Mary’s, Menasha; 6/12, David Bohn, dialogues-mystiques.info. and Christian Elliott, and the Friends of Editor & Publisher JEROME BUTERA Faith Lutheran Church, Appleton; 6/14 the Wanamaker Organ Festival Chorus [email protected] 847/391-1045 (Friday, 7 pm), Donald VerKuilen, First The Kotzschmar Kause Book & and Brass Ensemble. Full details on the Presbyterian Church, Neenah; 6/19, Yard Sale will take place at Merrill mainly free day (which includes a paid- Associate Editor JOYCE ROBINSON Sarah Kraaz, Memorial Presbyterian Auditorium Rehearsal Hall, Portland, admission after-hours evening concert) [email protected] Church, Appleton; 6/26, Derek Nickels, Maine, June 21 (5–8 pm), June 22 (9 are at wanamakerorgan.com. 847/391-1044 St. Mary’s Catholic Church, Menasha; am–4 pm), and June 23 (9 am–noon). Designer DAN SOLTIS July 3, Charles Barland, First United Friends of the Kotzschmar Organ will The Ann Arbor Chapter AGO and Contributing Editors LARRY PALMER Methodist Church, Appleton. For infor- be selling books, decorative items, chil- the University of Michigan announce Harpsichord mation: 920/734-3762. dren’s toys, antiques, furniture, cooking the second annual Michigan Improvisa- and craft items, garden supplies, tools, tion Competition. Applications and JAMES MCCRAY The University of Chicago hosts “A lamps, jewelry, and much more. Preview recorded entries are due July 1, with the Choral Music Tale of Two Organs” on June 8. Thomas night, June 21, features wine and hors fi nal round held in Ann Arbor on Octo- BRIAN SWAGER Weisfl og will play the newly installed d’oeuvres, previewing of all sale items ber 1, during the annual Conference on Carillon Reneker Organ at Bond Chapel at 4 pm, and fi rst pick, with 10% off purchases of Organ Music. Prizes of $3,000, $2,000, JOHN BISHOP followed by a procession (with carillon) $100 or more. Proceeds benefi t Friends and $1,000 will be awarded. For more In the wind . . . to Rockefeller Chapel at 4:30 pm, where of the Kotzschmar Organ educational information: www.music.umich.edu/ the concert of organ and choral music programs and outreach. Admission is departments/organ/index.php or contact GAVIN BLACK On Teaching continues. The Bond Chapel portion of $10 in advance, $15 at the door. For Michele Johns, [email protected]. the program will repeat at 5:15 pm, due information: [email protected]. Reviewers John M. Bullard to the intimate size of Bond Chapel. For The United Church of Christ Musi- John L. Speller information: rockefeller.uchicago.edu. St. Paul Cathedral, Pittsburgh, con- cians Association (UCCMA) presents its David Wagner tinues its organ recital series, Sundays at biennial conference, “Worship and Music James M. Reed The International Organ Festival 4 pm: June 23, Kenneth Danchik; July on the Edge,” July 4–17 at Plymouth David Herman “Dialogues Mystiques,” featuring 14, Paul Weber; 7/21, Steven Anisko; ³ page 4 Robert Jan August

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 3 Here & There

³ page 3 Emmanuel Le Divellec, Tobias Will, and Chapel. The CD includes performances future hangs in the balance. The festival Congregational Church, UCC, in Seattle, Michel Jordan. For information: www. by organist Thomas Weisfl og, carillon- has enjoyed three successive years of Washington. Featured presenters are jehanalain.ch/interpretation_E.htm. neurs Wylie Crawford and James Fack- growth: since 2009 there has been a 35% Douglas Cleveland, organ; Dennis Cole- enthal, and the Rockefeller Chapel Choir increase in the number of festival visi- man, choral; and Marcia McFee, clergy. The Incorporated Association of and Motet Choir, of works by Bullock, tors. More than 50,000 early music devo- For information: www.uccma.org. Organists (IAO) presents its annual Mulet, Parry, Barnes, Berlinski, Sow- tees attended this 31st festival boasting congress July 25–30 in Nuremberg, erby, Bolcom, Durufl é, Messiaen, and 190 concerts and activities in Utrecht. The McGill Summer Organ Acad- Germany. The schedule includes visits Satie. For information: 773/702-7059; This year’s theme was “From emy will be held in Montreal July 8–18. to Regensburg, Pegnitz, Bayreuth, and rockefeller.uchicago.edu. Sweelinck to Bach,” featuring Zelenka’s Concerts, lectures, and courses will Bamberg. For information: Missa omnium sanctorum, performed feature James David Christie, Hans- www.iao.org.uk. The Utrecht Early Music Festival by Collegium 1704, a chorale program Ola Ericsson, John Grew, Hank Knox, 2012 broke attendance records, but its ³ page 6 Olivier Latry, William Porter, and Sietze The Académie Orgues et Cimes de Vries. For information: www.msoa.ca. takes place August 4–11 in Finhaut, Switzerland. The schedule includes an Perspectives 2013: A Choral Work- interpretation course for organists and shop takes place July 9–12 in Santa Fe, an introduction to the organ for pianists. New Mexico, featuring Simon Carrington, Presenters include Yves-G. Préfontaine Bradley Ellingboe, Joshua Habermann, and Betty Maisonnat. For information: Kent Hatteberg, Gary Schwartzhoff, www.orgues-et-cimes.org. Robert Simpson, and the Santa Fe Desert Chorale. For information: The Royal School of Church Music www.perspectiveschoralworkshop.com. will hold its Conference for RSCM Volunteers August 11–12 and its Inter- The 50th St. Albans International national Summer School August 12–18, Organ Festival takes place July 11–20. both in York, . Presenters Canterbury Singers USA (photo: Chuck Lever) The schedule includes concerts, lec- include Robert Sharpe, Malcolm Archer, tures, and art exhibitions, in addition David Ogden, and others. The program The Canterbury Singers USA from Toledo, Ohio (James R. Metzler, director) to the interpretation and improvisation includes varied workshops, worship, sang for fi ve services of Choral Evensong at Southwark Cathedral, Westminster competitions. The quarter fi nal of the concerts and recitals, and more. For Abbey, and St. Paul’s Cathedral in , England following Christmas 2012. It was interpretation competition will feature information: www.rscm.com/issc. the choir’s 16th choral tour to the . Michael Gartz serves as organist a new work commissioned from Jon for the ensemble. Chuck Lever, a bass in the choir, took the offi cial photo of the Can- Laukvik entitled Aria, Fugue and Final. The organ competition Orgues terbury Singers USA following Evensong at Westminster Abbey on New Year’s Day. To mark the 50th anniversary a gold sans frontières 2013 will be held medal has been specially designed. This in Dudelange (Luxembourg) August will be awarded to all future winners 26–31. Prizes will be awarded for both of the interpretation competition. In interpretation and improvisation sec- addition, the Tournemire Prize will be tions; fi rst prize is €4,000, second prize awarded to the winner of the improvisa- €1,000, third prize €600, and audience tion competition. For information: www. prize is €500. Jane Parker-Smith heads organfestival.com. the interpretation jury, and Wolfgang Seifen the jury for improvisation. Events Westminster Choir College’s Sum- include elimination rounds in the city of mer Choral Festival takes place July Luxembourg and in Dudelange, mas- 14–19 in Princeton, New Jersey. The terclasses in Metz and/or Saarbrücken featured work will be Handel’s oratorio with members of the jury, and a recital Israel in Egypt, performed with orches- in Dudelange by Jane Parker-Smith and tra. Attendees will rehearse daily, conduct Wolfgang Seifen. Entry deadline is July in masterclasses, receive private conduct- 15 for the interpretation competition, ing lessons, and participate in round-table and July 31 for the improvisation compe- discussions with faculty. For information: tition. For further information: www.rider.edu/summerchoralfestival. www.orgue-dudelange.lu. Poister Competition: (front row) Judy Congdon, Silviya Mateva, Yoomi Chang, Aar- on Tan; (back row) Donald Sutherland, Kola Owolabi, Ben Stone, Thomas Gaynor, The Association Jehan Alain The University of Chicago’s Rock- and Mike Powell Interpretation Course takes place July efeller Chapel has released a recording 14–28 in Romainmôtier, Switzerland. featuring the restored E. M. Skinner The 37th Arthur Poister Competition 2013 took place April 6 at St. Paul’s Presenters include Luigi Ferdinando organ, the Laura Spelman Rockefeller Cathedral in Syracuse, New York. The winner was Aaron Tan of Ann Arbor, Michigan. Tagliavini, Lionel Rogg, Guy Bovet, Carillon, and the choirs of Rockefeller Second place went to Thomas Gaynor of Rochester, New York. The other fi nalists were Yoomi Chang (University of Kansas), Silviya Mateva (University of Oklahoma), Mike Powell (Indiana University) and Ben Stone (University of Notre Dame). Judges were Judy Congdon of Houghton College, Donald Sutherland of Peabody Conserva- tory, and Kola Owolabi of Syracuse University. Aaron Tan earned the PhD in engineering from the University of Michigan, studying organ with Marilyn Mason. In Toronto he studied with John Tuttle, earning the FRCCO. A post-doctoral researcher at the University of Michigan, he serves as organ scholar at St. John’s Episcopal Church in Detroit, and a board member of the Boychoir of Ann Arbor. Tan was second-place winner of the Poister in 2008; he will play his winner’s recital this fall on the Holtkamp Organ in Setnor Auditorium of Syracuse University. Thomas Gaynor is in his fi rst year of the MM program at Eastman, where he studies with David Higgs; he holds the BMus (Honors) from Victoria University, Wellington, New Zealand, where he studied with Douglas Mews. He is organist of Salem UCC in Rochester. He will play at Hendricks Chapel in the Malmgren Concert Series 2013–14.

   

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4 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Michael's, Boise, ID Battipaglia, Italy Paris, France Ann Arbor, Michigan

Paul Cienniwa Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Concert Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Organist Boston, Massachusetts Dijon, France Milwaukee, Wisconsin Bloomington, MN University of Florida Birmingham, England

Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/ University of Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Christopher Marks Katherine Meloan Scott Montgomery Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist/Professor of Music Organist Organist/Presenter Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stahlman Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Organist/Pianist Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Lebanon Valley College University of Kansas Atlanta, Georgia Southern Methodist University Luther College William Jewell College

Brennan Szafron Timothy Tikker Michael Unger Beth Zucchino Rodland Duo Vinaccesi Ensemble Organist/Harpsichordist Organist/Composer/Improviser Organist/Harpsichordist Organist/Harpsichordist/Pianist Organ and Viola Voice and Continuo Spartanburg, S. Carolina Kalamazoo College, MI Rochester, New York Sebastopol, California St.Olaf College/ San Francisco, CA Eastman School of Music www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Associate Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 26th year of operation Here & There

³ page 4 With the support of South Church, performed by Gli Angeli Genève, New Britain, Richard Coffey founded and Bach’s St. Matthew Passion, with the South Church Choral Society, as the Akademie für Alte Musik Berlin CONCORA was then known, in 1974; and RIAS Kammerchor directed by the group has presented choral reper- René Jacobs. The Carillon Festival toire, especially the works of J. S. Bach featured the carillons of the Dom and and of contemporary . In his Nicolaï towers. A scholarly symposium fi nal performance with CONCORA illuminated the career of the late in March 2014, Coffey will lead Bach’s Gustav Leonhardt. Mass in B Minor. The Early Music Festival will lose Under Coffey’s leadership, CON- 70% of its subsidy, a fi nancial setback CORA established educational and of no less than €600,000. At present, it outreach programs. CONCORA-to-Go, is unclear to what extent the Province a professional vocal quartet, takes cho- and Municipality of Utrecht will be able ral music into the public schools. The Gail Archer (judge), Carina Sturdy, Michael Olson, Michael LeGrand, and Andrew to help alleviate the impact of this. For Extraordinary Concert Series, estab- Scanlon (ECU’s organ professor) information: www.oudemuziek.nl. lished in 1993, features select high school and college choirs and CONCORA’s East Carolina University School of Music announces the results of the 7th Nicholas Schmelter, director of professional singers. The Summer Festi- Annual Young Artists Competition in Organ Performance, held in Greenville, North music ministries at First Congrega- val, now in its 15th year, brings together Carolina on April 13. The fi rst-prize winner was Michael LeGrand of Orlando, tional Church, Saginaw, Michigan, amateur singers, from high school age Florida, who also received the prize for the most convincing performance of an organ announces the receipt of a commis- to adult, to work with Coffey and CON- work by J.S. Bach. Second prize was awarded to Carina Sturdy of Williamsburg, sioned composition by Bernard Wayne CORA singers. For 2013, Coffey has Virginia, who received an additional prize in hymn playing. Third place was won by Sanders. Scored for brass quintet, selected Brahms’s German Requiem. Michael Olson of Raleigh, North Carolina. The competition was held on the Fisk tympani, and organ, Invocation was writ- This fall, CONCORA’s board of organ in St. Paul’s Episcopal Church and prizes were sponsored by C.B. Fisk Inc., ten for the rededication of the church’s directors will establish the Connecticut Organ Builders, the East Carolina Musical Arts Education Foundation, and the East 1928 Ernest M. Skinner organ. Sanders, Choral Artists Endowment Fund in Carolina AGO chapter. The guest artist and adjudicator for this event was Gail Archer a native of De Pere, Wisconsin, com- Honor of Richard M. Coffey, to support from New York City. pleted his bachelor of music degree at the commissioning of new choral works, St. Norbert College in 1979, a master’s and live performances and recordings of degree in composition and organ from contemporary classical masterworks. has honored him with several celebra- concert, Bach and Sons, in Indiana Wichita State University in 1983, and a tions of his retirement, and he has been and New Jersey. Pipe organs included degree in organ performance from the named organist-choirmaster emeritus. a Goulding & Wood at First United Hochschule für Musik in Hamburg in DeWitt plans to remain active as a sub- Methodist Church in Warsaw, Indiana; 1989. Since 1974, he has been active as a stitute organist. an Austin in Cordier Auditorium at Man- church musician in Tuttlingen, Germany chester University in North Manchester, and as a diocesan liaison and offi cial William D. Gudger recently retired Indiana; a Casavant at St. John Lutheran organ consultant (Baden-Wurttemberg). as organist of the Cathedral Church of St. Church in Fort Wayne, Indiana; and a For information: Luke and St. Paul in Charleston, South Reuter at First United Methodist Church fcc-musicfriends.blogspot.com. Carolina. He served as associate organist in Moorestown, New Jersey. The perfor- under Ben Hutto from 1979 to 1985, and mances were projected on large screens People as cathedral organist from 1985 through in each location, and were accompanied 2012, in tandem with choirmaster Sam by visuals and videos by media artist Sheffer. Gudger is professor emeritus of David Jordan. For information: music history and theory at the College www.bachandsons.com. of Charleston. He was a founder of the L’Organo recital series for the Piccolo Thomas A. DeWitt Spoleto Festival, hosting in 2013 its thirty-fourth organ recital series. Thomas A. DeWitt retired April 14 as organist-choirmaster at Morrison United David Jonies is the featured recital- Methodist Church in Leesburg, Florida, ist for this year’s Pine Mountain Music having served for 42 years. He received Festival in the Keweenaw Peninsula of bachelor’s and master’s degrees from the Michigan’s Upper Peninsula: June 26, University of Michigan. Through the First Evangelical Lutheran Church, Iron Richard Coffey years he has directed choirs of all ages. Mountain; 6/28, St. Paul’s Episcopal His Chancel Choir grew from 22 to 85 Church, Marquette; July 2, St. Joseph After a four-decade tenure, Richard members. Since 1974 he has managed Catholic Church, Lake Linden. For Coffey, who founded CONCORA a concert series that presented evening information: www.pmmf.org. (Connecticut Choral Artists) as the and noontime concerts supported with region’s fi rst all-professional choir in free-will offerings. James F. Mellichamp at Cadet Chapel, 1974, will step down as artistic director An active member of the Central West Point at the conclusion of the 2013–14 season. Florida AGO chapter, DeWitt has served CONCORA’s board of directors will as dean, treasurer, and on the board. He James F. Mellichamp presented launch a national search for the next was awarded the Lake County Cities a concert April 7 at the Cadet Chapel, artistic director, who is expected to lead and Lake Sentinel Community Service United States Military Academy, West the ensemble for the 2015–16 season. Award for Arts and Culture. The church Point, New York. The program, given under the auspices of the Class of 1936 Distinguished Organist Recital Series, featured works by Tomlinson, Howells, Schumann, Bach, Conte, Cochereau, and Jeannine and David Jordan Vierne. The chapel organ, constructed in 1911 and enlarged over a period of many Jeannine and David Jordan pre- years, contains approximately 23,500 sented their organ and multi-media pipes located throughout the historic building designed by architect Bertram G. Goodhue.

Nigel Potts and MorningStar Music announce the launch of the “Nigel Potts Transcription Series.” The fi rst two tran- scriptions to be published are Handel’s Overture from Occasional Oratorio and Rachmaninov’s Vocalise, both of which are available at www.morningstarmusic. com. For further information about AUSTINORGANS.COM Nigel Potts: www.nigelpotts.com. t8PPEMBOE4U)BSUGPSE$5 Volker Bouffi er, Prime Minister of Hesse, handed over the Federal Cross ³ page 8

6 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM The Sound You Want The Quality You Deserve Prices You Can Afford

Only Allen Gives You All Three! Here & There

³ page 6 and collaborated with his wife, violinist short pieces that are not mere exercises. of Merit of the Federal Republic of Ger- Fang Gao. Based on a familiar Chinese The well-known programmatic pieces many, awarded by the Federal President love story written more than 1,000 years Longwood Sketches, by Firmin Swinnen of Germany, to Interkultur president ago, this work is often regarded as the (1885–1972), have now been restored, Günter Titsch, founder and organizer Chinese equivalent of Romeo and Juliet. with the help of the Longwood Gardens of the “World Choir Games.” The World Weicheng Zhao won fi rst prize in the Archive and Colvin Randall, the P. S. du Choir Games—formerly known as organ division of the Los Angeles Inter- Pont Fellow. There is a discount for buy- “Choir Olympics”—is a biennial event national Liszt Competition in 2012. In ing the entire suite, which comprises: In that takes place in different countries. 2010 he received second and audience The Shadow Of The Old Trees; Rosebuds Based on the Olympic model, amateur prizes in the Ruth and Clarence Mader (“Capriccietto”), the least demanding choirs have competed since 2000. In National Organ Playing Competition. technically; Dewdrops, in which the ped- 1980 Titsch received the honorary letter He completed the Graduate Certifi cate als suggest the falling of dewdrops; and of Hesse. In 2009 he became an honor- Carol Williams program in organ performance and Sunshine, a toccata featuring multi-note ary citizen of the city of Xiamen (China), is currently enrolled in the Master of pedal solos. For information: host city of the 4th World Choir Games Carol Williams and Melcot Music Music program with Cherry Rhodes at michaelsmusicservice.com. in 2006. announce the release of “TourBus 9” the University of Southern California, The 7th World Choir Games 2012 in the DVD series Great Organs of the Thornton School of Music. Recordings were held in Cincinnati, Ohio. In the World. Dr. Williams leads a tour of the Before coming to the United States, Regent Records announces the year 2014, Riga, Latvia will host the 8th organ at First Congregational Church in Zhao was the fi rst prize winner at the release of Penitence and Redemption, by World Choir Games. For information: Los Angeles, the largest church organ in Yamaha National Electronic Organ the Ely Cathedral Girls’ Choir, members www.interkultur.com. the world. Stewart Wayne Foster dem- Competition held in Shanghai, 2007, of the Cambridge University Baroque onstrates the organ, gives the history of and was the fi rst Chinese to win the 43rd Ensemble; Oliver Hancock, organ; Sarah the instrument, and takes viewers into Yamaha International Electronic Organ MacDonald, director (REGCD397). the pipe chambers. Dr. Williams then Competition in Tokyo, . After The program includes the Pergolesi Sta- performs in concert on the fi ve-manual receiving a Bachelor of Music degree bat Mater and other works for Lent and instrument; the program includes Etude in 2008, he was appointed a full-time Passiontide by Sumsion, Lole, Moore, Symphonique, Bossi; Grand Choeur faculty member for Electone Organ in Hilton, Ireland, Gibbons, and Parry. For Dialogué, Gigout; Waltz of the Flowers, the keyboard music department at the information: www.regentrecords.com. Tchaikovsky, and more. For information: Tianjin Conservatory of Music. www.melcot.com. The Royal School of Church Music’s Publishers Millennium Youth Choir is featured on Bärenreiter announces new publica- a new CD recording, The Heart’s Voice, tions for organ. Organ Plus One: Low featuring sacred music works from leading Instruments I (BA 11213, €24.95) pres- English contemporary composers. The James Welch ents original works along with arrange- main work is a setting of the Magnifi cat ments, for organ and lower-register solo and Nunc Dimittis by James Whitbourn. James Welch was honored recently instruments, such as cello and bassoon. The choir also performs anthems by con- for his twenty years as organist of St. Edited by Carsten Klomp, works are temporary English composers, including Mark’s Episcopal Church in Palo Alto, by composers including Bach, Bunk, Thomas Hewitt Jones, Malcolm Archer, California. He also plays for three other Dubois, Guilmant, and others. The Philip Moore, David Ogden, Philip Wilby churches in Palo Alto: The Church of scores include parts in C, B-fl at, E-fl at, and John Rutter. For information: Jesus Christ of Latter-day Saints; First and F. Praise and Thanks for Organ II, www.rscmmyc.org.uk. Church of Christ, Scientist (Wednesday edited by Andreas Rockstroh (BA 8497, organist); and Palo Alto Seventh Day €26.95), contains chorale settings as well MakeMusic, Inc. announces the Adventist Church. as freely composed organ works, by such release of Garritan Classic Pipe Organs, Since his appointment in 1993 at St. Fang Gao and Weicheng Zhao composers as Piutti, Fink, Drath, and a new virtual collection. Mark’s, Welch has presided over the other 19th-century composers. Works This sound library features six historic church’s four-manual 1958 Casavant organ After winning both fi rst and audience are of easy to medium diffi culty. Organ instruments, each representing a specifi c (Opus 2398, with additions). Among the prizes at the Sixth Miami International Plus Brass Volume III presents Carsten school of organ building, ranging from many recitals he has performed there, the Organ Competition last spring, Chinese Klomp’s Toccata festiva, an original com- early Baroque to Classical, through the Halloween and New Year’s Eve recitals organist Weicheng Zhao returned to position for brass choir and organ (full Renaissance, Romantic, and modern have become traditional favorites in the Miami’s Church of the Epiphany in score, BA 11203, €11.95). For informa- eras. Included with Garritan Classic community. He is often joined on these January for the winner’s recital. His tion: www.baerenreiter.com. Pipe Organs is the ARIA Player, which recitals by his two sons, who are accom- program featured works by Widor, includes Convolution Sampled Reverb. plished musicians. His predecessors at St. Bach, Liszt, and Dupré, as well as Carl Fischer Music announces new With this technology, the sound of Mark’s include C. Thomas Rhoads, Ted two of Zhao’s transcriptions based on sacred choral music for 2013. The cata- specifi c performance spaces can be Flath, Tom Hazleton, Porter Heaps, Joe traditional Chinese tunes. In 2011 he logue includes sacred anthems, benedic- captured and shared. Included are many Hansen, Robert Bates, Douglas Butler, transcribed Yuankai Bao’s Young Girl tions, and spirituals, for unison, male and sampled venues, from a small chapel to a and Don Giberson. Carrying Water on a Shoulder Pole for treble chorus, two-part mixed, SAB, and cathedral, with a variety of concert halls Welch received his DMA from organ and played the premiere in Paris SATB by such composers as David Lantz and other acoustic spaces in between. Stanford University, where he studied at St. Eustache. He revised the piece in III, Ken Berg, Vicki Tucker Courtney, Classic Pipe Organs offers control with Herbert Nanney. After 15 years as 2012 and the alternate version was pre- Janet Pummill, Dave and Jean Perry, over tremulants, blower noise, chiff organist at the University of California, miered by Cherry Rhodes at the 2012 Russell Robinson, and others. noise, crescendo pedal, swell pedal, tim- Santa Barbara, he returned to the San AGO national convention in Nashville, Carl Fischer also provides free part- bre, pedal bass, and more. Scala fi le sup- Francisco Bay area, where he joined the Tennessee. Originally a violin concerto, by-part resources that consist of part- port allows users to play in the various music faculty of Santa Clara University. The Butterfl y Lovers was written by dominant recordings for each voice, along temperaments of earlier historic eras. He is the author of Richard Purvis, Gang Chen and Zhanhao He. Zhao tran- with accompaniment and performance Classic Pipe Organs is designed as an Organist of Grace. scribed the full orchestra parts for organ recordings. Directors can listen to com- addition to music notation programs, like plete performances of every work in MP3 Finale, as well as to all sequencers and format while studying the PDF score for digital audio workstations. Also included range, text, and rhythmic considerations. is a standalone ARIA Player, which allows MANDER ORGANS For information: www.carlfi scher.com. anyone to load and play back MIDI fi les and produce audio recordings of the New Mechanical Michael’s Music Service announces MIDI fi le or live performances, without Action Organs new sheet music publications. Evensong, additional software. by Edward F. Johnston (1879–1919), Classic Pipe Organs is available as a is a programmatic piece fi rst published download for $119.95. A boxed (DVD) in 1910, the fi rst in a series of fi ve by J. version is available for $169.95. Addi- Fischer; suitable on either an orchestral tional information, patch lists, audio or theatre organ. Dramatic Pedal Studies, sample fi les, and more can be found on by H. C. Macdougall (1858–1945), exhib- the Classic Pipe Organs page at its techniques found in Dudley Buck’s www.garritan.com. pedal exercises; the volume includes ³ page 10

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Continuo Organs [e] [email protected] www.mander-organs.com

Imaginative Reconstructions

8 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM The New Vivaldi Your musical companion for all four seasons.

The new Vivaldi 270 and 370 organs by Johannus bring the experience of a pipe organ right into your very own home. Infi nite possibilities, authentic sound and life-like reverb enable the Vivaldi to reproduce the atmosphere of virtually any pipe organ anywhere. Imagine hearing the sweet sounds of springtime at Notre Dame in Paris, or feeling the mood of a mellow summer evening in a concert hall in Holland, the rich colors of fall in a quaint church in Vermont or a brisk winter morning in a chapel in Bavaria. The Vivaldi sets a different tone for every season. Here & There

Nunc Dimittis Wilton, Connecticut, and most recently, the Church invited to interview for positions at Charlotte’s new David Albert John of the Annunciation in Oradell, New Jersey. Covenant Presbyterian Church. They began their Broome, 81, of Windsor She and her husband, Rev. Gregory Keosaian, ministry at Covenant July 1, 1952. Over the next 47 Locks, Connecticut, died served for 20 years as musician and pastor, respec- years, the Peeks developed and led a music ministry March 17 after a long ill- tively, for several Presbyterian churches in New that became one of the most renowned church music ness. He is remembered Jersey, including Second Presbyterian in Rahway and programs in the nation. as one of the world’s fore- Trinity in Paramus. A longtime AGO member, Lanier- Arriving long before the city had a full-time sym- most reed voicers. Born Keosaian was a music teacher and choral conductor phony orchestra or a performing arts center, the Peeks in Leicester, England in the New Jersey public school system for more than introduced Charlotte to world-class music by produc- on February 21, 1932, 25 years. She founded the New Jersey High School ing free concerts and sponsoring visits by choirs and he served two years in Women’s Choir Festival and was co-founder of the organists from around the world. There are three pipe the Royal Air Force. In Essex County Choral Festival. Linda Lanier-Keosa- organs in the sanctuary building, and the bell tower 1948, David began his ian is survived by her husband of 30 years, Gregory houses Charlotte’s fi rst cast-bronze carillon. career in organbuilding Keosaian, two children, and fi ve grandchildren. Mrs. Peek directed the children’s choirs at Cov- at J.W. Walker Sons, David A. J. Broome enant, and also directed the handbell choirs, the fi rst Ltd in London, England Donald G. Larson died February 26 in Decatur, in Charlotte. During worship services and also during and immigrated to the United States after marrying Georgia. Born in Fargo, North Dakota, he was raised special performances she often served as organist Caroline Mason in Leicester on October 27, 1956. on a farm near Moorhead, Minnesota. He received while Dr. Peek conducted. She led and participated The Broomes settled in Windsor Locks, Connecticut his bachelor’s degree in music from the University of in numerous music and worship conferences, and in 1958 after moving from Hartford, where David had Minnesota and his master’s degree in church music served as president of the Presbyterian Association been recruited to join Austin Organs. from Northwestern University, where he was a stu- of Musicians from 1978 to 1980. In the mid-eighties By 1978, he had risen to the executive post of dent of Thomas Matthews. He served as a chaplain’s she was appointed to the committee to develop a new vice president and tonal director at Austin, a posi- assistant in the U.S. Army and as organist at Wheaton hymnal for the Presbyterian Church (U.S.A.). tion he held until his retirement in 1999. Broome College in Illinois. He moved to Atlanta in 1960. In 1991 the Peeks led Covenant’s adult choir on was responsible for the fi nishing and tonal design of Larson spent more than 30 years as music teacher the fi rst of several concert tours in Great Britain and more than 150 organs worldwide, including those at and counselor at Georgia Perimeter College and was Europe, with programs in St. Paul’s Cathedral, York Brompton Oratory, London; Nassau Cathedral, Baha- awarded professor emeritus status in 1995. He also Minster, St. Giles Cathedral, Durham Cathedral, and mas; Adelaide Cathedral, ; Riverside Church served as minister of music at three Atlanta-area other well-known churches. When Mrs. Peek and her Chapel and First Presbyterian Church, New York churches. A long-time member of the Atlanta AGO husband retired in December 1999, Covenant pub- City; Czestochowa National Shrine, Doylestown, chapter, he served on the executive committee sev- lished a 164-page book about the couple. Dr. Peek Pennsylvania; St. John’s Episcopal Church, West eral times and for 32 years offered monthly classes died in 2005. Mrs. Peek is survived by two sons and Hartford, and Trinity College Chapel, Hartford. in training for the Guild exams. Donald G. Larson is two grandchildren. Since his retirement from Austin, David and his survived by his wife of 61 years, Jacqueline, a son, a son Christopher operated Broome and Company, daughter Marcia, and grandchildren. Jane Elizabeth Sawyer died July 12, 2012 in voicing reeds for restorations and new installations, Boulder, Colorado; she was 60 years old. The longtime including those at Longwood Gardens, Pennsylvania; Elizabeth “Betty” director of music at the First Congregational Church Woolsey Hall, Yale University, and the Duke Univer- Lankford Peek died in Boulder, she played the organ, directed vocal and sity Chapel. David Broome is survived by his wife of March 24. She had handbell choirs, and was instrumental in rebuilding 56 years, Caroline (Mason) Broome, four children, served as associate minis- the church’s organ and in bringing in noted organ- ten grandchildren, and nieces and nephews. ter of music at Covenant ists for recitals. Sawyer earned bachelor’s degrees in Presbyterian Church for math and music at the University of Wyoming, earned Linda Lanier-Keosaian died January 28; she was more than 47 years. Born a master’s degree in organ at Southern Methodist 72. She received her BMus degree in organ from June 10, 1929, in Spar- University, and did doctoral work in music theory Westminster Choir College, and her MSM degree tanburg, South Carolina, at the Eastman School of Music, where she also was from Union Theological Seminary. At the time of her she graduated from an instructor. In Rochester, New York, she served as death, Lanier-Keosaian was working on her Ph.D. in Mary Baldwin College director of music and organist at Irondequoit United music education at New York University; her doc- in Staunton, Virginia, Betty and Richard Peek Church of Christ from 1988 to 1997; she held other toral dissertation concerned different interpretive in 1950, and earned the church positions in Boulder, Rochester, Dallas, and approaches to Franck’s Choral No. 3 in A Minor. As a MSM degree from Union Theological Seminary, Laramie, Wyoming. Sawyer served on the executive church organist and choir director, she served numer- where she studied organ and composition with M. board of the Denver AGO chapter and was a member ous churches, include Connecticut Farms Presbyte- Searle Wright. of the American Guild of English Handbell Ringers rian in Union, New Jersey, First Congregational in On June 6, 1952, she married Richard Maurice and the Choristers Guild. Jane Elizabeth Sawyer is Chatham, Massachusetts, Wilton Congregational in Peek, whom she met at Union. The Peeks were survived by her brother. Q

³ page 8 University in Essen, Germany (three Africa. Rieger is also building a Cavaillé- manuals, 35 stops). Coll style instrument of two manuals and Organ Builders Rieger has recently been chosen to 30 stops for Nasunogahara Harmony The Rieger Organ Company build a new instrument for the Lotte Hall in Japan. in Schwarzach, Austria, is installing Concert Hall in Seoul (four manuals, Most recently, three new instruments three new instruments: one in Seoul 68 stops). The company has installed a were completed for the Basilica of the Sin-Gil Church (three manuals, 53 new instrument of three manuals and Annunciation in Nazareth: III/49 for stops) in Seoul; the Church of the 41 stops for the University of Music the Upper Church; II/17 for the Lower Franciscan monastery in Klaipeda, and Performing Arts in Vienna, and has church; and I/10 for St. Josef’s Chapel. Lithuania (three manuals, 37 stops); shipped the previous instrument there In addition, Wendelin Eberle, the and a new instrument for the Folkwang to the University of Pretoria in South president of the Rieger organ company, was featured in a full-page article in the Wall Street Journal discussing Rieger’s Goulding & Wood Op. 50 open house new instruments in Vienna’s University of Music and Performing Arts, a short Goulding & Wood opened its doors walk from the Musikverein that houses to over 300 people on April 5 for a a recently installed Rieger in the famed demonstration of their Op. 50, built Great Hall. The article also features for the Episcopal Church of the Good another one of Rieger’s premier instru- Shepherd in Lexington, Kentucky. ments found in the Cathedral in Regens- Good Shepherd’s organist, John Linker, , . burg (IV/80) that is suspended from the played for the crowd, which included PIPEOE ORGANCN CURATORSS, CONONSERS RVATORSORS & CONNSUSULS TANANA TS ceiling of the cathedral. Rieger has just a bus full of church members, India- completed an installation of a 28-stop napolis AGO members, and downtown Specialists in Restoration, instrument for the Catholic Church in residents walking the “First Friday” Conservation, Voicing Lingenau, which is near the Rieger fac- art gallery circuit. Installation started tory in Schwarzach. For information: in Lexington a week later, with a full & Tonal Finishing of www.rieger-orgelbau.com. procession and liturgy celebrating the High-Pressure Pipe Organs CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 1845 South Michigan Avenue #1905 845-225-7515 [email protected] www.claytonacoustics.com Chicago, Illinois 60616 CLAYTON ACOUSTICS AND SOUND SYSTEM 312-842-7475 | [email protected] | www.jlweiler.com ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

10 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Reviews arrival of the Antiphonal division. The Music for Voices and Organ played by fl ute, violin, or some similar depict the various textual phrases. The four-manual, 59-rank organ will be by James McCray C instrument. Some publishers have keyboard part has a solo character that is completed this month. For information: expanded this concept to include both sometimes gently fl owing and later more www.gouldingandwood.com. Choir, keyboard, and additional an untransposed and a transposed part, aggressively dramatic. The fl ute part instrument making the options for performance is on the back cover and in the choral even greater. Typically these generic score; it has warm, fl owing lines. Craft: What is good instrumentation? Stravinsky: When you are unaware that parts are in B-fl at, which is useful for an it is instrumentation. even wider variety of common instru- Lux Aeterna, John Bell. SATB, key- —Igor Stravinsky and Robert Craft ments, such as clarinet and trumpet. board, with C instrument, GIA Pub- Conversations with Stravinsky (1959) Except in unusual instances, a limited lications, Inc., G-8017, $1.80 (E). rehearsal is all that will be needed to Only Latin is used for the fi rst section, Most congregations have members achieve performance. For many, simply entitled “For the Deceased”; the last who play an instrument. Usually they are having the instrumentalist there for half, in English, is “A Blessing for the students or community adult performers the morning warm-up and run-through Bereft.” Most of the choral music is sus- whose love for music is extensive enough is suffi cient, so these volunteers may tained half- and whole-note chords. The that they retain those skills beyond be more available, especially if they C instrument’s music consists of long their youthful experiences. Often the regularly attend church. Also, if the fl owing phrases and is on the back cover, performers welcome the opportunity to instrumentalist is particularly accom- but not in the choral score. Interesting, play in church or community functions; plished, directors may have the option but specialized music. church choir directors who seek out of inviting their guest to play a prepared Schoenstein organ for Dahlgren Chapel those individuals will be rewarded with solo as the Offertory. Of course, that will In a Mother’s Heart, Thomas Kees- organ (artist’s rendering) new vistas of repertoire that will ener- require some additional rehearsal with ecker. Unison/two-part with piano gize both choir and congregation. the organist, but will not add rehearsal and optional violin, Choristers Schoenstein & Co. is building an Amazingly, adding a single instru- time for the choir. And it might be the Guild, CGA 1312, $2.10 (M-). organ for the historic Dahlgren Chapel of mental line to the church choir raises its motivating factor that “seals the deal.” A separate violin part is included Georgetown University in Washington, impact. While congregations appreciate Church choir directors who purchase on the back cover, and is on the choral D.C. The instrument of three manuals the weekly performances of their choir, these publications will greatly enhance score. It is soloistic in style, but always and 19 ranks will be located in two match- the occasional use of additional instru- their weekly anthem contributions to the plays above the choir. The keyboard part ing cases on either side of the sanctuary ments brings a new dimension to the worship service. The reviews this month provides a steady chordal rhythm and and speaking directly down the nave. The sound. In 1862 Hector Berlioz said, feature anthems with one additional generally plays the choir’s music in the organ has two enclosed divisions with a “Instrumentation is, in music, the exact instrument (optional or required), and right hand. This will be a perfect setting double expressive sub-division in the equivalent of color in painting.” Direc- they will be useful for most levels of for Mother’s Day celebrations in church Swell. One of the two 8′ Diapasons in tors are encouraged to bring some tech- church choirs. or school; directors should add it to their the Great and the 16′/8′ Pedal Diapason nicolor into their choir lofts! list of future publications. are unenclosed. The tonal design is along Although the ability of the instrumen- There Is an Everlasting Kindness, symphonic lines and includes, in addition tal performer has a serious effect on the arr. Lloyd Larson. SATB, piano, and The Morning Trumpet, arr. Lloyd to solid chorus work, two celestes, Oboe outcome, most situations are favorable. optional C instrument, Hope Pub- Larson. SATB, keyboard, with and Clarinet, high pressure Tuba Minor, Average instrumentalists tend to be lishing Co., C 5803, $2.10 (M-). optional trumpet, Beckenhorst and four 16′ stops. The third manual bor- more than adequate for church services. Subtitled The Compassion Hymn, Press, BP 1976, $1.95 (M-). rows solo and ensemble stops from the It is not uncommon for them to have the melody has a folk-tune fl avor and is This arrangement of the hymn from Great and Swell. frequent experiences playing individual sung by unison women for the fi rst verse The Sacred Harp (1844) is straightfor- Installation is planned for January lines in bands or orchestras, whereas and unison mixed choir for much of the ward, so the familiar melody is always 2014, to coincide with completion of average vocalists tend to sing in sections second verse. When four parts are used, heard. Four-part writing for the choir is the chapel’s renovation. The director of of the choir where they are surrounded they are static chords. The keyboard limited. The very easy trumpet music is music and liturgy is James A. Wickman. by many others singing the same parts. music is easy; the optional solo part is separate, on the back cover with +Tpt. The organ consultant is Lynn Trapp, Publishers of church music are very on the back cover but does not appear in and -Tpt. indications in the choral score. director of worship and music, St. Olaf savvy in fi nding music where a clever the choral score. The music has a rugged, early American Catholic Church, Minneapolis. For arranger or composer writes for an character, and will be easy enough for information: www.schoenstein.com. optional instrument. In these cases the Pray for the Peace of Jerusalem most church choirs. music functions well with or without that (Sha’alu Sh’lom Y’rushalayim), separate instrumental line. This adds to David Shukiar. SATB, keyboard, and Mothering God, You Gave Me Birth, its selling power and gives choir direc- fl ute, Transcontinental Music Pub- arr. Zebulon Highben. SAB, guitar, tors—especially those on a limited bud- lications, 993470 (Hal Leonard HL and fl ute, Augsburg Fortress, 978-1- get—options. It is common for music to 00191710), $2.50 (M+). 4514-2429-9, $1.60 (E). be published with the directions “for an Only a Hebrew text is provided for Based on Norwich, this hymn setting optional C instrument.” An extra part on performance. The sophisticated music has a guitar part that plays throughout, the back cover for the solo line may be moves through changing styles that ³ page 12

PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS

Viscount Unico console, Ancaster Christian Reformed Church First United Church of Christ in Salisbury, NC selected a custom Rodgers 3-manual with a colonial finish, mechanical drawknobs and Schmidt Piano & Organ Service of MIDI to be interfaced to 11 ranks of new Ruffatti pipes. The pipe ranks Kitchener, Ontario, Canada has installed a Viscount custom Unico 500 drawknob are 8’ Principal, 4’ Octave, 2’ Super Octave, IV Mixture, 8’ Gemshorn, console and custom-built Schmidt Clas- 8’ Flute Harmonique, 8’ Pedal Principal and 4’ Pedal Octave. sique organ sound system at Ancaster The installation was completed by R. A. Daffer Church Organs, Inc. Christian Reformed Church in Ancaster, Ontario, Canada. The sound system The late Paul E. Oakley was the consultant to the church. includes 34 speakers, and features both chancel and antiphonal systems. The three-manual organ console was featured in a concert at Redeemer Uni- versity College with a custom Schmidt Classique Organ System on November 22, 2012. Performers included Martin Mans and Martin Zonnenberg from the Netherlands, John Van der Laan from Ancaster, Ontario, the Hosanna Choir and Meadowlands Salvation Army Band, and Redeemer’s own Reil tracker pipe organ built in the Netherlands. The custom Viscount 500 console organ was then delivered to Ancaster Christian Reformed Church and installed For more information, please contact with the new sound system in time for the fi rst Sunday of Advent. For information: Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com www.schmidtpianoandorgan.com.

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 11 Reviews

³ page 11 Shakespeare, Wagner, Jesus, Napo- music in ’s Neue Zeitschrift für contemporary readers. For example, the with a mixture of single line and chordal leon, and Bach have been subjected to Musik, the famous journal founded and six Trio Sonatas, BWV 525–30, are shown accompaniment. The peaceful setting more critical investigation and commen- edited by Schumann. Chapter 5 looks to have been championed by Haupt opens with an extended instrumental tary than probably anyone else in history. at César Franck as a receptor of Bach’s (1810–91) in Berlin, who taught them introduction. Instrumental parts may be Libraries all over the world are fi lled with organ works, joining the select Parisian to his American students John Knowles downloaded from Augsburg Fortress. books and articles by writers who are company of Guilmant, Saint-Saëns, and Paine and Wilhelm Middelschulte. The guitar sounds an octave lower, so somehow compelled to contribute their Widor, who regularly performed Bach Both Middelschulte and Marcel Dupré if played on keyboard, it will need to be insights on these subjects. Can we make on their recitals. But Stinson believes it taught them to Virgil Fox, who had to transposed accordingly. The fi rst verse is room for yet another book of essays on was the friend Charles Alkan who most learn a new movement every week and for two-part choir; there are two other Bach? In the case of Russell Stinson, we persuasively steered Franck toward sometimes was required by Dupré to verses and an extended closing passage. must make room. He brings to his task Bach. He notes that in 50 years of play- transpose it into another key—without Charming music. a background of signifi cant publications ing church services, Franck is not known the music. Fox regularly featured the on the Orgelbüchlein, the Great Eighteen to have played a single piece by Bach in fast movements at breakneck speed on When We Are Tempted to Deny Your Organ Chorales, and the reception of worship. Bach is quintessentially Protes- his legendary “Heavy Organ” programs. Son, Zebulon Highben. SATB, organ, Bach in the 19th century, among other tant, as Saint-Saëns maintained, so his At the fl icks—using the Prelude and with optional violin, MorningStar scholarly writings. His seven essays chorale-based compositions seem incom- Fugue in D Major, BWV 532, plus part Music Publishers, MSM-50-3073, here are exciting reading. They delve patible with Roman Catholic liturgy, of Passacaglia in C Minor, BWV 582, $1.70 (M). into previously unexplored aspects of and the free works are “too showy.” But Francis Ford Coppola produced one of The violin part must be read from the Bach’s nearly 300 masterpieces for organ. his recitals, while poorly documented, the most famous scenes in all of cinema: choral score, although a separate part Chapter 1 begins with a critique of recent show he did occasionally perform some the climactic baptism sequence near in both C and B-fl at (clarinet) may be literature, focusing on Peter Williams’s of Bach’s works. In pedagogy Franck the end of The Godfather (1972). This ordered from the publisher. The work monumental survey of Bach’s organ made his every pupil study Bach; Stin- scene, according to Stinson, “quali- opens with a rubato unaccompanied music in three volumes, now in a short- son provides an appendix from archival fi es as the most effective use of Bach’s violin solo that leads to the entry of the ened 2-volume revised edition, and ends Conservatoire records showing Franck’s organ music anywhere in the movie unison men, again with free tempo. The by unveiling what the author describes pupils by name, the repertoire studied, genre.” He explains why. Other movies women enter singing a unison setting of as “the best-kept secret in modern Bach and Franck’s assessment. Some popular making use of Bach are Disney’s 1940 Lord Jesus, Think on Me above a con- scholarship.” (Get this book.) names are recorded: Wachs, Thomé, Fantasia, Dr. Jekyll and Mr. Hyde, The tinuation of the men’s opening material. Chapter 2 investigates the compo- D’Indy, Dallier, Chapuis, Pierné, Ganne, Raven, and on television, Countdown There is a dramatic four-part section sitional procedure of “Varied Stollen,” Busser, Tournemire, and others. Finally, with Keith Olbermann. before the return of the violin solo, whereby Bach and some of his prede- the infl uence of Bach on Franck’s own Of tragic historical interest is the use which leads to a primarily unison choral cessors and contemporaries set chorale compositions is demonstrated, showing made of Bach’s organ music by the Nazi coda. Effective, sensitive music. melodies that they encountered in bar similarities in Franck’s Offertoire in F party in the early 1930s. The notori- form (diagrammed AAB) to a design Minor plus the second Choral to Bach’s ous Herbert Haag, chief ideologue of Day of Arising, David Cherwien. characterized by immediate restatement Passacaglia in C Minor and the Fantasy the organ workshop component of the SATB, fl ute/violin or B-fl at clarinet, of the opening two or three musical in G Minor, the Grande Pièce Sym- Hitler Youth organization and a leading and organ, MorningStar Music Pub- phrases, known as the tune’s Stollen. phonique to Bach’s “Little” Fugue in G musician of the Nazi Confessionalist lishers, MSM-50-5020, $1.85 (M). This technique by organ composers of Minor, Franck’s Final to Bach’s Toccata church, championed Bach’s music, e.g., The text is by Susan Palo Cherwien and varying the music of the Stollen on its and Fugue in D Minor, and Choral No. the middle section of the Fantasy in G is appropriate for Communion. The organ restatement may have originated with III to Bach’s Prelude in A Minor. These Major (“Pièce d’Orgue”), Preludes in part, on three staves, plays an important Sweelinck, founder of the North German relevant passages are quoted in notation E-fl at Major, C Minor, D Major, and role in the music. A B-fl at part of the C organ school. Bach seems to have used for critical comparison. the other “inherently powerful” works, instrument music is available separately it mostly in his earlier works, beginning The English Yorkshireman Sir Edward as appropriate for festivals glorifying the from the publisher, and is included in the with the Neumeister Chorales. Stinson Elgar is the subject of Chapter 6, fi rst as totalitarianism of the Nazi regime. The choral score. The choral parts are easy, provides a convenient table listing on Bach interpreter, devotee, and critic, party constructed a gigantic fi ve-manual mostly in a two-part mixed arrangement. three pages all the chorales containing and fi nally as transcriber of Bach organ organ, complete with loudspeakers, for Sophisticated and lovely music. a varied Stollen, with approximate date works. The two main interpretative the 1936 Nazi rally in Nuremberg. The of composition and a description of the sources used are the 8-volume edition organ was “the total instrument of the How Can I Keep from Singing?, arr. manner in which Bach varied the Stollen of the organ pieces published by Peters total state,” and Adolf Hitler was the Timothy Shaw. Unison or two parts, on restatement. in Leipzig, and the two-volume treatise state’s “omnipotent organist.” piano, and optional C instrument, Chapters 3 and 4 are an exercise in from 1905 by Albert Schweitzer, trans- Every one of the essays is interesting Hope Publishing Co., C 5799, reception criticism, investigating how lated into English by Ernest Newman and quite compelling. Stinson writes $1.95 (E). Mendelssohn understood Bach’s music and issued by Breitkopf & Härtel in 1911. in an attractive, fl owing style, entirely This easy arrangement might be a and promoted it in his now-famous Bach Elgar studied these works and annotated accessible to every organist, and his ideas wonderful addition for a summer choir. recital at Leipzig, August 6, 1840. Stinson them heavily, frequently challenging are refreshing and thought-provoking. Its generic text and melody are immedi- reproduces a photograph of Schumann’s Schweitzer’s assertions (using such terms This book should be required reading. ately attractive. The C instrument’s part valuable personal copy of the handbill as “nonsense!” or “I doubt that”). He —John M. Bullard, Ph.D. is on the back cover and indicated by listing the program selections. Lacking transcribed two of Bach’s famous organ Spartanburg, South Carolina small notes in the choral score. BWV catalogue numbers, there are some works for symphony orchestra: Fantasy ambiguities since two pieces will have and Fugue in C Minor, BWV 537, and and Markus Zeph, the same key. Stinson examines the evi- the conclusion of the Toccata in F Major, The Organs of J. S. Bach: A Handbook, Book Reviews dence and identifi es every piece played BWV 540/1, replacing the “rather banal” translated by Lynne Edwards Butler. J. S. Bach at His Royal Instrument: followed by a critical analysis. He goes coda provided by Heinrich Esser to University of Illinois Press, 2012; 209 Essays on His Organ Works, by Rus- on to show how Carl Becker and J. G. his own transcription of 1859. Stinson pp. + xxv. ISBN: 9780252078453. sell Stinson. New York: Oxford Uni- Schneider received Bach. describes the Fantasy transcription as Within months of his death in 1750, versity Press, 2012; xi + 203 pages; In Chapter 4 he describes how “one of the most famous (and success- an obituary described Johann Sebas- clothbound, $49.95. ISBN: 978-0- Schumann, Becker, and the “Bach ful) Bach transcriptions ever committed tian Bach as a “world famous organist, 19-991723-5; www.oup.com. fanatic” Eduard Krüger promoted Bach’s to paper,” the Toccata transcription as composer and music director;” but what “virtually unknown.” To Ivor Atkins, edi- of the instruments he played? Some of tor at Novello’s, Elgar confi ded that he them are well known, and most of us, for intended to transcribe the great “Wedge” example, are aware of instruments such Prelude and Fugue in E Minor, BWV as the organ that Bach had at his disposal 548, but he never got around to it. as Kapellmeister at Arnstadt. Actually, The fi nal chapter, 7, focuses broadly as the authors of this book point out (p. A. E. Schlueter Pipe Organ Company on aspects of reception from Bach’s day xvi), Bach was rather lucky to have this is pleased to announce the contract to ours. Stinson selects thirteen rep- particular instrument, as it was “a brand to build a new 47-rank pipe organ for resentative works of Bach rather than new and perfectly-functioning instru- individual persons, although individuals ment constructed by one of the best Iglesia ni Cristo, Central Temple, cited include many of the “greatest lumi- and most advanced organ builders of his in Quezon City, Philippines. The naries in music history.” This chapter time.” Most Bach afi cionados have some resources of this instrument will is far-fl ung and far-reaching and may idea of the instruments that the master be controllable from a IV-manual be the most creative and fascinating played from Sunday to Sunday, and an drawknob console. Several divisions part of the book. The modern allusions increasing number of us have some idea of the organ will have chamber and interpretations will resonate with of the sound of a “Bach organ” from openings into side chapels which   can be closed off from the main 035DWKNH,QF Fruhauff Mussiic Publliicattiionss 3LSH2UJDQ%XLOGHUV Temple to allow the organ to also Compositions, Historical Transcriptions, Hymn Tune Settings & Liturgical Music   be playable as two separate two-  Scores for Organ, Voices, Carillon & Ensembles  3RVW2IILFH%R[ manual instruments. www.frumuspub.net 6SLFHODQG,QGLDQD86$ D P.O. Box 22043 E 7HO)D[ Santa Barbara, CA 93121-2043 ZZZUDWKNHSLSHRUJDQVFRP

12 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Reviews the recordings of replica instruments the records that have survived of tests “American Classic.” This new design Jehan Alain. Beginning with Franck and that are available to us today. But—as is and examinations carried out on new concept was in direct opposition to the continuing with Widor and Alexander clear from the book—that is just the tip organs by J. S. Bach. The second part symphonic-orchestral organ that had Guilmant, the French organists of the of the iceberg. reproduces Gottfried Silbermann’s been championed by Skinner. It was 19th century developed a sophisticated This is one of the fi rst books to make instructions for examining organs, which not long before the elder Skinner left symphonic style of organ music. Both use of the wealth of information about seem to correspond fairly closely with the fi rm that partially bore his name and Durufl é and Alain studied with Paul Saxon and Thuringian organs that has what Bach actually did. set up his own organbuilding concern, Dukas, who was Widor’s successor at come to light since the collapse of the The fi nal section of the book, “Organ seeing, to his dismay, many of his earlier the Paris Conservatory. The musical lan- German Democratic Republic and the Builders,” is devoted to individual instruments rebuilt by the new fi rm to guage of the two 20th-century composers reunifi cation of Germany in 1990. We biographies of the organbuilders respon- refl ect the tonal ideas of Harrison. featured here is a direct descendant of remember Bach today mostly as a com- sible for constructing the instruments The All Saints instrument, one of a French symphonic language, overlaid poser. However, in his lifetime as a prac- described earlier in the book. This is the fi rst in this new “American Classic” with the impressionism of Durufl é and ticing organist he gave many recitals and subdivided into “Organ Builders with style, is now approaching its 80th year, the infl uences of jazz, Moroccan and was unusually well informed about the a Personal Connection to Bach,” other and—outside of a few minor changes Indian music in Alain’s music. principles of organ design; he was much organbuilders of the period, and more with the addition of horizontal trumpets, It is a pleasure to see the full and in demand as an organ consultant, and recent builders who have restored or a new Great Fourniture mixture, console detailed specifi cation of the organ as an expert tester of new organs who rebuilt the instruments. It is surely the updates, and solid-state switching—it is included with the very complete pro- would recommend to churches whether fi nest biographical summary of seven- much as G. Donald Harrison envisioned gram notes on the music and the organ. or not to sign off on the contract. We teenth- and eighteenth-century Saxon it. The Bombarde division, which lost its Truly one of the joys of organ recordings are dealing, therefore, with literally and Thuringian organbuilders yet pro- shutters in the 1950s, is now enclosed, is the inclusion of full information on the hundreds of organs, and the remarkable duced, and will be useful to many other and six of the enclosed ranks in this divi- music, the performer, and the instru- thing about this book is the wealth of than Bach scholars. There is an excellent sion that had been removed were recre- ment, especially an instrument of such information about many of them that the bibliography and index at the end. ated following the original Aeolian-Skin- historic signifi cance. authors have been able to discover. I must say that this book has made ner shop notes. Finally, Jack Bethards For this recording by Christopher The fi rst section of the book, entitled me feel rather humble. I used to think of Schoenstein & Co. completed a Houlihan, a comparison may be drawn “Organs with a Proven Connection to I knew a fair amount about Bach organs, mechanical and tonal survey of Opus 909, with the great recordings of George Szell Bach,” deals with those instruments with and perhaps after reading the book I now detailing the scope of restoration work. and the Cleveland Orchestra. With Szell a defi nite Bach association. Besides the do. It is a stunning piece of scholarship This particular recording was made there was an incredible attention to detail, well-known ones such as Arnstadt and that at times quite took my breath away. during a week of survey work, when with absolutely seamless crescendos, and Leipzig, there are many instruments Nevertheless, it is eminently readable all of the furniture had been removed the slightest change in orchestra color was of which few people will have heard. and should be of interest to the general from the nave of the church, which was captured with almost magical clarity. The One example is the Marienkirche in reader as well as the scholar. It is a “must” an attempt to create the sound in the opening of the Durufl é Suite captures Bad Berka, where Bach drew up the for anyone who wishes to perform Bach’s building as it would be if the sound- the orchestral wizardry that many think specifi cation for a 28-stop organ to be organ music in an authentic manner. deadening material were removed from is impossible on the organ; the opening built by the organbuilder Trebs in 1742. —John L. Speller the ceiling over the organ, a sound we motive over a sustained B-fl at literally Unfortunately, because of lack of funds St. Louis, Missouri assume that would have been pleasing melts into the fi rst theme. The organ the instrument as actually constructed to G. Donald Harrison. under Houlihan’s control is full of color in had to be reduced to 13 stops (p. 13). So, here for this reviewer rests the a way that is much more symphonic that All the instruments are described in New Recordings great irony. The “American Classic” it is organistic, an amazing feat in itself. detail, with their histories, any available Joys, Mournings and Battles: The design, which strove for clarity and purity This sensitive playing extends into stop lists, drawings or black-and-white Music of Durufl é and Alain. Chris- with a nod to the performance of Baroque the impressionistic second movement, photographs where they exist, and in the topher Houlihan, organ. The Rice and earlier music, soars to new heights Sicilienne, in which Houlihan makes use case of extant instruments, photographs Memorial Organ, Aeolian-Skinner in this recording of French romantic of the organ’s unique sounds and solo in full color, with details of the present Opus 909, 1933, All Saints Church, organ music by Maurice Durufl é and ³ page 14 state of the instrument. Worcester, Massachusetts. Towerhill In some cases particular composi- Records, TH-72025, $19.95; www. tions can be associated with particular Towerhill-Recordings.com. Also organs—as in the case of the Harpsi- available as MP3 downloads at www. chord Concerto No. 2 in E Major, BWV amazon.com. 1053, which Bach seems to have played Durufl é, Suite, op. 5; Alain, Trois in a concert of music for organ and Danses; Durufl é, Prélude et Fugue sur le strings at St. Sophia’s Church in Dres- nom d’A.L.A.I.N., op. 7. den in 1725 (p. 15). According to one One of the bright new stars in the of Kittel’s students, Bach performed the organ world, Christopher Houlihan has Dorian Toccata and Fugue, BWV 538, already established himself as a concert when inspecting the 1732 Becker organ artist. (See “A Conversation with Chris- at St. Martin’s Church in Kassel (p. 39). topher Houlihan,” in The Diapason, When in 1717 J. S. Bach and organ- April 2011.) This last year the young builder Zacharias Hildebrandt tested the Houlihan performed his Vierne 2012 new Scheibe organ at St. Paul’s Univer- program, which included the six sym- sity Church in Leipzig, the organist of phonies of , at various ven- the church, Daniel Vetter, commented ues. (See “Christopher Houlihan Vierne that it was “perhaps one of the strictest Marathon,” The Diapason, August investigations ever suffered by an organ.” 2012.) A graduate of Trinity College in One would have liked to have been a Hartford, Connecticut, he studied with fl y on the wall! Nevertheless, Scheibe’s John Rose from the age of 12. Houlihan instrument passed the test with fl ying won fi rst prize in the Albert Schweitzer colors. Some of the details of individual National Organ Competition at age 15. organs are quite fascinating; for example, Further study was at the French national we are told that at the Herderkirche in regional conservatory in Versailles, Weimar many of the reeds had tin-plated where he worked with Jean-Baptiste sheet-metal resonators (p. 94). Robin, while still an undergraduate. The second section of the book, Houlihan’s fi rst recording for Tow- entitled “Reference Organs,” deals with erhill Recordings was of the Second organs which, while Bach may or not Symphony of Louis Vierne, made on the have played them, are useful as additional Austin organ at Trinity College Chapel evidence of the tonal qualities of a typical in Hartford in 2007 (see review in The “Bach Organ.” I was intrigued by a refer- Diapason, January 2009). The present ence to the Marienkirche in Rötha, home Towerhill disc was made in 2010, while of a fi ne 1721 Gottfried Silbermann Houlihan was studying with Paul Jacobs organ, as “The Pilgrimage Church of the at the Juilliard School in New York. Miraculous Pear” (p. 128). On research- The organ on this recording is one ing this on the Internet it seems that in of the signifi cant early instruments by 1508 a shepherd claimed he saw the Vir- Aeolian-Skinner under the direction of gin Mary in a pear tree, and a sick sheep G. Donald Harrison. There were con- was healed by eating the bark. So far as tinuing disagreements between Ernest I am concerned, any excuse will do for M. Skinner and the new president and having a good Silbermann organ! tonal director Harrison. It was G. Don- The next part of the book, “Organ ald Harrison, the younger of the two Tests and Examinations,” is in two sec- men, who would become associated tions. The fi rst is devoted to reproducing with a style of organbuilding known as

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 13 Reviews

³ page 13 Alain’s own Litanies. Durufl é creates a in Italian, French, and English, there is is regrettable that only the fi rst three voices. Here is the symphonic organ at perpetual-motion prelude that contin- not room for an overwhelming amount studies were included here, as all six per- its very best, and again, all of this from an ues on into a fugue with two contrasting of information in the booklet, but there formed by a player of Ryan’s skill would “American Classic” instrument. One can subjects, building to a great crescendo is a short biography and photograph of make for a most compelling purchase.) imagine the hours spent by this young and a fi tting conclusion to this work and Severin, a specifi cation, console shot and Three preludes on early American artist to understand intimately this par- to this recording. brief history of the organ, and a short hymn tunes follow: Resignation by ticular instrument. This recording is also available as a explanation of the philosophy behind Zachary Wadsworth (receiving its fi rst The closing movement of the Durufl é digital download, either with the entire the choice of instrument and the style of recording here, it is an interesting little Suite was never played by the composer recording or for individual tracks from the performance. Having heard several piece with a constant sense of motion, himself. Stories of Durufl é’s notori- Houlihan’s website www.christopher extremely fi ne recordings of Franck’s and the well-known melody played on a ous harsh self-criticism are legendary, houlihan.com. You will want to hear organ music (particularly Michael How- soft solo reed stop), George Shearing’s and he destroyed many works that he every note that this young musician ard at Farnborough Abbey), I found this Come Away to the Skies, which begins felt unworthy. Throughout his own life plays. All of us await Houlihan’s third an enjoyable alternative approach to his with a delightful (almost) dance-like Durufl é spoke of the disappointment (!) recording and many more to come. music, but I don’t think I would want section, before transitioning into a that he felt over this last movement and —David Wagner it to be my only recording of the works somewhat comic theatre-organ style never played it in public, playing only the Madonna University of Franck. ProOrgano recently released second half! The last of these three pre- Suite’s fi rst two movements. Christopher a complete Franck recording from St. ludes is the lovely, gentle and meditative Houlihan totally vindicates the worth The Complete Organ Works of Mary the Virgin, New York City, which setting of Amazing Grace by Al Travis, of this music, reminding us all through César Franck. Domenico Severin provides interesting comparison with organist of Broadway Baptist Church in that true technical virtuosity, displayed plays the organ of Église St-Martin, Severin’s recording from Dudelange. Fort Worth, Texas. in abundance in his playing of the last Dudelange, Luxembourg. Syrius The fi nal two pieces are, however, movement, is fi rst put to use in the ser- SYR141431 (two-CD set); avail- A Cathedral’s Voice: The Organ of anything but meditative—quite popular vice of the music itself. able from http://domenicoseverin. the Cathedral of St. John Berchmans, works of the French organ repertoire, The second treasure on this record- perso.sfr.fr/cesar_franck_complete_ Shreveport. Jonathan Ryan, organ- both pieces provide a glimpse into the ing is the magnifi cent playing of Jehan organ_works_185.htm. ist. Raven (OAR941), $15.98; extraordinary technical ability of this Alain’s Three Dances. Originally con- Choral I in E, Choral II in b, Choral www.RavenCD.com. international (multiple) prize-winning ceived as an orchestral piece as early III in a, Prière, op. 20, Fantaisie in A, Bach: Prelude and Fugue in D organist: Fantaisie sur le Te Deum et as 1938, Alain transcribed it while serv- Pièce héroïque, Grande pièce sympho- Major, BWV 532; Byrd: three settings Guirlandes Alleluiatiques of Charles ing in the French Army at the start of nique, op. 17, Prélude, fugue et varia- of Clarifi ca me Pater; Oldroyd: Three Tournemire, an exciting, free-form World War II. Sadly, Alain never lived tion, op. 18, Cantabile, Pastorale, op. 19, Liturgical Improvisations; Eben: Stu- fantasia based on the melody of the Te to hear a complete performance of the Fantaisie in C, op. 16, Final, op. 21. dentenleider from Faust; Schumann: Deum laudamus; and fi nally the quite work because he was killed in battle The works of César Franck, one of Canonic Etudes, op. 56: No. 4 in A-fl at spectacular Placare Christe servulis (op. outside of Saumur, France on June 20, Belgium’s most prolifi c composers for Major, No. 5 in B Minor, No. 6 in B 38, no. 16) of Marcel Dupré, played here 1940, just two months after completing the organ, are often overlooked in favor Major; Zachary Wadsworth: Resigna- with all the great drama and excitement the score. of the fl ashier French toccatas. This is a tion (composed 2012, premiere record- befi tting such a cracking toccata—the As Alain himself wrote, “There is no great pity, as Franck’s music is intricate, ing); Shearing: Come Away to the Skies; Pontifi cal Trumpet may not compare contradiction between dance and sor- sensitive, highly refi ned, and emotive. Of Travis: Amazing Grace; Tournemire: to the great Cavaillé-Coll reeds on the row. Dance, like music, is expressed his organ repertoire, the Trois Chorals Fantaisie sur le Te Deum et Guirlandes organ of St. Sulpice, Paris, over which without concept, and in its sublimity are probably the best known, along with Alleluiatiques; Dupré: Placare Christe Dupré presided for many years, but put can interpret what a word could not say the Prélude, fugue et variation, and these servulis, op. 38, no. 1. aside your purist tendencies, and allow without brutality.” Again, the magic of receive very respectable performances Jonathan Ryan is one talented organ- yourself to get caught up in this incred- both organ registration and insightful here under the fi ngers of Italian organist ist! Matched as he is on this CD with the ible performance—Ryan will take your musicianship transforms these three Domenico Severin, titular organist of the new 54-rank Parkey organ in Shreve- breath away. dances beyond a mere description of Cathedral Saint-Etienne de Meaux. port’s Catholic Cathedral (see The Dia- Raven has produced another of “happy,” “sad,” “playful,” or “sorrow- The organ in Église St-Martin, pason, January 2012) and some superb their fi ne booklets, with magnifi cent ful.” The dances, from the fi rst “Joys,” Dudelange, is a fi ne-looking, large previously unrecorded music (as well photographs and plentiful information include all of these emotions and more, instrument (IV/78) built in 1912 by as plenty of old favorites), this is much about the repertoire, instrument, and sometimes at the same time. And with the German organbuilders Georg more interesting than the average run- performer; the clarity of their recordings “Mournings” there are movements of Stahlhuth & Son. Tonally modifi ed of-the-mill organ demonstration disc. never fails to deliver the impression of calm repose in the sarabande-inspired in 1962, the recent 2001–02 renova- Ryan opens with a lively and spirited being seated in the room listening to a theme. One can only imagine the emo- tion by Thomas Jann of Germany has performance of Bach’s Prelude and live performance, and this recording is tional turmoil of the composer in the attempted to restore the tonal palette Fugue in D (BWV 532) in which we are no exception. fi nal movement, “Battles,” which begins back to the original design; it is certainly quickly introduced to the performer’s with brief fragments from the “Joys” an extremely romantic instrument, with technical skill and the organ’s varied Wild Sunrises: Organ Music of Car- movement mixed in with an alternative a fi ne terraced four-manual console. It musical palette. After three charming son Cooman. Harry Lyn Huff plays version of the fi rst theme as they crash includes some notable features, such as settings of Clarifi ca me Pater by Wil- the Skinner organ of Old South into each other, and the movement ends a complete string chorus (16′ through to liam Byrd, the disc moves to the fi rst of Church, Boston. Raven OAR932, 3 with harsh chords. This most powerful 1 ⁄5′) and 23 reed stops (including a rare several most interesting musical selec- $15.98, www.RavenCD.com. 1 reading of the Alain work shows not just Trompette en Chamade at 5 ⁄3′)—the tions—the fi rst recording of the Three Toccata-Fantasy on a Medieval Welsh technical mastery but emotional under- works of Reger, Rheinberger and Karg- Liturgical Improvisations by the Eng- Carol (6:32); Alive! (7:25); Sunburst: standing of this music. Elert would fi nd a most natural home on lish church musician George Oldroyd A Recessional Fanfare (1:54); Trio: In The fi nal work on the disc is from this organ. (probably best known to most parish Memoriam Dirk Flentrop (3:31), Exalta- 1942: Durufl é’s homage to Alain, written A nicely produced full-color booklet musicians as the composer of the Mass tions: Heralding (3:22), Refl ective (5:15), in Paris while the city suffered under accompanies the disc, with a great pho- for the Quiet Hour), and although these Joyous (4:16); No Darkness at All (4:53); the German occupation. The theme is tograph of the Dudelange organ fi lling performances here are divorced from Toccata: Homage to Buxtehude (5:49); based on Alain’s name, transformed into both center pages (a note to all CD the highly ritualistic Anglo-Catholic Blessing (4:05); Dawning (3:24); Ab ortu the pitches A-D-A-A-F. This musical companies: all organ recordings should liturgical activity that they would almost Solis (3:14); Make Glad the City of God motive is combined with the theme from feature such a photograph!). With text certainly have been improvised to cover, (2:47); Jubilee-Postlude on Converse they are played with tremendous feeling; (3:12); Berceuse (4:22); Trumpet Tune the expressive, singing lines of Oldroyd’s (4:20); Wild Sunrises (9:26). rich harmonic framework soar under If you enjoy modern organ music and Ryan’s skilled fi ngers as he captures the roaring sound of the great American Follow us on exactly the essence of this great emo- symphonic/romantic organ-building tive liturgical music. This is extremely period, then this is the disc for you. Photo: Michael Timms Facebook beautiful, soulful music (particularly the Harry Lyn Huff presents a program fi rst improvisation) and one can hope of organ music composed in the fi rst RGUES ÉTOURNEAU TÉE that these three fi ne pieces will be heard decade of the 21st century by the con- O L L more often in concerts, or perhaps as temporary American composer Carson preludes to services of Choral Evensong. Cooman (b. 1982). It was recorded CANADA UNITED STATES After an extremely capable perfor- on the sanctuary organ of Old South 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 mance of Petr Eben’s Studentenlieder Church, Boston, Massachusetts, where St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 (the fi fth movement from Faust, adapted Huff presides as minister of music and Tel: 450-774-2698 Tel: 800-625-PIPE [email protected] [email protected] by the composer himself for the organ) organist. The organ, built in 1921 by the recording turns to the last three of the Skinner Organ Company for the Robert Schumann’s Six Canonic Etudes Municipal Auditorium in St. Paul, Min- Photo: David Morrison (op. 56): No. 4 in A-fl at, No. 5 in b, and nesota, was rebuilt by Casavant Frères No. 6 in B-fl at. Ryan captures the lyrical in the Old South Church (1982–84) and letourneauorgans.com quality of these lovely studies, working was again rebuilt and modifi ed tonally by the romantic nature of the Parkey organ Nelson Barden Associates (1987–90). to extract well-controlled and appropri- It would be fair to say that much of ate crescendos and diminuendos. (It Cooman’s music owes something to the

14 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Reviews harmonic language of Kenneth Leigh- Spirituals: For Manuals Only or Key- the way to bring them alive. Give Me directly from the spiritual. Moving ton and Judith Weir, the best of the board, Edwin T. Childs. Augsburg Jesus is one that might benefi t from through the volume and discovering each rhythmic language of William Mathias Fortress, ED015054, $17.50. the organ, however; its long sustained piece, with styles ranging from the blues and Christopher Steele, and the deep These pieces rock! This is a treasure notes (especially the seven measures to boogie-woogie, is a musical adventure. spirituality of Naji Hakim and Olivier trove of expressive and engaging music. of tied whole notes at the beginning) And yes, at the end there is Were You Messiaen, for there is nothing super- Although these settings of thirteen would require re-striking on the piano. There (but in this case, as if Schoenberg fi cial about the majority of this music, well-known spirituals are written on two Play this piece, as the composer directs, had written jazz). More could be said in despite the occasional almost-fl ippant staves, the subtitle may be slightly mis- “Earnestly,” with the text singing. The favor of each of these thirteen settings, treatment of material (such as in What a leading: this is not “easy” manuals-only player of “Every Time I Think About but instead please get this volume and friend we have in Jesus.) Although much music; don’t look here for a simple set- Jesus” will enjoy dense, swinging, often discover them on your own. of the music is fast, dramatic, and loud ting of, say, “Were You There.” Rather, chromatic added-note chords in the with an inner rhythm that drives the these want to be practiced—if not for right hand over a striding string bass At the Name of Jesus: Four Hymns music forward, the Berceuse and Refl ec- the notes, then for the music therein. line in the left—fun! of Devotion, Michael Burkhardt. tive Exaltation stand out, along with the They employ a variety of jazz idioms, Others include I’m So Glad—rhyth- MorningStar Music Publishers, Trio: In Memoriam Dirk Flentrop, as and the composer has done a marvel- mically energetic and joyous; tricky as MSM-10-747, $14.00. three beautiful, soft, slow meditations ous job in translating the blue notes, well, but just keep that left hand going! Although not particularly inventive (which will certainly be fi nding a place cross rhythms and syncopations, altered The quiet duo on In Christ There Is No harmonically and somewhat repetitive in my communion repertoire in the near chords and glissandi of jazz into tradi- East or West provides contrast to the in nature, these medium-diffi culty set- future). Much of the music does exactly tional notation. These pieces should thicker, jazz textures. The listener is tings are sympathetic to the tunes. Their what would be expected from the title, be played with confi dence—rock-solid drawn into Let Us Break Bread Together textures and counterpoint, however, in terms of thematic word-painting, and rhythm, to begin with, but also by through its lush, Shearing-like harmo- look more interesting than they sound. there are informative and insightful getting into their “skin”: feeling the nies. There is a long and dreamlike Balm Especially attractive, nonetheless, is booklet notes by the composer himself essence within and expressing it to the in Gilead, an almost painfully dissonant the collection of tunes itself: melodies concerning his compositions (although I listener; in short, animating the spirit They Crucifi ed My Lord (how could it be not often set, including Erik Routley’s doubt any amount of background could in these spirituals. otherwise?), and an exuberant This Little Sharpthorne, Noble’s Ora Labora, prepare you for the funky, rhythmic Although the registrations suggest Light of Mine. and two by Vaughan Williams: King’s heralding of the fi rst piece from the these can be played on the organ, I think This is meaningful and expressive Weston and The Call. Exaltations bearing the same name!). the piano, with its expressive touch, is music—imaginative, and generated ³ page 16 This is not a disc for the faint-hearted, but those who like their music com- posed “outside the box” (in all possible senses) will appreciate this recording enormously. Huff’s playing is assured and controlled, bringing Cooman’s music bursting to life in full bloom. —James M. Reed Bergen, Norway Get Real New Organ Music Rejoice, O Earth: Organ Improvisa- tions on World Songs, Michael Bed- ford. Augsburg Fortress, ED018844, $15.00. Seven pieces, three to four pages each, medium diffi culty. The title refers to the diverse origins of these tunes, including Are you purchasing real sounds, the Dominican Republic, Africa, and China. Several are well-known tradi- tional hymns but even if the tune is not or recorded sounds? (yet) familiar—¡Alleluya! Christo resu- ...real pipes last for centuries. citó, for example—the pieces are none- theless musically effective and engage the listener. Gracious Spirit, Hear Our Pleading, a tune from Tanzania, is color- ful, winning, and rhythmically exciting, as is the swinging I Want Jesus to Walk with Me (the spiritual, Sojourner) with its jazz bass—are your feet ready to boogie? Midnight Stars Make Bright the Skies links a “sparkling” pentatonic fi gure in the right hand to the Chinese melody. (The same fi gure, later moved down an octave to the left hand, is less sparkling and a bit stodgy.) A similar accompaniment does not fare so well when wedded to Holst’s Thaxted, and its lack of regularity will make this one more challenging to learn. People, Look East is great fun: a lively dance, with great rhythmic energy and surprising key changes.

All Praise for Music: Easy Hymn Set- tings for Organ, Timothy Shaw. Augs- burg Fortress, ED015052, $16.00. Seventeen settings, easy to moderate, one to two pages. Some pieces provide merely a quick one-page trip through the tune; others are more developed. Some are a bit too simple to offer much musical interest. Even at one page, however, the NORTH duo on Nettleton captures the spirit of AMERICA’S the tune well. The quietly evocative setting of Holy Manna is effective musically, PREMIER but does it refl ect either of the suggested ORGAN BUILDING texts? The setting of Rustington is quite & SERVICE FIRMS harmonically daring. Nicaea includes a lively section in a non-Trinitarian 5/8. APOBA.COM 800-473-5270 Most are thoughtful and imaginative—a well-written and attractive set.

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 15 Reviews

³ page 15 have some of these pieces. The two to be provided to sopranos singing the diffi cult. They will require (and repay) 6 Choralvorspiele, Op. 104, A.[rnold] pieces by Kristina Langlois are the most descants? No permission to reproduce study and rehearsal. The musical text Mendelssohn. Edition Peters, 3945A, interesting. People Look East is harmoni- the score is given, nor is a separate ver- is clear, well edited, and easy to read, $23.00. cally colorful and rhythmically interest- sion of the descants provided. and the spiral binding facilitates its use. Edited by Jürgen Trinkewitz, this ing. Come, Thou Long-Expected Jesus Highly recommended. is a reprint of an initial publication sets the melody against a quiet, delicate Come & Praise, Vol. 2, Mark Sedio. —David Herman of 1929. “Who was this fellow?” the keyboard part that includes references Augsburg Fortress, ED013706, The University of Delaware reader may well ask. The question is to Nun komm, der Heiden Heiland. $19.50. addressed extensively, but in German Haf Trones Lampa Färdig is not These eighteen pieces on hymns old Twenty-Four Chorale Preludes by only, in the volume’s Nachwort. (Short the most interesting of Manz’s pieces and new are of medium diffi culty and Friedrich Wilhelm Markull, opus answer: Arnold lived from 1855–1933 for Advent. Wilbur Held’s Lift Up Your range, with one exception, from one to 123, edited by Frederick Frahm and and was the son of a cousin to Felix. Heads has a middle section that takes three pages in length. Holy Manna is Joseph Pettit. Augsburg Fortress, Interestingly, Paul Hindemith was one Truro to the key of the relative minor— attractively Manzian. These are certainly ED 015838, $25.00. of Arnold’s students.) The moderately an unusual sound. Burkhardt’s fanfare- well enough crafted but often seem not Allein Gott in der Höh sei Ehr; Chris- diffi cult settings here are quite thick like and dramatic setting proclaims The to have much musical interest. They are tus, der ist mein Leben; Ein feste Burg ist and complex in texture and the score King Shall Come. a bit formulaic (the sequences, modula- unser Gott; Es ist das Heil uns kommen includes many expression directives. tions, and frequent rise or drop of a third her; Es wolle Gott uns gnädig sein; Freu In short, it resembles Reger, whose A Blue Cloud Abbey Organ Book for in tonal centers), but are simple and ser- dich sehr, o meine Seele; Herzlich lieb working years lay within those of A. Lent, Christopher Uehlein. Augs- viceable. (But Sonne der Gerechtigkeit hab’ ich dich, o Herr; Herzlich tut mich Mendelssohn’s. The tunes, for the most burg Fortress, ED015053, $17.50. as a quiet pastorale? And is Jerusalem verlangen; Jesu, meine zuversicht; Jesu, part, are not well known in this country: This collection comprises settings of really happy to be a fugue?) meines Lebens Leben (Wessnitzer); Lobe four of the six are in the current LCMS seventeen hymns and takes its title from a den Herren, den mächtigen, König; Lobt hymnal, three are in the ELCA hymnal: Benedictine monastery in South Dakota. Organ Plus Anthology: Settings Gott, ihr Christen, allzugleich; Machs mit Wir Christenleut; Morgenglanz der (As it happens, the monastery, founded for Organ and Instrument, Vol. 1, mir, Gott; Nun lob, mein Seel, den Her- Ewigkeit; Christus der ist mein Leben; 62 years ago, closed this past summer.) settings by ten composers edited ren; O Welt, ich müss dich lassen; O Gott, Wie heilig ist die Stätte hier; Gott sei Many are written on two staves, without by Norma Aamodt-Nelson and du frommer Gott (Freykinghausen); O Dank durch alle Welt; O daß ich tausend pedal or with optional pedal. The open- Mark Weiler. Augsburg Fortress, Traurigkeit, o Herzeleid; Soll’t ich meinem Zungen hätte. ing piece, a setting of Julion, is the ED018852, $35.00. Gott nicht singen; Vom Himmel hoch da most developed and fl eshed out. A few 110 pages of music plus 71 pages of komm ich her; Wachet auf, ruft uns die Five Liturgical Pieces for Organ, are based on liturgical music, as with the separate instrumental parts for a variety Stimme; Was Gott tut, das ist wohlgetan; Lynn Trapp. MorningStar Music improvisation on a plainsong offertory. of instruments, including trumpets in Wer nur den lieben Gott lässt walten; Wie Publishers, MSM-10-641, $11.00. This set is a collection of contrasts: some B-fl at and C, horn in F, viola; the generic schön leuchtet der Morgenstern. In these moderately easy settings, are thoughtfully developed while others “C instrument;” and one each for cello, Markull’s Opus 123 comprises 24 cho- Gaudete is a rather wandering, impro- seem to be short extemporizations. fl ute, and English horn. Rather than rale preludes based on Lutheran hymns. visatory piece, with harmonies including remove the parts from the volume, the Interestingly, all but three of the hymn such odd choices as 6/4 and diminished Four Pieces for Trumpet and Organ, user can take advantage of the permis- tunes found in this collection remain chords, which are not very sympathetic Robert P. Wetzler. MorningStar Music sion to reproduce them. This excellent in the modern Evangelical Lutheran to the shape and fl ow of the chant. Divi- Publishers, MSM-20-792, $12.00. resource is the work of ten composers Worship and Lutheran Service Book, num Mysterium similarly uses devices Festival Processional is a stately (as well as the editors) and contains 22 augmenting its status from interesting that seem not to enhance the plainsong, piece in which the organ and trumpet pieces (all but seven are newly written to also highly practical. While a sup- especially in its rather sudden modu- toss phrases of Purcell’s Westminster for this volume) based on 21 hymn tunes ply of baroque chorale preludes may lations—E-fl at to Mixolydian on G to Abbey back and forth. The second is and three (not one, as stated on the back seem virtually unlimited, fi nding quality B-major, and the use of tonic/dominant a curiously modal Intrada. Adoro te cover) non-hymn-based pieces. Not to settings from the romantic era can be ostinati. Attende Domine: seventh and devote is a refl ective setting in which the be found in my score: the two Bach tran- more challenging. This collection, then, ninth chords? The opening fanfare of O trumpet carries the tune. Instrumental scriptions mentioned on the back cover. certainly fi lls a void. The editors indicate Filii et Filiae would make a good hymn parts in C are included should you wish These are not miniatures; rather, they their desire to reintroduce this music into introduction, but its key is a step lower to use something other than trumpet for are substantial pieces that could be used Lutheran worship, but they may be sell- than that in most hymnbooks. this movement. Fuguing Tune, based on as music for the service or recitals. They ing their product short, as other denomi- Alabama, a melody from The Sacred are crafted with skill and imagination nations could also greatly benefi t from Three Hymn Preludes, Ian Hare. Harp, spins an attractive, open texture and, without exception, fi t hand-in-glove this set. This edition comes with a concise Banks Music Publications, 14062, with many parallel fi fths and octaves. the spirit of the hymn texts and tunes. but well-informed overview of Markull’s £4.95. Regrettably, space does not permit life, his works, places of employment, and Two to four pages in length, mod- Above All Praise: Choral Hymn Des- comment on each piece, though all are instruments. Highly recommended. erately diffi cult. Dominus Regit Me cants with Organ Accompaniment, deserving. Instead, I will reference a few. (the British enjoy this tune more than Antony Baldwin. Paraclete Press, A Morning Trumpet by Barbara Har- Dynamic Hymn Introductions for we for “The King of Love”) is written PPM01136, $14.00. bach is a lengthy (eleven pages) fantasy Organ, Jason D. Payne. The Lorenz in a romantic-modern, chromatic style This is a collection of descants and incorporating fi ve early American hymn Company, 70/1822L, $15.00, (think Reger in English). The prelude on accompaniments for 24 hymns. The tunes. O Waly Waly (Al Roberts) is www.lorenz.com. Little Cornard (“Hills of the North, accompaniments are well crafted but inventive. Italian Hymn (Franklin D. Content: Coronation, Diademata, Ein Rejoice”) is sturdy and straightforward, unimaginative in harmony. Indeed, the Ashdown) is a harmonically colorful feste Burg, Ellacombe, Forest Green, à la Willan. For All the Saints: original setting of Sine Nomine does not seem to trumpet tune. Also effective is his piece Holy Manna, Hyfrydol, Hymn to Joy, and effective; a big ending follows a well- differ from Vaughan Williams’s original for cello and organ, quoting Wondrous Italian Hymn, Lasst uns erfreuen, crafted fugal section. (though the settings of Down Ampney Love. Roger Petrich’s Gaudeamus Pariter Laudes Domini, Lobe den Herren, and Lasst uns erfreuen do introduce references the text “Cradling Children Marion, Madrid (Spanish Hymn), New Advent Postludes for Organ, various some harmonic color). The congregation in His Arm,” and the composer does Britain, Old Hundredth, Nicaea, Sine composers. MorningStar Music Pub- might not notice that an altered version just that, with a colorful, gently rocking Nomine, St. Denio, St. George’s Windsor. lishers, MSM-10-026, $16.00. is being played. The descants, while texture. John Leavitt’s Love Unknown is The title of this set of arrangements These seven pieces by six composers harmonically agreeable, often provide delicious and shows that rich romantic could not have been clearer. Jason Payne, are of medium diffi culty; all but one are little contrapuntal interest by way of harmonies can be spun with relatively a former student of Dr. Albert Travis, two to four pages in length and all were composite rhythm. Many high Gs and As thin textures. How well these pieces wed provides us with a set of short, exciting written between 1990 and 2005. If you await the sopranos. These are pleasant with the texts and tunes that they carry, introductions to some of the most popular have volumes by Manz, Burkhardt, or and “correct” settings but without much as in the waters David Cherwien sets tunes found in most major denomina- Held it is likely that you might already new to say. In any case, how is this music fl owing beneath Shall We Gather at the tional hymnals. The arrangements are rel- River. The chords provide the “love” and atively easy and (all but two) just one page the fl ute the “shepherd” in David Chris- long. Most of these settings use gradual Whole & Fast tiansen’s St. Columba. Robert Buckley dynamic build-ups, often enhanced by Half Sizes Shipping! Farlee’s There Is a Balm, seldom set, is key changes. Some end on the tonic while in 3 Widths a welcome addition to the repertoire. others conclude on the dominant, sug- Harold Stover’s piece on Wondrous Love gesting a continuation into the fi rst verse Try our suede soles and experience is lustrous. without pause. A very practical addition to While most of the instrumental parts most organ libraries. the perfect combination of are not overly diffi cult, the organ parts —Robert Jan August slide and grip range from moderate to moderately Mansfi eld, Texas on the pedals! Music of Ed Nowak Mens & Unisex Women’s Mary Oxford $60.50* and up 50* Choral, hymn concertatos, psalm Jane $52. *plus postage settings, organ, piano, orchestral TOLL FREE: 1 (888) 773-0066 organmastershoes.com and chamber ensembles 44 Montague City Rd, Greenfield, MA 01301 USA http://ednowakmusic.com

16 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Organ Method IX posture on the bench should be as relaxed the middle of the keys. Do these differ- This excerpt begins the section on man- and comfortable as possible. As you get ent positions feel different? Try playing ual playing, in which I offer guidance to accustomed to playing, you may make notes in this same region of each of the the student who has already played piano changes in the exact distance from the different keyboards of the organ at which or harpsichord, on how to adapt that play- keyboards that you choose to sit. There is you are seated. Do the keyboards feel ing to the organ. This is, as I wrote in the no “correct” posture for your arms while different from one another? Try engag- Preface to the method—which appeared playing the organ. That is, your elbows, ing a coupler. Does this change the feel as the October 2012 column—mostly for example, do not have to be in one par- of either of the keyboards involved? If about how to practice. One model for ticular place or one particular alignment you depress a key very slowly, with as an approach to learning organ (manual) with your torso; your wrists need not be little force as possible, does that seem playing for a student who is already a consistently above, below, or even with to sound or feel different from what you keyboard player is this: sit down at the your forearms or hands. These things will experience if you strike a key with more organ, play around, and see what you vary with your own physique and habits. force? The answers to these questions will notice. Of course, this is potentially inef- Once you are seated on the bench, vary—sometimes a lot—from one organ fi cient. There is no reason that a student notice where on each keyboard each of to another. Whatever you notice or learn should lack the advantage of some guid- your hands most naturally falls—the place at the fi rst organ keyboard at which you ance from someone more experienced, in on the keyboard at which your forearms, sit and play is, of course, only a beginning. crossing or including the note middle C. person or through writing. However, this the middle three fi ngers of each hand, Next play some simple note patterns, Try this on all of the keyboards of the hands-off, unguided approach is in fact and the keys themselves line up straight, one hand at a time, along the lines of organ that you are playing. the essence of what a musician/student while your shoulders and elbows are in a these, the fi rst for the right hand, the In playing this short exercise bear the should do. The way to learn what sounds comfortable place. This will probably be second for the left (Examples 1 and 2). following in mind: and touch on the organ are like is to play roughly an octave below middle C for the I have located these short exercises in 1) Keep everything relaxed: hands, the organ, notice everything that you hear left hand and an octave above middle C the region of the keyboard that I have arms, shoulders, and your entire body. and feel, and respond to what you notice. for the right hand: a bit farther out from identifi ed as the most natural for your 2) As long as you are physically Although I think that at least on grounds the center for players who are particularly arms and hands to reach. However, if relaxed, do not worry for now about of effi ciency it is a good idea for a student broad-shouldered or who prefer to keep for you that region is a little bit higher the shape or position of the hand: the to accept guidance from teachers (or for their elbows out from their sides. This is or lower, then start out playing the same relationship between the fi ngers and the that matter from method-writers), I also the place on the keyboard where it is easi- four-note pattern using whatever specifi c rest of the hand; the height of the wrist; think that such guidance should remove est to play without tension. Therefore, it is notes seem most comfortable. (Stick to the height of the wrist or hand in rela- as little autonomy and initiative from the best place to use as a sort of laboratory natural notes for the moment.) Try the tion to the arm. All of these things are the student as possible. The opening of for learning or trying out various aspects following different fi ngerings—right individual and fl exible. There might turn the section on manual playing—the part of organ touch and various fi ngering skills. hand: 2-3-4-5-4-3-2 or 1-2-3-4-3-2-1; left out to be right and wrong ways for you to included this month—is a general guide hand: 5-4-3-2-3-4-5 or 4-3-2-1-2-3-4. approach these things, but they will be to starting the process. Begin to play What do you notice about the differ- right or wrong for you specifi cally: they I should mention that, whereas in the Now draw a stop or two (you can revisit ent fi ngerings? Do they seem to result in will emerge in the course of your learn- column from last October I wrote that the Introduction for a reminder about differences in hand position or in where ing—they can’t be dictated in advance. the work on playing manuals and pedals drawing and combining stops) and play on the key you play each note? Does one There are aspects of sideways hand posi- together would form part of the section some individual notes in the region of feel more comfortable or more natural tion—that is, how the hand is turned or on pedal-playing (the section that was the keyboard described above. What do than the other? cocked side-to-side—that are important, printed in several columns ending last you notice? What is the touch like? How Next, try the same exercise about and that tend to work out the same way month), I have since decided to shift it does it compare to the instruments with a fi fth closer to the center of the key- for most players. You will begin to work to after the section on manual playing. which you are most familiar—piano, board. If you started on the notes that I on this a bit later on. This seems to me to make more sense, harpsichord, or others? Is it heavy or pictured, move to this (Examples 3 and 3) The fi ngers need not always be although of course in the end students light or in-between? Try playing a few 4). Try the same different fi ngerings, parallel to the keys. It is fi ne for the can uses chapters of this book in any notes with your fi ngers as far out on the and look out for the same things. Then fi nger playing a note to be at any angle order that they want. keys as possible—almost slipping off to play the same pattern near the middle to that key, as long as the part of the the front—and then with your fi ngers in of the keyboard, perhaps with each hand fi nger actually playing the note touches Position the key solidly. Take a seat on the organ bench. If you 4) Keep the tempo slow, and listen have already begun to work on pedal play- to the sound of each note: savor each note. ing, then remember to position yourself There is nothing to be gained by speed. on the bench—and to position the bench Example 1 Example 2 5) Try different articulations. Some itself—in the way that you have found of the time, make the exercise legato: best for pedal work. It is not a good idea release each note as you play the next to get accustomed to a different bench note. Other times, try an exaggerated position for manuals-only music, pedals- legato: let notes overlap to such an extent only music, and the large segment of the Example 3 Example 4 ³ page 18 organ repertoire that uses hands and feet together. (Though once in a while, later on, it might be a good idea to change position for a particular piece that pres- GOT WEB? ents some sort of unusual challenge.) If you are coming to this section of the GOT E-COMMERCE? book without yet having begun to work NO WEB? on pedal playing, then position the bench at a height that allows you to relax your NEED HELP? GOT ONLINE TRAINING? legs completely either without depressing any pedal keys, or only depressing them GOT SEO? GOT RESULTS? lightly with your toes. Of course, while practicing manuals without pedal, you GOT A STRATEGY? should rest your feet in whatever way that the organ you are playing provides. Usu- ally there is a bar low down on the bench that is meant to accommodate the feet A highly functional website is your 24/7 sales force — SEO? Search Engine Optimization ensures that your when they are not being used to play. keeping potential customers informed and engaged, website content is ranked high enough in the search Since the vast majority of organs have even when your offi ce is closed for the day. results that it is found more often. at least two—often three—manuals, there is no way to sit that gives you one To compete in the global marketplace, a sophisticated At MediaPress Studios, we apply now + tomorrow position in relation to the manual keys. website that is fully responsive, content rich and totally solutions to “now” problems, whether enhancing existing The higher manuals are both higher and device independent not only puts you in the race — sites or building new device-independent websites. farther away. In trying to work out the it positions you in the lead. right distance from the manuals at which to sit, it is important to make sure that CONTENT STRATEGY | CUSTOM CODING | E-COMMERCE | SEO | TRAINING you do not feel cramped. If you are too Want to know more? Check us out at www.mediapressstudios.com close to a keyboard, it is extremely dif- fi cult to play without tension. You should or e-mail [email protected]. never feel that your shoulders need to be drawn upwards or back in order to give your hands and arms room to address the Building websites for tomorrow keyboards. Your shoulders should also, however, not be hunched forward. Your

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 17 On Teaching In the wind...

³ page 17 2) Mix and match these fi ngerings The magic machine, Today I’m not able to name a favorite that you hear adjacent notes sounding between the two hands. Sometimes The power of Aeolus, type of organ. I’m interested in good together, perhaps for nearly the full use the thumb-based fi ngering in both Combined for worship. organs that are well chosen and effec- length of the latter note, even though hands, sometimes use the second-fi nger- Recently I’ve spent a couple long tively designed to meet the needs of this will sound odd. Then try it detached: based fi ngering in both hands, and some- days in my car traveling to visit the congregations that buy them, and to release each note long enough before times use one of those in each hand. churches that are working to acquire enhance the buildings into which they playing the next note that you hear a gap. 3) Note that when the notes are pipe organs. It’s fun to talk with people are installed. Then also try it very detached: release parallel, the fi ngerings are mir- who are excited about the future of each note as soon as possible after you rored, or nearly mirrored; when the their churches, and who are devoted to Good registrations, play it, only making sure that you do notes are mirrored, the fi ngerings are the power and beauty of great music in Not formulaic, better really hear the sound of each note. (Even parallel or nearly parallel. worship. I’m energized by those con- Chosen for their sounds. these very short notes should be played 4) Before you play through an exercise, versations. They are great opportuni- without extra force or tension.) be absolutely sure that you know what ties to review what led me to spend my Give the same collection of tubes 6) In trying out all of these articula- fi ngering you are about to use. If it life with the organ, and to refresh my of paint to a succession of different tions, do not worry about precision or would help, write the fi ngering in—but own philosophies about the majesty of artists, and you’ll get a succession of making everything come out the same. lightly, in pencil. When you want to try a our instrument, its origins, its purposes, approaches to color. Place a succes- and its uses. I love going into a building sion of musicians on the same organ for the fi rst time, learning how the local bench and you’ll get a wide variety of musicians and clergy use their building, approaches. I’ve written before, and and imagining how a new organ could recently, about my dislike of formulaic enhance the life of the place. Yesterday registrations. Why do so many different I drove more than 600 miles for two of people play the same piece with similar those meetings. registrations? Why does one organ- Yesterday was also the day that Boston ist draw the same list of stops for a and surrounding communities were on given piece, no matter what organ he’s alert because of the massive hunt for the playing? “I can’t play that piece here, Example 5 Example 6 surviving suspect in the bombing at the there’s no two-foot.” Baloney. Learn Boston Marathon. This story was per- to listen. And learn to hear. Find stops sonal—thankfully not because anyone I that sound good. If you have good taste know was directly affected, but because and you listen, you can’t go wrong. The it was our city, our neighborhood. Cov- ghost of François Couperin is not going erage on television showed the roads we to rattle chains in your bedroom if you drive, places we shop, places we take add a Principal, an Oboe, or a colorful Example 7 Example 8 recreational and exercise walks, even fl ute to the Grand Jeu. trees I recognized. My son Mike and his girlfriend Nicole live close to the site of Choruses of reeds the horrifi c fi refi ght in which one of the Add color, pizzazz, beauty, suspects was killed. A dog that’s afraid Bring music to life. of thunder sure doesn’t like gunfi re, and their household was up in the middle “When they are good, they are very, Example 9 Example 10 of the night experiencing all that terror very good, and when they are bad, they fi rst hand. are horrid.” I care for an organ in Boston Just keep relaxed and listen. This will different fi ngering, erase what you have Being something of a news junkie, as that has lots of beautiful fl utes, terrifi c lead to the most control—and precision written and write in the new fi ngering. I drove I fi red up my iPhone to stream well-developed Principal choruses, rich when it is desired—later on. Keep these exercises slow: it is not coverage from WBUR—the excellent Cornets, and lousy reeds. They are thin Next, add some raised keys—sharps useful to practice this sort of material NPR news station in Boston—whose and harsh sounding. They resist tuning, and fl ats—to the exercise. Start with one if, in doing so, you feel that you have to reporters predictably droned on all day, and will hold pitch until my car leaves of the following, and take it through all scramble to fi nd the next note, or if you whether or not they had any new infor- the block. The variety is disappointing— of the steps described above (Examples actually make wrong notes, or if you have mation to share. There may have been the Oboe sounds like a Trumpet—and to 5 and 6). to hesitate in order to get it right. There fi ghting in Syria, protests over gun con- my ears they detract from the effect of is no disadvantage to keeping the notes trol, even a horrible deadly explosion in the organ. It sounds great until you draw Two hands together very slow indeed. Listen to the sounds, Texas, but you would have thought that a reed. These simple exercises are meant to and to the intervals. Savor the sounds of Boston was the only city in the world for A good chorus or two of Trumpets, a be played one hand at a time. The next the registrations that you use. that one day. Having listened to that for powerful Trombone, a contrasting softer step is to put the two hands together, Continue to try different articulations, the fi rst 300 miles, after my fi rst meet- sixteen-foot reed, and a couple colorful keeping the note picture simple. As as described above. If you feel comfortable ing I changed gears and switched to a solo reeds like Oboe, Clarinet, or Eng- always, you the student can construct doing so, you may try different articula- great collection of organ music I keep lish Horn can transform an organ from such exercises yourself. Here are a few tions in each hand. In doing this, again at the iTips of my iFingers, and hurtled ordinary to magical. Well-made reeds, possibilities derived from the exercises don’t expect for the results to be measured through the Poconos savoring the great well maintained, dominate the personal- above (Examples 7, 8, 9, and 10). or precise: just keep the feel of the hands heritage of our instrument. ity of any great organ. Concerning the fi ngering for these relaxed and natural, and listen carefully. Q The powerful music in my ears com- The great organbuilder Charles Fisk exercises, bear the following in mind: bined with refl ections on the day’s great left us an apocryphal defi nition for a 1) Use the same sorts of fi ngerings Gavin Black is director of the Prince- conversations and as I drove I thought reed: “An organ stop that still needs for each hand of these exercises that you ton Early Keyboard Center in Princeton, about various aspects of the world of the three days of work.” Reeds are tricky. used for the separate-hand exercises New Jersey. He can be reached by e-mail church organ. They’re expensive. They can be moody. above; that is, sometimes 1-2-3-4, etc., at [email protected]. He writes a And they’re wildly affected by outside sometimes 2-3-4-5, etc. blog at www.amorningfordreams.com. Is tracker action forces like humidity and cleanliness. Or electro-pneumatic They’re the Venus Fly Traps of the pipe Better for good sound? organ. Because they’re shaped like fun- nels, hapless fl ying creatures often their Saving organs throughout I grew up in Boston during the way in and can’t get out. And the leg of a height of the revival of tracker action in moth or common housefl y is more than pipe organs, and was sure that a good enough to leave a hole in a melody. America....affordably! clear tracker-action instrument was the If you love pipe organ reeds and one true form. I was in my twenties and haven’t heard the terrifi c organ at Walt working on renovating an Aeolian-Skin- Disney Hall in Los Angeles, you’re nuts. ner organ when I started to understand Get there. Reed tongue magician Man- the merits of a fi rst-rate electro-pneu- uel Rosales has festooned the instrument matic action. Later, when I was curator with the most exciting and colorful col- of the mighty Skinner/Aeolian-Skinner lection of reeds in captivity. Everywhere organ at Trinity Church in Boston—a you look on those stop jambs there’s few hundred feet from the fi nish line of another cool-sounding Spanish word the Boston Marathon—I had the rich that translates to “fi re.” experience of hearing a different artist Ernest Skinner gave American organ- play the same instrument each week on ists a new vocabulary of reeds. He the popular “Fridays at Noon” series. listened to the symphony orchestra and I was amazed to realize how many tinkered in his voicing room to create the 1-800-621-2624 different ways there are to approach Orchestral Oboe, the Flugel Horn, and a single instrument, and how different his signature contribution, the French foleybaker.com the organ could sound from one week Horn. Boy, does a Skinner French Horn to the next. ever make an instrument special.

18 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM By John Bishop

Temperature change writing to illustrate my points. I don’t You can be sure he’ll be calling the tech- Pulls the pitch of the Organ know if I’ve ever said directly that I nician to fi x dead notes in the pedals. Like a rubber band. expect you to look them up. I think you’ll And coffee cups. A ten-ounce cup of enjoy this one. It’s grand. And don’t coffee can do a number on a stack of A rising tide fl oats all boats, and a worry that those singing nearby are not keyboards, especially if there’s sugar in rising thermometer hikes all fl ue pipes. always with the organ. After all, it’s a it. I’m not making this stuff up. While the fl ues change pitch with the block away.) The custodian fi nds that inside the temperature, the reeds stay still. Because The First Congregational Church door of the organ chamber is a great there are fewer reeds than fl ues, we tune in Anytown, USA might hold eighty place to store a vacuum cleaner and the reeds to follow the pitch of the organ. thousand cubic feet. Think it through, extension cord. And there was the The more often we tune the reeds, the people. There’s such a thing as big-city organist who called saying the organ was less stable they become. organ music, and we don’t need to do “sounding funny,” when the custodian The outstanding Trinity Choir at Trin- it in every church. I’ve seen those nasty had left a bucket of dirty mop-water on ity Church in Boston is renowned for the little en chamades mounted on balcony the reservoir. Let’s see, a gallon of water magnifi cent Candlelight Carols services rails not fi ve feet over the heads of the weighs about eight pounds, fi ve ounces. they offer each year during the Christ- unsuspecting bridesmaids. A couple of them plus the weight of the mas season; during my time with that In some churches, a sweet and gentle- bucket is enough to double the wind music director wrote back to me that a organ, Brian Jones and the choir planned sounding organ is a treasure. Loud music pressure in a low-pressure organ. And previous pastor had purposefully estab- to make a recording based on that service is not, by defi nition, beautiful music. what if it spills . . . lished neatness as a feature of the life of that has since become a perennial favor- Funny, not everyone knows that. There was the Saturday morning emer- the parish. ite and best-seller. In order to be able gency call from the organist saying that to release the recording in time for the Good craftsmanship sings. the church was full of people, bagpipes Rambling through thoughts, Christmas shopping season, the record- Sloppy work makes sloppy sounds. were playing, the bride and groom were Combining memories with ing sessions happened in July. In a big Sharpen your tools, please. ready, and the organ wouldn’t play. The Fresh observations. center-city location like Copley Square lights came on with the blower switch, with heavy traffi c and the rumble of sub- A dull saw won’t cut straight. A dull but not sound. Now that’s a real emer- When I walk by myself for recreation way trains, it’s necessary to make record- drill bit tears at the wood. A dull chisel gency because the bagpipes won’t stop and exercise, I often carry index cards ings in the middle of the night. There crushes fi ne wood grain rather that until I get there. There was a card table so I can write down my thoughts. It’s so was a heat wave. I remember lying on cutting. And a dull mind produces dull up against the air intake of the blower. easy to come up with the perfect idea for a pew in the wee hours of the morning, thoughts. When restoring a smashing I came up with the phrase institu- solving a problem or the perfect phrase wearing shorts and a tee shirt, and sweat- organ by E. & G.G. Hook I was deeply tional hygiene during a consultation trip. for a business letter, promise myself I’ll ing while listening to the most glorious of impressed by the precision of the pencil I was struck by how orderly everything remember it, and then lose it altogether. Christmas music. It was surreal. marks left by the woodworkers. The was. Kitchen cupboards were immacu- That’s something I can’t do when I’m It was also a conundrum. Of course, men in that workshop sure knew how late, closets were neatly organized. All of driving. I’ve tried Siri™, the oddball Brian and associate organist Ross Wood to sharpen a pencil. A pencil line that’s a the desks in all of the offi ces were trim virtual assistant left to us by a cynical wanted the reeds to be right in tune with sixteenth of an inch wide gives a margin and effi cient, waste baskets were empty, Steve Jobs, to record verbal reminders. the organ, but the instrument’s pitch was of error of an eighth. And if you cut a gardens were cultivated and weeded. (You can hold a button on your iPhone, so high because of the extreme tempera- piece of wood an eighth of an inch too There was no huge stash of treasures summoning a quirky female voice asking ture (it was 100 degrees in the Solo box) short, you’re fi red. left from last year’s rummage sale, and if she can help.) But simple as it is to use, the poor old reeds just didn’t want to go. Laypeople visiting a new organ the Christmas pageant costumes were I know it’s bad to do while driving alone. The tuning wires were moved down on often comment that they didn’t real- nicely hung on hangers. You didn’t have Besides, the noises of the motion of the the reeds so as to reduce the curves of ize that people still have the skills of to move a pile of boxes to service the car seem to confuse her. the tongues and stifl e the sound of the “old world” craftsmen. They see raised organ blower. I commented on this in The organ is a deep and rich subject. pipes. What a challenge. panels mounted in mortise-and-tenon the written report that I prepare at the It has a terrifi c heritage. I hope I can live Like a rubber band, the organ’s pitch frames, carvings and moldings, checker- conclusion of each consultation, and the up to it. Q returns to normal with the temperature. ing and inlays worthy of the fi nest royal If the organ is tuned at A=440 at 68 chambers. It’s thrilling to visit an organ degrees, it will always go back to that, no shop where keyboards, casework, and matter how high or how low it has gone. wood and metal pipes are made. Great Try not to over-tune your organ. If you organbuilders have deep affi nity for their can put up with the reeds being below the materials. They choose the fi nest wood pitch of the rest of the organ for the sum- and purest metals, and work the stuff mer, leave it be. Stretch a rubber band too with respect and care. Measurements many times, and it deforms or snaps. are precise, tools are sharp, cuts are clean, square, and accurate. It’s a plea- HISTORIC ORGANS THE RECORDINGS FROM Careful thought, good taste. sure to watch. THE SPLENDID 2005 Everything in the right place, If the interior of an organ looks cha- OF SOUTHERN Nothing too strident. otic, it probably sounds that way. OHS CONVENTION MASSACHUSETTS Perhaps the most famous of all reed Neatness in public. stops is the State Trumpet in the Cathe- Institutional hygiene, dral of St. John the Divine in New York. A common shortfall. That one set of pipes must have thrilled more people than any other organ stop Servicing pipe organs can be like in the world. The trouble is, it has also cleaning other peoples’ bathrooms. infl uenced some of the most poorly Sometimes I think that if all the organists chosen organ stops. When the State in the world suddenly disappeared, the Trumpet hit the airways, every organist companies that make and sell Kleenex™, wanted one, and shrill, tinny, piercing cough drops, dental fl oss, hairbrushes, “pea shooters” were installed in some of nail clippers, and Post-Its™ would the most intimate churches. instantly go out of business. An organ Seems they forgot that the cathedral console in a worship space should not holds more than fi fteen million cubic be considered a private offi ce or place of feet of air. In New York City, north-south refuge, especially if it’s visible from the blocks are 260 feet—twenty to a mile. pews. Nail clippers, really? Are you using The interior of St. John the Divine is over them during worship? Imagine that dis- 600 feet. That’s the distance between the tant snip–snip–snip during the sermon. $31.95 FOR OHS MEMBERS front doors of St. Thomas Church and One organist I worked with, now $34.95 ALL OTHERS St. Patrick’s Cathedral, kiddy-corner deceased, had very long gray hair. It was between 51st and 53rd Streets. routine for notes in the pedalboard to REGISTER NOW FOR THE 2013 VERMONT CONVENTION The sound of that powerful organ go dead because of being clogged like a voice echoes around in that vast space as bathtub drain. WWW.ORGANSOCIETY.ORG/2013 if it belongs there. There’s a good reason Lots of organists keep a special pair for that. It does. Take a look at this You- of shoes just for playing the organ. ORDER ANY TIME ONLINE! WWW.OHSCATALOG.ORG Tube video: http://www.youtube.com/ Some prefer especially supple petite watch?v=JUxBzAfmLiM. Listen to the shoes, some prefer slick soles or raised ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we exclamation of the guy holding the cam- heels. Besides the pedagogic reasons for P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. era. But don’t try this at home. Someone organ shoes, think of the guy who tramps Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire order. Shipping outside U.S. is $4.50, plus might get hurt. through snow, ice, slush, and salt to get Monday-Friday 9:30am-5:00pm ET (By the way, I often include links from his car to the church door, and sits the cost of air postage, charged to your VISA to websites, photos, and videos in my down at the organ with dripping shoes. E-mail: [email protected] SHIPPING or MasterCard.

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 19 Conference Report

Helen Kemp Therees Tkach Hibbard Princeton Center for Arts and Education—new home of the American Boychoir 17th National Choral Conference Princeton, New Jersey, September 27–29, 2012

By Domecq Smith

o embody music allows you to is the thematic focus upon a particular particularly new or unique when com- As in past conferences, other clinicians “Texpress the ineffable.” These consideration within the choral art. This pared to Jaques-Dalcroze’s own work in presented offerings at this conference, words spoken by Therees Hibbard, fea- year, matters kinesthetic—the relation the fi eld of Eurhythmics. Certainly, the including Helen Kemp, who made a tured clinician for this year’s conference, of body, motion, movement through incorporation of bodily kinesthetics as a welcomed return. Kemp’s many years of could easily have served as the confer- time and space, and its relationship to vehicle towards greater musical expres- acumen and wisdom in the choral world, ence’s motto. Indeed, embodiment of vocal production, interpretation and sion is widely known, notable today in the as well as her deep humanity, make her music was a primary theme of the 2012 expression—were discussed and expe- work of Robert Abramson of the Juilliard appearance at any conference a must National Choral Conference, which rienced. A particular manifestation of School, and recognized as a tool for use see. Her presence was celebrated by began amidst the deepening colors of bodily motion in the service of the vocal within the choral rehearsal by Weston unusually extended applause following a Princeton autumn. The 33-member art is called BodySinging: Developing Noble, Andre Thomas, and others. her presentation entitled “Shaping the Concert Choir, on risers with the rolling Artistry in Choral Performance, and Similar to the techniques utilized by Future—One Generation to the Next.” expanse of the Albemarle estate behind is the development and specialty of these practitioners, the American Boy- James Litton, another fi gure of choral them visible through large French Therees Hibbard. choir and conference participants were gravitas, and Director Emeritus of the doors, began the opening rehearsal in its Therees Tkach Hibbard is Associate themselves challenged by Hibbard to lit- American Boychoir, made an appear- comfortable manner, although confer- Director of Choral Activities and Associ- erally step outside of their own comfort ance with his talk, “Building a Compre- ence participants crowded into chairs, ate Professor of Choral Music at the zones. Utilizing the space of a large gym- hensive Choral Program: The Role of some sitting on the great staircase of the University of Nebraska-Lincoln School nasium, choir and participants were put Children Singing.” Dr. Litton was the main hall of the school, as an American of Music. Her work as a movement through a few of BodySinging’s paces. organization’s music director from 1985 Boychoir rehearsal, typically devoid of specialist in the training of choral sing- To the accompaniment of preselected to 2001. Fred Meads, Director of Vocal artifi ce, unfolded. To experience the ers and conductors has created unique recorded music, choir and participants, Studies of the American Boychoir, pre- choir in concert is one thing, in record- opportunities for her to work with choirs led by Dr. Hibbard, stepped forward sented a talk on techniques of engaging ing another. Yet, to experience the and collaborate with conductors from in regular time, arms lifting steadily, in rehearsal the newer members to the nationally recognized choir in authentic around the world. Her research on coordinated with deep diaphragmatic school who sing in the school’s Training rehearsals is altogether an experience enhancing choral performance through breathing, followed by relaxation of the Choir. Meads exhibited particular gifts in unto itself, especially when the expres- movement training has most clearly same, all movements ordered within the this area in his abilities in training newer sive quality of singing becomes subject been demonstrated through her work regular pulse of the music, followed by choristers. These techniques were dem- to bodily motion. with the Oregon Bach Festival Youth variations and transformations. onstrated with enthusiasm in an open Some regulars to this conference insist Choral Academy, the St. Olaf Choir, and This preliminary groundwork forms rehearsal of the Training Choir. Anton that the choir is the conference. Others with the American Boychoir. the basis for the BodySinging principles Armstrong, distinguished alumnus and are drawn to the eminent clinicians, Those familiar with the work of in their application to the study and conductor of the famed St. Olaf Choir, interest sessions, and choral reading Jaques-Dalcroze may both readily supplementation of one’s own vocal gave a talk on working with the devel- sessions. Binding the many strands of a comprehend Hibbard’s work, as well as work, individually or collectively. This oping singer. Lisa Eckstrom, Head of National Choral Conference, however, challenge what may make BodySinging was evident in Hibbard’s incorpora- School, presented a talk on the value of tion of BodySinging techniques within arts in education, sprinkled with inter- an open rehearsal of the choir. When, esting and relevant data on the changing for example, Hibbard desired greater role of arts in education today. Fernando The right expressivity within a particular musical Malvar-Ruiz, Director of the American phrase, she demonstrated kinesthetically Boychoir, utilized individual members of organ at the what the phrase could look like through the choir in a presentation to effectively right price her own highly expressive bodily motion. and concretely demonstrate the journey The choir, prompted by Hibbard, then of the changing voice of the boy singer in We’ll help you chose from mirrored this motion, followed by a re- an effective demonstration of this chang- the hundreds of vintage organs execution of the phrase. ing process. available through our website. Some conference participants At the conclusion of the last National responded to the resulting transforma- Choral Conference, Malvar-Ruiz stated, We can deliver it to the tion with audible “ahhs” of affi rmation. “The next big step in my development as organ builder of your choice Hibbard explains, “I believe by moving a musician is to embrace the paradigm of or refurbish, revoice, and to the music and allowing it to move a choral ensemble in a 21st-century real- install it ourselves. you, you then can move others.” What ity, a 21st-century society, a 21st-century makes Hibbard’s BodySinging unique is culture” (see “The 16th National Choral the specialization and extension of the Conference,” The Diapason, June “In choosing OCH, I know that the work has been done Jaques-Dalcroze principles as they can 2010). Indeed, the American Boychoir with the utmost knowledge, enthusiasm, care and integrity.” apply to the mechanism of vocal produc- takes a big step towards a new paradigm David Enlow, Sub-Dean, NYCAGO tion, and ultimately to a fuller realization as choir and school take up residence of emotive possibility. For a full video in their new home at the newly created Organ Clearing House presentation of Hibbard’s work and the Princeton Center for Arts and Education www.organclearinghouse.com or call John Bishop at 617-688-9290 BodySinging principles, go to www.you- (PCAE), formerly St. Joseph’s Seminary tube.com/watch?v=IU57HMZwP8I. in Princeton. Founded in 1912 by the

20 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Anton Armstrong leading a reading session at Albemarle, with Kerry Heimann at Fred Meads leading a choral reading session in the PCAE chapel the piano

Therees Hibbard with the American Boychoir

Congregation of the Mission (the Vin- centian Brothers) to train young men in the priesthood, the all-boys high school closed its doors in 1992. Since then, the Board of Trustees for the American Boychoir negotiated a long-term lease for the former seminary, whose facilities consist of an impressive set of gothic- revival buildings surrounded by over 45 James Litton addressing conference acres of land. participants In the words of Chester Douglass, Fernando Malvar-Ruiz and the American Boychoir at the closing concert board chairman of the American Boy- of the American Boychoir? In the words choir, the school has “gained a beautiful of Christie Starrett, General Manager new campus with expanded facilities of the American Boychoir, “What makes of Music in organ performance, and was a administration, serves on the faculty of F.W. such as a gymnasium and a performance it special are the boys, without question, student of Emmet Smith at Texas Christian Cook School, Plainfi eld, New Jersey, and is University. He is a two-time recipient of the a guest lecturer for Immaculate Conception hall that were missing at Albemarle. and there is a sense of community you Meet the Composer Grant funded by the Seminary, Seton Hall University, New Jersey. But an equally exciting part of the plan cannot fi nd literally anywhere else.” Q National Endowment for the Arts. His music He is director of music at the Church of St. from its beginning was to be the lead- is published by MorningStar Music and Sper- John the Evangelist, Orange, New Jersey, ing resident organization on a shared Domecq Smith is a graduate of the Peabody vai Music Publishers. He is a doctoral student where he oversees a diverse music program. campus that emphasized the arts within Conservatory and the Manhattan School at Rutgers University in music education For information: www.domecqsmith.com. an academic education. Accordingly, we have invited other schools and arts orga- nizations to be part of a greater whole.” Those other two resident organizations include the and the Thousands of titles, top-tier publishers... French American School of Princeton, also joining the campus. The buildings are to be occupied by the boys and the school as the American Boychoir continues to be one out of only two remaining choral boarding schools in the country (the other being St. Thomas Choir School, New York City, a mere 50 miles to the northeast). For information, go to www.americanboychoir.org. OneLicense.net In a sense, the conference had one foot set in the old school at the Albe- marle campus, and the other foot set forSUNDAY ANNUAL and ONE-TIME in the new. During a tour of the new BULLETINS, campus conducted by Kerry Heimann, CHURCH COPYRIGHT accompanist for the American Boychoir, WEDDINGandFUNERAL participants were shown, in his words, the “crown jewel” of the new buildings: PROGRAMS, the resplendent chapel of the former PERMISSIONS seminary. The chapel boasts genuine and PROJECTION, soaring gothic lines, collegiate-style cho- SPECIALSERVICE ral stalls, and opulent acoustics, and will serve well as the long and much-needed BOOKLETS, regular venue for American Boychoir Log on and take the tour today! concerts when the choir performs at PRACTICE TRACKS, home. School and choir begin a promis- and PODCASTS ing new journey. New facilities aside, what is an element 800.663.1501 that will secure the future and promise

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 21 Organs in Poland A Brief Glimpse of Organs and Churches in Warsaw, Białystok, Białowieza, and Kraków

By Marijim Thoene 1. Józef Kotowicz recital announcement

f Józef Kotowicz asks you if you would an interior world. We heard organist Jan 4′ Principal Virgin dates from 1671. The present like to play in his recital series in Brögger from Germany. 4′ Rohrfl öte organ was built between 1751–1752, I 2 2⁄3′ Sesquialter II Białystok, Poland, say “YES!” I did say The next morning we exited the front 2′ Principal and includes some from the “Yes” and in July of 2012 had an expe- door of the dormitory and turned right 2′ Blockfl öte older organ. 1 rience of a lifetime; but I confess I had on Krakowskie Przedmiescie and found 1⁄3′ Quint I was able to meet Richard Onopa, some sleepless nights wondering what St. Anne’s Church just outside the 1′ Scharff III who has been organist of the Baroque 8′ Krummhorn was in store for me, especially knowing Castle Square. In front of the church was Glockenspiel Chapel of the Assumption for 57 years that the large organ in the Basilica Cathe- a poster advertising the upcoming recit- Tremulant (see photo 4). His playing demonstrated dral of Our Lady of the Assumption was als, one of which was by Józef Kotowicz the beauty and clarity of the fl ute stops an early 20th-century tubular pneumatic (see photo 1). How like my host, not to Pedal C–f′ and the power of the full organ—an 16′ Principalbass with three general pistons. Having played have told me he would be playing here. 16′ Subbass elegant sound for a royal space, where weekly on a cumbersome and psychotic I was beginning to see evidence of his 8′ Octavbass many of the kings of Poland worshipped, 1923 tubular-pneumatic Möller with whirlwind schedule as a recitalist. He 8′ Gedacktbass including the last king of Poland, three undependable general pistons and later told me he plays between 12 to 4′ Choralbass Stanislaw II August, who ruled from 2 2⁄3′ Mixtur IV a cipher that habitually showed up unan- 15 concerts between May and Septem- 16′ Posaune 1764–1795. The pedalboard consists of nounced and unstoppable, I feared the ber, throughout Poland, Italy, Finland, 8′ Trompete an octave (see photo 5) and the stops are worst. However, my fears were allayed Sweden, and Norway. As I stood in the literally projecting from the wall above when I heard Józef Kotowicz’s CD of the entrance of the church I was touched at Couplers the keyboard. organ in the basilica. And who would not witnessing people kissing the feet of the II/I I/P II/P want to play in Białowieza’s St. Teresa statue of the crucifi ed Christ as they left Chapel of the Assumption, Białystok Church on the edge of the oldest prime- the church. Here I began to see part of On July 11, Józef—who had just played Manual val forest in Europe and in Białystok’s St. the history unfold of a country of which two recitals in southeastern Poland at the 8′ Pryncypal Casimir Church, where the sound of the I knew very little. St. Anne’s Church Cathedral in Lubaczow and a church in 16′ Bourdon organ, also heard on Kotowicz’s CD, was was built in the 15th century but was Krasnobrod—and his lovely wife Ewa 8′ Major fl et kaleidoscopic in color and bloomed in destroyed in the 1650s by Swedish and picked us up and drove us to Białystok. 8′ Amabilis 4′ Spielfl et the huge sacred space? German troops. It was rebuilt between In the old city square the towering 2′ Oktawa I write about my experience in hopes 1740–60 and the present Neoclassical spires of the Cathedral Basilica of the 8′ Gedackt that readers will take heart in know- façade was built in 1788. During World Assumption of the Blessed Virgin 4′ Oktawa ing that there are cities, e.g., Warsaw, War II the roof was destroyed by the Mary dominate the skyline; to the left, 4′ Minor fl et 2′ Piccolo Białystok, Białowieza, and Kraków, Nazis. The organ was built by Pfl üger connected to the Cathedral Basilica, 1 3⁄5′ Tercja 2 where people fi ll the churches to wor- Orgelbau in 1992. The organ case (see is a small Baroque chapel, bearing the 2⁄3′ Kwinta ship and listen to organ music; they photo 2 ) and the interior of the church same name, with an intriguing history V Mixtura are as passionate to listen as we are to are in Baroque style. (see photo 3). The history of these III Cymbel play. From my bird’s eye view, I saw a The rich colors of this organ are appar- two buildings refl ects the remarkable Pedal coupler F–f reverence for organ music that was both ent on YouTube: Diane Bish performs determination, ingenuity, and spiritual inspiring and humbling. I also wish to not the Sortie by Denis Bédard (http://www. commitment of the people of Białystok. Upon entering the Cathedral Basilica only describe the richness and beauty of youtube.com/watch?v=8KGb3BZItKU). Construction of the chapel was begun of the Assumption of Our Lady, one the instruments I saw and heard, but Here is the specifi cation of the organ: in 1611; it was consecrated in 1626 and feels transported in time by the soaring, also to describe a kind of miraculous later rebuilt in 1751. In the 19th century graceful arches and the large sober faces phenomenon, much like the rebirth of St. Anne’s Church, Warsaw the congregation wished to expand the of the church patriarchs in the stained- the phoenix, in the city of Białystok. Pfl üger Orgelbau, 1992 church. Since at that time the land was glass windows. Here I fi rst encountered The following is a brief account of part of Russia, the people had to get the image of the Polish saint and mystic, Manual I (Hauptwerk) C–a′′′ organs experienced during my journey. 16′ Gedackt permission from the Czar to rebuild the Saint Faustina (d. 1938), and the paint- After settling in our dorm room at the 8′ Principal church. After many years of saying “No,” ing of Christ that she inspired. University of Warsaw, my husband Jess 8′ Gamba the Czar relented only on the condition The construction of the organ was and I walked out of the front gate, turned 8′ Voce umana that no new church would be built; only begun in 1903 by Józef Rudowicz and 8′ Spitzfl öte left on Krakowskie Przedmiescie, and 4′ Octav the present one could be enlarged. The completed in 1908 by Antoni Szyman- discovered the Warsaw Procathedral 4′ Flöte neo-Gothic Cathedral Basilica was built ski of Warsaw. The stoplist refl ects 2 Seminar Church, where there would 2⁄3′ Quint as an addition to the chapel. Its construc- the romantic style of early twentieth- be an organ recital that night, July 10, at 2′ Superoctav tion lasted up to World War I. Unlike century instruments. 1 1⁄3′ Mixture IV 7 pm. By happy chance we were about 8′ Cornett V most of the city of Białystok, the build- to hear the second recital of the Inter- 8′ Trompete ings were not destroyed by the bombings national Bach Organ Festival. When we in World War II. arrived at 7:05 all the programs were Manual II (Positive) C–a′′′ The earliest document that mentions 8′ Gemshorn gone and the church was packed. People 8′ Holzgedackt the existence of an organ in the Baroque listened in rapt attention, caught up in chapel of the Assumption of the Blessed

2. Organ case, St. Anne’s Church, Warsaw 6. Console of organ, Cathedral Basilica of the Assumption of 3. Baroque Chapel, Cathedral, Białystok St. Mary, Białystok

22 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Every stop of the organ, from fl ute to Espanordica by Stefan Lindblad. trumpet, spoke with great clarity and The specifi cations: brightness. The specifi cation: St. Casimir Church, Białystok Church of St. Theresa, Białowieza Wolfgang Scherpf, 1965–77 Walcker Hauptwerk (C–g3) I. Manuał Hauptwerk (II Manual C–g′′′) 16′ Principal 8′ Prinzipal 16′ Quintade 8′ Gemshorn 8′ Principal 4′ Oktave 8′ Holzprincipal 2′ Schwiegel 8′ Weitgedackt 1 ′ 4′ Principal 4’ 7. Music rack at Church of St. Theresa in Białowieza 1⁄3 Mixtur IV–VI 8′ Trompete 4′ Oktave 4′ Gedackt 1 ′ Cathedral Basilica of the Assumption of The pedalboard is straight and fl at. Rückpositiv (I Manual C–g′′′) 5⁄3 Quinte 1 ′ Our Lady, Białystok 8′ Holzgedackt 3⁄5 Terz Three general pistons are set by push- 2 ′ 2⁄3′ Quinte Rudowicz and Szymanski, 1903–08 4 Nachthorn ing in a red, blue, or green button and 2′ Prinzipal 2′ Oktave 1 ′ pulling out red, blue, or green toggles Sesquialtera II 1⁄3 Mixture VI–VIII 1 I Manual 1 ′ ⁄2′ Zimbel IV ′ (see photo 6). Fortunately for me, there 1⁄3 Quinte 16 Pryncypal 1′ Scharff 8′ Kornett V 16′ Bourdon was an “organ master” or “organ main- 8′ Horizontalbombarde ′ 8 Pryncypal tenance” person there the whole time I Pedal (C–f′′′) 16′ Horizontalbombarde 8′ Gamba 4′ Horizontalclarine ′ practiced and was helpful when I had 16′ Subass 8 Gemshorn questions. The organ has a command- 8′ Oktavbass 8′ Salicet Bombardwerk (C–g3) ′ ing and dramatic presence as well as a 4′ Pommer 8 Holfl et 16′ Posaune IV. Manuał 8′ Kwintaton rich palette of delicate, subtle colors. 16′ Bourdon 8′ Gedekt 8′ Principal ′ Organists know a cipher can happen, Couplers: II/I, I/P, II/P 4 Rurfl et and try to believe that when it does, it 8′ Flöte harmonique 4′ Flet kryty 8′ Salicional 4′ Wiolina isn’t the end of the world. It did hap- 4′ Oktave 4′ Oktawa pen on the fi rst piece on the fi rst chord The church was near not only an 4′ Spillpfeife 1 ′ 1⁄3 Kwinta of Bach’s St. Anne Prelude. I played ancient forest, but also the Czar of 4′ Fugara ′ 2 2 Oktawa 2⁄3′ Nasat 2 ′ the entire prelude and fugue with the Russia’s private railroad and hunting 2⁄3 Nasard 2′ Flageolett ′ cipher roaring right along, following lodge. The latter has been converted to 3 1 Superokt 1⁄5′ Terz 1 Mixtura II–IV Marilyn Mason’s mantra, “Keep going, a gourmet restaurant. The priest of St. 1⁄7′ Septime ′ 8 8 Trompet no matter what!” Not one, but four Theresa, Fr. Bogdan Poplawski, took ⁄9′ None 2 ′ “organ masters” came to my rescue, us to lunch here—what an amazing place 2⁄3 Mixtur VI II Manual 16′ Bombarde 16′ Fugara taking off the back of the organ console of genteel elegance steeped in history. 8′ Trompete 8′ Pryncypal while I played. The head “organ master” St. Casimir (Kazimierz) Church, 4′ Clairon 8′ Sylwestryna said, “I beg of you, do not play on the close to Białystok’s central business Röhrenglocken (A–e1) 8′ Flet kryty Tremulant 8′ Koncert fl et Great.” I followed his advice and there district, is a relatively new church, built 8′ Traw. Flet were no more mechanical problems. (I in 1981. Its namesake is St. Casimir Positivwerk (C–g3) II. Manuał 8′ Dolce was later told that this was the fi rst time Jagiellon (1458–1484), the patron saint 8′ Principal 4′ Róg nocny 8′ Quintade ′ a cipher had occurred since the concert of Poland, whose feast day is March 4. 4 Oktawa series began in 1996. It was Friday the It is modern in design, with high ceil- 8′ Spitzgedackt 2′ Flautino 4′ Singend Oktav 1′ Pikolo 13th!) At the end I ran down the spiral ings, and fl ooded with light. By the altar 4′ Rohrfl öte 2 ′ 2⁄3 Kint fl et staircase and thanked an appreciative are contemporary luminous paintings 2′ Kleinprincipal Tercja II 2′ Blockfl öte ′ audience. Later that evening we were in the style of medieval Byzantine art. 1 Flageolet treated to a delicious dinner by the rec- The fi ve-manual German organ was 1′ Kleinoktave Sesquialt. II 4′ Echokornett IV Cymbel III tor, Henryk Zukowski. built by the Wolfgang Scherpf Com- 1′ Scharf V–VI Kornet V The “village” church of St. Theresa pany in 1965–77 for the cathedral in 16′ Dulzian 8′ Klarnet in Białowieza, built in 1927, is on the Speyer and was moved to St. Casimir 8′ Trompete edge of one of the oldest primeval for- Church in 2009. It is the seventh largest 8′ Krumhorn III Manual Tremulant 8′ Pryncypal ests of Europe. The church is decorated pipe organ in Poland. Józef Kotowicz’s 8′ Bourdon with branches and horns, reminders of performance on YouTube offers a great Oberwerk (C–g3) V. Manuał 8′ Bachfl et 8′ Rohrquintade ′ the forest outside. Here I discovered opportunity to see the interior of the 8 Szpicfl et another Polish saint, Maximilian Kolbe, church and hear the organ: http://www. 8′ Lieblich Gedackt 8′ Aeolina 4′ Principal 8′ Vox coel. whose photograph was hanging on the youtube.com/watch?v=ljSPCnAfeKg. 4′ Koppelfl öte 4′ Flet harm. wall. A Polish Franciscan friar, remem- Kotowicz performs Letanias z cyklu 2′ Oktave 4′ Prestant bered for volunteering to die in place of 4′ Fugara 2′ Flageolet a stranger in the Auschwitz concentra- 1′ Róg nocny tion camp during World War II, he was 3 1⁄5′ Tercja canonized in 1982 by Pope John Paul II, 1 ′ 1⁄3 Superkwint who described him as the “Patron saint A Precious Gift Harm. Aeter. III Scharf III of our diffi cult century.” 8′ Obój When I arrived on Saturday night to from the Past practice, I found the music rack holding Pedal all the material for the Mass in the morn- 16′ Kontrabas 16′ Pryncypbas ing (see photo 7). I watched the parish- for the Present 16′ Wiolonbas ioners arrive on foot and on bicycles, and 16′ Subbas leave their faithful dogs outside. Many 8′ Oktawbas of the parishioners stayed for my noon- and the Future 8′ Wiolina 8′ Fletbas time recital. The two-manual, 17-rank Supremely beautiful and blendable 4′ Oktawa Walcker tracker well suited this church. 1 tonal color – a Gift from the Venetian 5⁄3′ Kwinta 4′ Flet School of organbuilding, a monumental part of our Mikstura IV JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH 16′ Puzonbas SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN

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4. Richard Onopa, organist in Ba- 5. Pedalboard of organ in Baroque Cha- www.ruffatti.com roque Chapel, Assumption of St. Mary, pel, Assumption of St. Mary, Białystok Białystok Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 23 Organs in Poland

9. Professor Andrzej Chorosinski at the console in the new Opera House, Białystok

11. Organ in recital hall in the Academy of Music, Kraków 8. Organ case, St. Roch Church, Białystok 4′ Prestant 1 ′ 4′ Flet rurkowy 1⁄4 Siffl öte ′ 1′ Oktävlein 2 Piccolo 1 ⁄3′ (Terz-)Quintzimbel III Sesquialtera II 8′ Müsette Mixtura IV–VI ′ 16′ Fagot 4 Singend Regal ′ Tremulant 8 Obój 8′ Vox humana ′ Schwellwerk (C–g3) III. Manuał 8 Trompeta magna 16′ Pommer 10. Detail of organ console in new Opera Manuał IV 8′ Principal House 12. Ceiling of stars in the Cathedral of ′ 8′ Flet otwarty 8 Flötgedackt ′ the Assumption of the Virgin in Kraków 8′ Salicional 8 Gedackt ′ weekend, as well as Masses in the eve- 8′ Salicionał 8 Schwebung ′ 8′ Weidenpfeife ning throughout the week. The parish 4 Szpicfl et century, World War II, and the 50-year ′ 4′ Pryncypał 4 Oktave borders have since been changed and ′ Communist regime, had a devastating 4′ Rohrpfeif 2 Oktawa 1 2 ′ the congregation is smaller. 1⁄3′ Kwinta effect on the rich musical tradition of 2⁄3 Sesquialter II ′ 2′ Hohlfl öte The organ and pipes were discovered 8 Regał the church and on organ building. A 2′ Mixtur VI at the end of World War II in 1945 in tradition, whose beginning is apparent 1 ⁄2′ Terzzimbel III Pedał ′ an abandoned boxcar in the train sta- 32′ Violonbas in the early organ tablatures of Kraków 16 Fagott ′ 8′ Oboe tion in Białystok. The legend is that the 16 Pryncypał ca. 1548, the Gdánsk tablature of 1591, ′ workers from the train station asked the 16′ Subbas and the tablature of Johannes of Lublin, 4 Schalmey ′ Tremulant priest if he wanted an organ and so for a 16 Violon was silenced. I could not fail to see the 8′ Bourdon couple of cases of beer it was delivered ′ reminders of the struggle for life itself in Pedalwerk (C–f1) 8 Oktawbas ′ to the church. The plate on the organ 8′ Cello Białystok when I saw the single railway 32 Contra-Principal ′ 16′ Principalbass reads “Schlag und Sohn, 1945.” The 4 Chorałbas car beside the Museum of the Polish 16′ Untersatz general pistons are set by a toggle sys- Mixtura IV Army, a grim reminder that one million ′ 16′ Puzon 16 Rohrfl ötenbass tem similar to the one in the cathedral. ′ Poles were transported to Russia (Sibe- 8′ Großoktave 16 Fagot ′ The organ case creates the illusion that 8′ Trompet harm. ria and Kazakhstan). Many of them died 8 Offenfl öte ′ 4′ Choralbass all the pipes are of equal length (see 8 Trompeta magna during the journey. Most of them did 4′ Hohlpfeif photo 8, organ case, St. Roch Church). not return to Poland at all. I learned that 2′ Waldfl öte The organ has a great presence in this The organ console is red and green, organ building in Poland came to a halt 1′ Blockfl öte 1 cavernous space. truly one of the most exuberant organ during the Communist regime, and that 5⁄3′ Bassquint 4′ Hintersatz IV–VII We were privileged to have a tour consoles I’ve ever seen (see photo 10). many churches had no organs because 32′ Contra-Posaune of the stunning new Opera House in We also toured I. J. Paderewski there was no money. During these years 16′ Posaune Białystok scheduled to open this fall. School of Music, where Józef has the rich musical tradition of the church 8′ Trompete 4′ Clarine We were fortunate to get to hear the been on the faculty for twenty years. He was silent, but during this bleak time 2′ Zinkenbass new 64-rank organ, built by the Polish recently acquired a beautiful tracker for their faith grew stronger and their love builder Zych Zaklady Company, played the recital hall; built in 1976 in Denmark of organ music did not die. The suspended tracker action made by Professor Andrzej Chorosinski by Troels Krohn, it is reminiscent of the Since the fall of Communism in 1989, the touch light and sensitive, and infi nite of the Chopin Conservatory in Warsaw, typical North German Baroque organ. churches started looking for organs they levels of memory made it a joy to play. who was there to inspect the organ and The specifi cations: could afford and found they could pur- Fr. Wojciech Lazewski, the rector of rehearse for his inaugural recital (see chase instruments from Germany, where the parish, spoke to the audience and photo 9). The specifi cation of the organ: Paderewski School of Music, Białystok many churches were closing. Currently introduced each organ piece, and after Troels Krohn, 1976 Poland has a growing economy in Europe the recital we were invited to an elegant Opera House, Białystok and they are building new churches— dinner in the rectory. Zych Zaklady Organowe, 2012 Positive big churches. It has been Józef’s mission 8′ Salicional What a heart-warming experience to to help churches fi nd organs and to make Manuał I 8′ Gedacht play three recitals in Poland in churches 16′ Gedackt 4′ Principal organ music accessible. He began by 2 fi lled with people who appreciate organ 8′ Pryncypał 2⁄3′ Quint creating a concert series in the cathedral music, who gave me such a warm wel- 8′ Bourdon 2′ Octave in 1996, which has grown to include ′ 3 8 Flute harm. 1 ⁄5′ Terts come, and who thanked me, in Eng- ′ other venues. This summer he organized lish(!), for playing for them. I could only 8 V da Gamba 19 recitals in fi ve different churches in 8′ Kwintadena Swell say hello (dzien dobry) and thank you 4′ Oktawa 8′ Gemshorn Hajnowka, Białystok, and Białowieza, ′ (dziekuje) in Polish. It was gratifying to 4 Flet 8′ Quitaton and invited 12 organists from Poland, have the priest at each church talk to the 4′ Traversfl et ′ Norway, and America. 2 ′ 4 Rohrfl ute 2⁄3 Kwinta 2′ audience and describe the music before 2′ Superoktawa Panfl ojte Józef pointed out that crucial to the I played, and as if it weren’t enough to Kornet V 8′ Oboe rebuilding of the rich musical tradition have the privilege to play, to be invited to Mixtura IV–V of the church has been the attitude of the a feast afterwards. Józef arranged for our 8′ Trompeta magna Pedal clergy toward music and having church 8′ Trompet 16′ Subbas food, lodgings, and transportation, and 4′ Clairon Manual to Pedal couplers music classes in the schools. When provided me with one of his students, Józef fi nished his studies in 1991 he was Rafal Pluszczewicz, who explained the Manuał II the fi rst organist in the diocese; now vagaries of setting the general pistons 8′ Pryncypał Last on the tour was Santa Ecclesia, there are thirteen. Now there are two 8′ Salicet and turned pages for me. 8′ Flet rurkowy which has a 39-rank, three-manual Ger- outstanding organ builders in Poland: After playing the recitals, I had the 8′ Gemshorn man tracker built by Friedrich Weis- Zych Zaklady Organbilders: organy@ luxury of being a tourist in Białystok, 4′ Fugara senborn, again mirroring the disposition zych.com, and Andrzej Kaminski Organ- and Józef showed us some of the most 4′ Pryncypał of the North German Baroque instru- bilders: [email protected]. 2 2⁄3′ Nasard interesting organs in the city. First on 2′ Oktawa ment. The sound of organ is lush as well On July 17 we bid our farewells to 3 the tour was the organ at the massive 1⁄5′ Tercja as brilliant; however, the key action is Józef and Ewa in Białystok and took St. Roch Church. The architecture is Cymbel III very heavy. the train to Kraków, where Józef had 8′ Trompeta magna avant-garde even by today’s standards, ′ In the Church of St. Jadwiga arranged for us to stay in the Academy even though it was built between 1927– 8 Klarnet in Białystok there is a 57-rank organ of Music. The medieval city of Kraków 46. It is now undergoing restoration. It Manuał III from the Philharmonic concert hall in keeps its history alive by the daily per- used to be one of the largest parishes in 16′ Gedackt Salzburg. The organ was built by E. F. formance of trumpet music played from Białystok, with 40,000 people attending 8′ Pryncypał skrzyp Walcker & Co. in 1970. The church had one of the windows of the tallest tower of 8′ Flet podwójny Mass each weekend. Józef was organ- 8′ Fugara no organ before acquiring this one. the Gothic Cathedral of St. Mary. During ist there for two years, beginning in 8′ Aeolina Tragic epochs in Poland, including the 13th and 14th-centuries a trumpeter 1991, and played eleven Masses on the 8′ Vox coelestis the loss of independence in the 19th played at dawn and at dusk to signal the

24 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM 16. 17th-century portative organ, National Museum of Kraków

15. Organ in rear gallery, Cathedral of the Assumption, Kraków

18. Wood carving of portative organ, Wawel Cathedral, Kraków

14. Fresco to the left of the altar, Cathedral of the Assumption of the Virgin, Kraków

8′ Gedackt 4′ Octava 4′ Rohrfl oete 2′ Superoctava 17. Portative organ in a 2′ Mixtura IV French 16th-century Book 8′ Trompete of Hours, Jagiellonian Library, Kraków II. Manual Positiv C– a3 8′ Flûte harmonique 4′ Flûte octaviante 2 2⁄3′ Nasard 2′ Flûte traversiére 3 1⁄5′ Terz eum in chordis et organo (Praise him bishops.” The carved image of a porta- 1 13. Organ to the left of the altar, Cathedral 1⁄3′ Larigot with strings and organ) (see photo 13). tive is in the Swietokryska Chapel near of the Assumption of the Virgin, Kraków 8′ Cromorne To the right of the altarpiece is a fresco the front entrance of the cathedral Tremulant of an angel playing the organetto accom- (see photo 18). Here an angel organist opening of the city gates. He also kept III. Manual Schwellwerk C–a3 panied by the text, Super omnes speciosa accompanies the crucifi xion in a scene watch for fi res or enemy invaders and 8′ Rohrfl oete (Lovely beyond all others), one of the that allows the viewer to step into would sound the alarm with a bugle call. 8′ Gambe lines from the Marian hymn, Ave Regina another dimension of time and space. 8′ Vox coelestis Today a short bugle call is played on 4′ Fugara Caelorum (see photo 14.) A positive the hour beginning at 8 am and ending 2′ Flachfl oete organ (not pictured) contains seven stops Conclusion 2 at 11 pm from one of the towers of the 2⁄3′ Mixtura III and was 1898 built by Tomasz Falla. The The organs and images of organs I saw cathedral. The plaintive bugle call is a 8′ Trompette harmonique big organ in the rear gallery (see photo in Warsaw, Białystok, Białowieza, and 8′ Oboe melody that ends abruptly. This live per- Tremulant 15) dates back to 1908 and has been Kraków represent only a tiny amount of formance is an hourly remembrance and rebuilt many times. The last general what exists in Poland. I am grateful I had commemoration of a heroic trumpeter Pedal C–f′ rebuilding took place in 1987–1989 by the opportunity to savor the sounds and who warned the city of invading Tatars 16′ Subbass organbuilder Wlodzimierz Truszczynski. sights of these instruments, experience 8′ Principalbass in 1240 and who died from the enemy’s 8′ Floetenbass Now the organ has mechanical action such kindness, and witness the apprecia- arrow while sounding the alarm. 4′ Choralbass and 56 stops. For specifi cations of the tion and love for organ music on many The Old Town of Kraków is fi lled with 16′ Posaune three organs, see http://organy.pingwin. faces. I have great admiration for the sounds, from horse-drawn carriages cir- 8′ Trompete waw.pl/index.php?f=kr_mariacki.htm. composers, performers, and audiences cling around the historic market place, On the second fl oor of the National who have survived one of the darkest to a band of accordion players playing I heard an organ recital in the Museum of Kraków is a 17th-century times in history and are dedicated to Bach’s Toccata in D Minor on the steps Basilica of St. Florian’s played by portative organ (see photo 16). This preserving and building upon their rich of the cathedral. Equally prominent Marek Stefanski, and accompanied portative organ has one manual of tradition of organ music. Exciting new are reminders of the pipe organ, which by Barbara Swiatek-Zelazna, fl autist. three octaves and two bellows. The organ repertoire has been composed by showed itself to be part of the fabric of Again, I was aware that the audience sat pipes are made of lead and beech, and contemporary Polish composers, such life, past and present. These fi ndings— without moving, completely absorbed the keys are made of birch. It is from as Marian Sawa (1937–2005), Tadeusz whether in a fresco, a Book of Hours, a in the music. This recital was part of the Parish Church at Stary Sacz and Paciorkiewicz (1916–1998), Romuald sculpture, a choir loft, or a recital hall— the music festival, the third in a series was given to the museum by Stanislaw Twardowski (b. 1930), Henryk Mikolaj were dazzling to the eye and imagination of seven organ recitals, sponsored by Tomkowicz in 1934. Górecki (1933–2010), and Wojciech and underscore its importance in provid- the Academy of Music and Center of In the Jagiellonian Library I found Kilar (b. 1932). Beautiful new organs are ing music that provides solace and lifts Culture of Kraków. one image of a portative organ in a once again being built by Polish builders, the human spirit. I found these images The 14th-century Cathedral of the French 16th-century Book of Hours including Zych Zaklady, Andrzej Kamin- in diverse places, ranging from the Assumption of St. Mary in the Old (see photo 17). Here, along with other ski, and others. The organ music fi lling National Museum to Wawel Cathedral, Town is called the “people’s cathedral” musicians, an angel organist celebrates the churches and the people who listen from the Jagiellonian University Library because it was built by the people, as the coronation of the Virgin. It is ironic signify that in Poland, and especially in to the Academy of Music. opposed to the Cathedral at Wawel that the pipes of the organetto are all Białystok, “the music cannot be stopped” From my bird’s eye view, organ music Castle that was built by royalty. It con- the same length, and that several of the —in fact, like the phoenix, it is soaring. Q appears to be alive and well in Kraków. I tains three organs and a fresco of an organ cases mentioned earlier give the heard a new organ student practicing in organetto. The dramatic organ cases and illusion that all the pipes are the same Marijim Thoene received a D.M.A. in or- the recital hall in the Academy of Music fresco of an angel playing the organetto length. Here and in the last image gan performance/church music from the Uni- (see photo 11). This three-manual tracker complement the magnifi cent altar piece shown, the portative organ is played by versity of Michigan in 1984. She is an active organ was built by the Karl Schuke Com- of Assumption of the Virgin (the Viet an angel in the macrocosm of heaven. recitalist and director of music at St. John Lu- pany of Berlin. The disposition: Stoss Altar) and the Gothic cobalt blue The last organ shown is from Wawel theran Church in Dundee, Michigan. Her two vaulted ceiling sprinkled with shimmer- Cathedral, the Archcathedral of Saints CDs, Mystics and Spirits and Wind Song are available through Raven Recordings. She is Academy of Music, Kraków ing gold stars (see photo 12). To the left Stanislaus and Wenceslaus, which is, a frequent presenter at medieval conferences Karl Schuke of the altarpiece is an organ of 12 stops, according to Frommer’s guide book, on the topic of the image of the pipe organ in I. Manual Hauptwerk C–a3 built by Kazimierz Zebrowski in 1912. the “most grandiose church in Poland, medieval manuscripts. 16′ Bordun At the base of the organ case is an angel and a necropolis of Polish kings, rulers, 8′ Principal bearing music with this text: Laudate most outstanding poets and Kraków’s Photo credit: Marijim Thoene

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 25 Cover feature

Austin Organs, Inc., re-installed in the new building. Under Hartford, Connecticut the subsequent three-decade leadership Opus 2795 of minister of music Alvin T. Lunde, pro- First Baptist Church, posals from myriad organbuilders were Washington, D.C. examined and considered. Ironically, it was the acquisition of a Fulfi llment of a vision: the second new nine-foot Steinway concert grand fi ve-manual organ in the City of piano that revived the church’s hopes Washington for a new organ. In 2007 First Baptist First Baptist Church’s new Austin member Carol M. Kirby, who sits on Organ installation marks the realization of the board of visitors for George Mason a vision that has been several generations University, was assisting the school in in the making for both the church and acquiring new Steinway pianos for their the organbuilder. First Baptist Church Steinway School of Music. Through her was organized in 1802 when Thomas leadership and introductions to Stein- Jefferson was president and Washington, way, the church was able to purchase one D.C., was a village of only a few thousand of the last concert grand pianos signed people. The fi rst worship space was in by Henry Z. Steinway. The acquisition of Five-manual console on movable internal iron dolly frame a building where the U.S. Treasury is the new piano inspired members of First now located. From that early time, First Baptist to believe the time had come to than is typical. Before discussing the Opus 558 for Medinah Temple in Chi- Baptist has provided continuous ministry complete the long-deferred dream of a particulars of this new instrument, let us cago crossed paths with Opus 500 on in the heart of the nation’s capital. Since new pipe organ for the church. In early present some history of our instruments the shop fl oor in 1915. Opus 573 for the the division of Baptists North and South 2010, First Baptist member Dr. Wayne built for concert halls and auditoriums. Mormon Tabernacle in Salt Lake City in 1845, First Baptist has been a vital link Angell met with the newly installed Rev. Hallmarks of their design include walk- followed shortly thereafter. Opus 913, between major national Baptist bodies. It Dr. Jeffrey Haggray and members of the in airboxes with vestibules (airlocks), built for the mysterious Bohemian Club maintains membership in the District of church leadership team to investigate signifi cant wind pressures, generous of San Francisco, is also located outdoors Columbia Baptist Convention (which is the possibility of moving forward with scaling, and a wealth of orchestral and like the San Diego organ. triply aligned with the American Baptist the organ project if the initial funding for traditional organ stops. Even an incom- Opus 1206 was built in 1924 for the Churches in the U.S.A., the Progressive the project could be raised. After receiv- plete chronology of these instruments Soldiers and Sailors Memorial Audito- National Baptist Convention, and the ing enthusiastic endorsement, Dr. Angell and their clients is impressive: rium in Chattanooga, Tennessee. Opus Southern Baptist Convention). First then worked to raise the funds to meet Opus 120 was installed in the Audi- 1416 was built in 1926 for the Sesqui- Baptist Church is also affi liated with the cost of the organ. torium of John Wanamaker’s New York Centennial International Exposition in the Alliance of Baptists, the Coopera- Store in 1904. Philadelphia, and was the largest new tive Baptist Fellowship, and the Baptist Austin’s history of building large Opus 182 for the Jamestown Exposi- instrument built at one time by the Aus- World Alliance. Several U.S. presidents instruments tion, Jamestown, Virginia, was the fi rst tin Organ Company, having 162 speaking have worshiped here, notably Harry S. In the early part of the 20th century, concert organ for which we won an award. ranks. We restored this instrument in the Truman, Jimmy Carter, and Bill Clinton. an ever-increasing number of important A succession of instruments in concert early 2000s. Finally, Opus 1627 for Hor- The church has occupied fi ve buildings contracts steadily built the Austin Organ halls followed, including Opus 199 in the ace Bushnell Memorial Hall in Hartford on four sites in the District of Columbia, Company’s reputation for organs of Greek Hall of Wanamaker’s Philadelphia is a still-later example of Austin’s concert including one that is now Ford’s Theater, impressive design and solid construc- store, Opus 252 in the ballroom of the hall instruments. This organ, dating from where President Lincoln was assassinated. tion. A signifi cant piece of Austin history Hotel Astor, New York City, and Opus 279 1929, was restored by Austin in 1989. The fi rst service in the new sanctuary at was the company’s hiring in 1901 of in John M. Greene Auditorium of Smith This list only scratches the surface. 16th & O Streets was held on January 12, the infamous Robert Hope-Jones (later College, Northampton, Massachusetts. The legacy and memory of these monu- 1890, and six pastors served in the years known as the father of the Wurlitzer Of these, the Greek Hall organ survives, mental instruments echo around our that followed. Following his installation as organ) to help direct the company into relocated from the store, as does the shop in the records and photographs senior pastor in 1937, Dr. Edward Pruden the symphonic realm. During this time Smith College organ, which we rebuilt of their construction and subsequent led the church in a building campaign. In Hope-Jones, through Austin, exposed a number of years ago. Opus 323, built history. The machines and fi xtures on 1953, First Baptist tore down its previous the United States to the Diaphone, for the City Hall Auditorium of Portland, which they were built continue to turn building and started construction on its famously installed in lighthouses and Maine in 1912, is today one of the most out new instruments, including the First current neo-gothic sanctuary on the same fi re stations around the country. The famous municipal concert instruments in Baptist organ. site. The fi rst worship service in the new premier organ version of this somewhat the United States. The Spreckels Organ, sanctuary was celebrated on Christmas musical “noise” to which Austin held the Opus 453, installed in 1914 outdoors in Critical elements of the tonal design Day in 1955. The plans initially included a patent, however, is known as the Magna- Balboa Park, San Diego, California, cer- With the reality of the purchase of a large organ that was to be installed in the ton. Hope-Jones also brought us high- tainly needs no introduction. pipe organ on the horizon, the church chancel area and constructed to match pressure voicing for both reeds and fl ue Opus 500 (120 ranks), for the Festival was fortunate to have minister of music the baptistry. Due to funding shortfalls, pipes. While the organ at First Baptist Hall of the Panama Pacifi c Exposition in Dr. Lon Schreiber on staff. Three however, it was eventually decided that does not have a Magnaton, it does have San Francisco in 1915, was completed decades earlier, he had overseen the the previous M.P. Möller organ would be some interesting higher-pressure voicing and delivered in less than six months. “other” fi ve-manual organ in the City

Austin Organs, Inc., Opus 2795 First Baptist Church, Washington, D.C.

GREAT (7′′ wind) 4′ Flute Octaviante 61 pipes 8′ Cromorne 61 pipes 16′ Trompette-en-Chamade (TC) 2 16′ Violone Prestant 61 pipes 2⁄3′ Nazard 61 pipes 16′ Double Tuba Major (Solo) 8′ Trompette Royale (Gallery Great) 8′ Open Diapason 61 pipes 2′ Octavin 61 pipes 8′ Tuba Major (Solo) Tremulant 3 8′ Prestant 12 pipes 1⁄5′ Tierce 61 pipes 4′ Tuba Octave (Solo) 8′ Flute Harmonique 61 pipes Plein Jeu V 305 pipes 16′ Trompette-en-Chamade (TC) RESONANCE (7′′ wind) 8′ Bourdon 61 pipes 32′ Contra Fagotto ° 8′ Trompette-en-Chamade (Great) 32′ Contre Bourdon ° 8′ Gamba 61 pipes 16′ Tromba ° Orchestral Harp ° 16′ Dbl. Open Diapason 61 pipes 1 5⁄3′ Gross Quint 61 pipes 16′ Basson 61 pipes Harp, Celesta ° 16′ Violone Prestant (Great) 4′ Octave 61 pipes 8′ Trompette Harmonique 61 pipes Zimbelstern ° 16′ Bourdon (Pedal) 4′ Prestant Octave 12 pipes 8′ Cornopean ° Tremulant 16′ Gemshorn (Swell) 4′ Koppelfl öte 61 pipes 8′ Hautbois 61 pipes 8′ Open Diapason 61 pipes 1 3⁄5′ Gross Tierce 61 pipes 8′ Voix Humaine 61 pipes SOLO (10′′ and 22′′ wind) 8′ Prestant (Great) 2 2⁄3′ Quint 61 pipes 4′ Clairon Harmonique 80 pipes 16′ Contra Gamba ° 8′ Hohlfl öte 61 pipes 2′ Fifteenth 61 pipes 4′ English Trumpet ° 16′ Contra Gamba Celeste ° 8′ Bourdon 17 pipes 1 Grand Chorus V 305 pipes 16′ Trompette-en-Chamade (TC) 8′ Cello ° 5⁄3′ Gross Quint (Pedal) Scharff IV 244 pipes 8′ Trompette-en-Chamade (Great) 8′ Cello Celeste ° 4′ Octave 61 pipes 16′ Double Trumpet 12 pipes Tremulant 8′ Voix Angelique III ° 4′ Cantus Flute 61 pipes 1 8′ Trumpet 68 pipes 8′ Muted Viols II ° 3⁄5′ Gross Tierce (Great) 4′ Clarion 80 pipes CHOIR (7′′ wind) 8′ Doppel Flute ° 2′ Descant Flute 61 pipes 16′ Grand Mounted Cornet V (Solo, TC) 16′ Gemshorn 12 pipes 4′ Orchestral Flute ° Mixture IV † 2 8′ Mounted Cornet V (Solo) 8′ Principal 61 pipes 2⁄3′ Quint Flute ° Grand Fourniture IV–VI † 8′ Trompette-en-Chamade 54 pipes 8′ Voce Umana ° 16′ Corno di Bassetto ° Descant Grand Mixture IV–VIII † Chimes (Solo) 8′ Holz Gedeckt 61 pipes 8′ French Horn ° 32′ Contra Posaune (Pedal) Flute Harmonique Tremulant 8′ Gemshorn 61 pipes 8′ Clarinet ° 32′ Contra Fagotto ° 8′ Gemshorn Celeste 61 pipes 8′ English Horn ° 16′ Posaune (Pedal) SWELL (7′′ wind) 8′ Flauto Dolce Celeste ° 8′ Orchestral Oboe ° 16′ Double Trumpet (Great) 16′ Contra Gamba ° 4′ Octave 61 pipes 16′ Double Tuba Major 8′ Octave Trumpet 61 pipes 16′ Lieblich Gedeckt 12 pipes 4′ Spiel Flute 61 pipes 8′ Tuba Major 85 pipes 8′ Trumpet (Great) 2 8′ Geigen Diapason 61 pipes 2⁄3′ Nazard 61 pipes 4′ Tuba Octave 4′ Clairon 61 pipes 8′ Viole de Gambe 61 pipes 2′ Fifteenth 61 pipes Unenclosed Solo 8′ Mounted Cornet V (Solo) 8′ Voix Celeste 61 pipes 2′ Open Flute 61 pipes Mounted Cornet V 305 pipes 16′ Trompette-en-Chamade (Great, TC) 3 8′ Stopped Diapason 61 pipes 1⁄5′ Tierce 61 pipes Chimes ° 8′ Trompette-en-Chamade (Great) ′ 1 ′ † The Resonance Mixture is a composite formula based on 8 Spitzfl öte ° 1⁄3 Larigot (from Cymbel) Orchestral Harp ° 2 ′ 8′ Flute Celeste ° Cymbel IV 244 pipes Harp ° a four-rank stop, based on 2 ⁄3 pitch (244 pipes). Adding ′ ′ the fi fth through eighth ranks expands the mixture by 214 4 Prestant 61 pipes 8 Klein Trompete 61 pipes Celesta ° pipes, creating three distinctive mixture stops.

26 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM AutoCAD rendering of the Chamade

Factory erecting of the Swell and Choir of Washington installed at National City The mechanism inside the Swell-Choir airbox: the large regulator on the left (5′x8′) Christian Church. After reviewing a stack connected to the control valve by steel rods, the electronic control system next to of proposals that stood two feet high, he it, and the vestibule door in the far background contacted Austin Organs through Austin representative William E. Gray. Drawing Resonance Diapason, with leathered lips on his experience as former president of M.P. Möller, and certainly having on signifi cant wind pressures. The designed more large organs in this coun- main airchests are set at 7 inches wind try than any single person alive, he and pressure, 10 inches for the Mounted Lon developed a stoplist of slightly more Cornet, and 12 inches and 22 inches than 100 ranks, along with some digital for the reeds. In our experience, heavy augmentation, across fi ve manuals. Bill wind-pressure voicing delivers tone Gray had a concept for two large organ colors and intensity not possible with cases in the chancel (the existing organ light-pressure organs. has been covered with two decomposing The manual divisions of this instru- drapes since 1955). The Austin design ment have multiple diapason, fl ute, and staff turned this concept into a render- reed choruses. The mixtures are reason- ing, and the church enthusiastically ably pitched and scaled, and the voicing endorsed Austin Organs, Inc. to build is gently ascendant without stridency. the new organ for First Baptist. The fl utes are subtly voiced for variety, Austin’s staff drew upon more than a blend, and individualistic tonal colors. century of design and voicing experience Ample mutations, rich string tone, and for this project. Each stop was meticu- complete reed choruses expand the tonal The Mounted Cornet on the left, the wooden Gemshorn bass in the foreground, lously scrutinized for scale, design, and palette, allowing the musician to create a reaching back to the Solo Tuba enclosure in the back voicing. The gallery organ project was kaleidoscope of sound. revised early in the contract to utilize The Resonance division is a new con- In the French tradition, the Resonance volume control. Again, none of the digital some pipework from the church’s former cept for Austin, its deployment in this was a type of Solo organ, but Opus 2795 voices are considered ensemble voices; organ. This, along with several replace- organ due to Bill Gray’s tonal design. also has a Solo division. It is composed of they are only superfl uous solo stops. ments of pipework in lieu of digital, The Resonance Organ is composed of several digital voices, provided by Walker Following a tradition of tonal innova- brought the rank count to 118. the actual voices of the Pedal Organ, but Technical Company. It also has a fi ve-rank tion, we have also included three new The scaling and refi nement of this adding 29 pipes, extending from 32 to (305 pipes) Mounted Cornet, installed at Austin voices in this instrument: a new concept was completed by the combined 61 pipes per rank. Mechanically, it has the top of the organ, voiced on 10 inches hybrid Cromorne, the 4′ Spiel Flute, and a experience of some of the most seasoned been possible utilizing an almost for- wind pressure, and the Austin Tuba Magna 2′ Zauberfl öte (listed on the specifi cation voicing staff in the country, including gotten chest design: the Austin Duplex voiced on 22 inches wind pressure that as the Descant Flute in the Resonance). assistant tonal director Dan Kingman, Chest Mechanism. The voices are full, is enclosed in a separate expression box. The Cromorne is a new scale based on senior voicer Fred Heffner, reed voicer round and deliciously extravagant. The Inside this expression box are the speak- the Austin Clarinet, which morphs into Sam Hughes, and voicers Holly Odell, Diapason (a generous 40 scale) was ers for the digital voices. A few additional the French Cromorne scale. Our hybrid Annie Wysocki, David Johnston, and voiced with leathered lips. This practice, voices inside the Swell and Choir have combination, along with special shallots, tonal director Mike Fazio. once frowned upon, delivers the most their speakers mounted in those chambers gives us the best of both worlds. The After several visits to the church, it natural-sounding Diapason tone for this as well. This allows the tone to resonate Spiel Flute (“Play” Flute) is based on our was determined that this large worship scale pipework voiced on this pressure. with its associated pipework, and express standard Blockfl öte scale, with soldered- space called for an instrument voiced It must be heard to be appreciated. naturally, rather than from an artifi cial on canisters, special mouth widths, and an open bass. The new Zauberfl öte is similar to the examples from our instru- PEDAL (7′′ and 12′′ wind) 8′ Cornopean (Swell) Plein Jeu IV 244 pipes 32′ Double Open Wood ° 4′ Clairon (Res) 16′ Basson 12 pipes ments of the 1920s. The differences are 32′ Contre Bourdon ° 4′ Hautbois 32 pipes 8′ Trompette 61 pipes in the scale and pitch; this type is much 32′ Erzahler ° 8′ Trompette-en-Chamade (Great) 8′ Hautbois 61 pipes larger and has an open bass rather than 16′ Open Diapason 32 pipes 4′ Trompette-en-Chamade (Great) 4′ Clairon 80 pipes the typical chimney-fl ute type. This stop 16′ Open Wood ° Chimes ° Tremulant ′ was created to join the chorus of a large 16 Violone Prestant (Great) Full complement of inter/intramanual cou- ′ ′ 16′ Subbass 32 pipes plers, and other accessories GALLERY PEDAL (5′′ wind) 8 (metal) Hohlfl öte and a 4 Cantus 16′ Gemshorn (Choir) 32′ Contre Bourdon ° Flute, where we wanted a fl ute chorus 16′ Contra Gamba (Swell) GALLERY GREAT (4.5′′ wind) 16′ Principal ° with signifi cant color and strength. 16′ Lieblich Gedeckt (Swell) 16′ Violone 12 pipes 16′ Violone (Gal. Great) 2 The Choir contains the only stop in 10 ⁄3′ Gross Quint (Swell) 8′ Principal 61 pipes 16′ Bourdon 32 pipes 8′ Octave (Res) 8′ Viola 61 pipes 16′ Rohrbass (Gal. Swell) the organ to extend in wood past the 4′ 8′ Prestant (Great) 8′ Traverse Flute 61 pipes 8′ Octave 32 pipes range: the Holz Gedeckt. Most of the 16′ 8′ Hohlfl öte (Res) 8′ Bourdon 61 pipes 8′ Violone (Gal. Great) extensions (except of course the façade) 8′ Bourdon 12 pipes 8′ Erzahler 61 pipes 8′ Bourdon 12 pipes 8′ Gemshorn (Choir) 8′ Erzahler Celeste 61 pipes 8′ Rohrfl öte (Gal. Swell) are wooden as well. Atop the Choir 8′ Stopped Diapason (Swell) 4′ Octave 61 pipes 4′ Choral Bass 12 pipes enclosure, we fi nd the 16′ extension of 2 6⁄5′ Gross Tierce 12 pipes 4′ Flute Harmonique 61 pipes 4′ Nachthorn 32 pipes the Gemshorn. This stop was constructed 1 ′ ′ ′ 5⁄3 Quint (Great) 2 Super Octave 61 pipes 4 Rohrfl öte (Gal. Swell) from beautiful vintage 16′ open wood 4′ Choral Bass (Res) 2′ Waldfl öte 24 pipes 32′ Contra Fagotto ° 4′ Cantus Flute (Res) Sesquialtera III–IV 192 pipes 16′ Double Trompette (Gal. Swell) diapason pipes manufactured of perfectly 4′ Stopped Flute 12 pipes Mixture IV 244 pipes 16′ Fagotto ° clear-grained sugar pine. The tone is 1 3⁄5′ Tierce (Great) 8′ Trompette Royale 61 pipes 8′ Trumpet (Gal. Swell) somewhat string-like, but rich and warm. 2′ Descant Flute (Res) Tremulant 8′ Fagotto ° ′ The Pedal (Resonance) Bourdon, made Mixture IV 128 pipes 4 Hautbois (Gal. Swell) of heavy poplar, is the largest scale made 64′ Grand Contra Posaune 3 pipes GALLERY SWELL (5′′ wind) 32′ Contra Posaune (Res) 16′ Rohrbass 12 pipes ° indicates digital voice in the Austin factory. These pipes are 32′ Contra Fagotto ° 8′ Geigen Diapason 61 pipes Chancel Organ: 83 ranks the fi rst new 16′ Bourdons made in the 16′ Corno di Bassetto (Solo) 8′ Rohrfl öte 61 pipes Gallery Organ: 35 ranks Austin shop in nearly two decades. They 16′ Posaune (Res) 8′ Viola da Gamba 61 pipes Total number of ranks: 118 16′ Double Trumpet (Great) 8′ Viola Celeste 54 pipes Total number of pipes: 6,158 were completed by cabinetmaker Bruce 16′ Tromba (Swell) 4′ Principal 61 pipes Main blower: 20 HP Coderre, fi nished by Richard Walker, 16′ Basson (Swell) 4′ Spitzfl öte 61 pipes Gallery blowers: (four) ¾ HP and voiced by Dan Kingman. The 8′ 8′ Octave Trumpet (Res) 2′ Octave 61 pipes octave of this stop was made of ‘new’ M.P.

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 27 Cover feature

Organs, and Michael Fazio, who acquired assisted by Sarah Rigby, Jessinia Flores, Austin Organs, Inc. from the original and Jonathan Roberts. The pipeshop is stockholders in January 2006; Bill Gray ably staffed by Stewart Skates, Tony Val- for his design input and representation; dez, and Colin Coderre. Our offi ce staff and the Austin factory staff: Victor Hoyt, consists of Alan Rodi, a recent Wesleyan Stewart Skates, Rafael Ramos, Tony Val- graduate who serves as general assistant dez, Dan Kingman, Fred Heffner, and and media specialist; Curt Hawkes, a Michael Chiaradia, along with designer 20-year Austin employee who serves as Donald Hand, who learned his craft from our historian and project manager; and Percy Stark, designer of the 1915 Mor- David Secour, CAD designer. Together, mon Tabernacle organ. Some of these they have spent countless hours sharing artisans are now teaching their craft to the Austin story on Facebook (Facebook. new apprentices, ensuring that the Aus- com/AustinOrgans), YouTube (Youtube. tin organ legacy will continue for future com/AustinOrgans), and the recently generations. The chest room/mechanical revamped Austin website (Austinorgans. department is headed up by Victor Hoyt, com). Please visit these sites for further with Michael Chiaradia, Bill Mullen, information on this and other projects. Rafael Ramos, Arthur Hertzog, and Pedro The fall dedication concert series Flores. The console and cabinet shop launches on September 15 at 4 pm with crosses over to include the craftsmanship the inaugural recital by Lon Schreiber, Austin’s custom expression shoes, signature toe studs, pedalboard with walnut sharps of Bruce Coderre, Richard Walker (who and continues on October 20 at 4 pm not only sets pipes, but is the company with Ken Cowan, and November 24 at 4 Möller pipework. Following the demise Austin CEO Richard Taylor, Bill Hes- wood fi nisher), and Ray Albright. Manu- pm with Christopher Houlihan. of Möller, Austin purchased their entire terman, and organist Frederick Swann, facturing pneumatics and mechanical —Michael Fazio, Alan Rodi, inventory of wooden 16′ and 8′ pipework. drawing inspiration from the fi ve-manual components of all kinds: Keith Taylor Curt Hawkes The Choir Gedeckt also has a ‘new’ M.P. Aeolian-Skinner console at the Mormon Möller bass octave of smaller scale. Tabernacle in Salt Lake City. The organ Each reed chorus contains stops of control system was custom-designed by unique personalities. In the Great divi- Atlanta-based International Organ Tech- 2013 Summer Carillon Concert Calendar sion, we fi nd Trumpets of the English nologies in collaboration with Albright, style. The Resonance reed chorus is who holds a degree in electrical engi- By Brian Swager distinctly in the American-Symphonic neering. This Virtuoso system employs Alfred, New York July 19, Carlo van Ulft & Little Egypt Brass tradition. The Choir has a smaller Ger- a very stable processor that connects the Alfred University, Davis Memorial Carillon August 31, Julianne Vanden Wyngaard man Klein Trompete, and of course the console to the chamber with fi ber-optic Tuesdays at 7 pm September 1, Robin Austin hybrid Cromorne, while the Swell Organ cables. The system includes a virtually July 9, Carol Jickling Lens September 2, Carlo van Ulft has reeds that echo the brightness of unlimited number of memory levels for July 16, Sally Harwood the Trompettes of the French tradition. the combination action. The keyboards July 23, Tim Sleep Chicago, Illinois University of Chicago, Rockefeller Chapel All the reeds were made in the Austin were made to original Austin key design July 30, Philippe Beullens ′ Sundays at 5 pm factory, with exception of the 64/32 by Pennells & Sharpe Ltd. of Brandon- Allendale, Michigan June 23, Arie Abbenes Posaune, Chamade, and the Gallery Suffolk, United Kingdom. They have Grand Valley State University, Cook Caril- June 30, Povl Christian Balslev Swell Trompette and Clairon (from the bone natural coverings with walnut lon, Sundays at 8 pm July 7, Isaac Wong previous organ). It is notable that every sharps. The console is built upon the June 23, Anne Kroeze July 14, Vera Wünsche ′ ′ June 30, Julia Ann Walton July 21, Philippe Beullens reed from 32 –16 boasts full-length con- sturdy, Austin-patented steel frame. The July 28, John Widmann struction; that there are no half-length internal dolly allows the console to be July 7, Linda Dzuris July 14, Sue Bergren August 4, Gijsbert Kok reed basses in any department of the easily moved by one person. The console July 21, Laura Ellis August 11, Lisa Lonie & Janet Tebbel organ results in unmatched tone color was shown at the AGO national conven- July 28, open tower August 18, Dick van Dijk August 25, Wylie Crawford and voicing stability. tion held in Nashville last summer. August 4, Helen Hawley The organ also boasts three Tuba August 11, Jeremy Chesman Cohasset, Massachusetts stops. The Resonance 8′ Octave Trum- Mechanical design August 18, Julianne Vanden Wyngaard St. Stephen’s Episcopal Church Sundays at 6 pm pet is made to Austin’s small Tuba/Horn The Austin Universal Airchest was Austin, Texas scale, and voiced as a Tromba. The Solo developed in the early 1890s by John T. June 30, Mary Kennedy University of Texas, Kniker Carillon July 7, Margaret Angelini Tuba Major is made from the early Aus- Austin, who was granted a U.S. Patent for Sundays at 4 pm July 14, Richard Watson tin Tuba patterns, dating to the 1920s. this innovation in 1893 at the age of 23. June 16, July 7, July 28, August 18, Aus- July 21, Helen Hawley Mounted horizontally on the gallery rail, We are certainly proud of the Airchest, tin Ferguson July 28, Gerard de Waardt low in the church, is the brass Trompette- and we also truly believe that it is the very August 4, Gordon Slater Belmont, North Carolina en-Chamade. It was manufactured using best action and system for an organ that August 11, Philippe Beullens First Presbyterian Church August 18, Lee Leach the dark Waldhorn shallots, and begins can be built. The original 1893 design Sundays at 6:30 pm its harmonic range at middle C. (of which several remain in service) was June 23, Mary McFarland Culver, Indiana An early visit to two Austin organs in improved and updated several times over August 25, Mary McFarland & Joseph Culver Academies, Memorial Chapel Caril- Hartford allowed First Baptist’s organist a 30-year period, until the current design Vaughan lon, Saturdays at 4 pm June 22, 29, July 13, 20, 27, August 31, Lon Schreiber to hear two very different (which we term the “modern action”) Berea, Kentucky September 28, John Gouwens examples of horizontal trumpets. The was universally employed in 1923. The Berea College, Mondays at 6:30 pm July 6, Robin Austin problem became immediately apparent older organs can be retrofi tted with this June 10, George Gregory in that he wanted both! So, the Chancel action, and most have been, but this 1923 August 5, John Gouwens Denver, Colorado 8′ Trompette-en-Chamade (located on action remains the current version and is University of Denver, Williams Carillon Sundays at 7 pm the gallery rail) has been designed to be still made on the same patterns, jigs, and Birmingham, Alabama Samford University, Rushton Memorial June 30, Lisa Lonie a darker Tuba, commanding yet neither machines. The First Baptist organ not Carillon, Wednesdays & Thursdays at 4:30 July 14, Carol Jickling Lens harsh nor bombastic. High above in the only employs this windchest design but pm, June–August July 28, Lee Cobb Gallery organ’s Great division, atop the also the conveniences of Austin Airchest Stephen Brooks Knight, carillonneur Aug 11, Jeff Davis expression boxes, one will fi nd the very construction: full-height, walk-in airboxes, Aug 25, Joey Brink bright harmonic Trompette Royale (hor- fi tted with vestibules (airlocks), so that Bloomfi eld Hills, Michigan Christ Church Cranbrook, Sundays at 4 pm Detroit, Michigan izontal). This location allows the stop to one may enter the airbox while the organ July 7, Robin Austin Jefferson Avenue Presbyterian Church be voiced bright and full-out. is being played. Because of the heavy July 14, Phillippe Beullens June 30, Kipp Cortez, 10:45 am wind pressures, the regulators are of an July 21, Carol Lens July 30, Gijsbert Kok, 7:30 pm Console design older, more substantial construction. The July 28, Gijsbert Kok August 4, Kipp Cortez St. Mary’s of Redford Catholic Church This console is the third fi ve-manual 20-hp blower was custom-manufactured Saturdays at 5:15 pm August 11, Dick van Dijk drawknob console built by Austin in by Robert Otey of Washington State to July 6, Patrick Macoska 120 years. It is also the largest. In addi- provide the rather substantial pressures July 20, Carol Jickling Lens Kirk in the Hills Presbyterian Church July 27, Gijsbert Kok tion, it is only the second fi ve-manual and volume of wind required. Sundays at 10 am & noon console in the city of Washington! It is June 16, Dennis Curry East Lansing, Michigan manufactured of selected red oak with Conclusion June 23, Steven Ball Michigan State University, Beaumont Tow- custom-carved moldings and an elegant The new Austin organ at First Baptist June 30, Stephan Burton er Carillon, Wednesdays at 6 pm black-walnut interior. The basic design represents two important company ideals: July 14, Philippe Buellens July 3, Stephan D. Burton July 21, Laura Ellis July 10, Philippe Beullens and layout was conceived by Austin’s vice fi rst, the continuation of a fi ne tradition July 27, Gijsbert Kok July 17, Ray McLellan president Raymond Albright, with cabi- of large organs in a time-honored style; August 11, Dick van Dijk July 24, Laura Ellis netmaker Bruce Coderre and designer/ second, an exciting challenge for our September 1, Dennis Curry July 31, Gijsbert Kok draftsman David Secour. The console company to recapture the spirit of many was stained and fi nished by Richard legendary Austin organs. This project Centralia, Illinois Erie, Pennsylvania Centralia Carillon evenings at 6:30 pm Penn State University, Smith Chapel Walker. Austin’s Bill Gray and First is the result of the skill, dedication, and June 7, Carlo van Ulft Thursdays at 7 pm Baptist’s Lon Schreiber worked with vision of many people: Richard Taylor, a June 8, Arie Abbenes July 11, Carol Jickling Lens Albright, with valuable support from veteran of Aeolian-Skinner and Austin June 9, John Gouwens July 18, Sally Harwood

28 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM 2013 Summer Carillon Concert Calendar Bert Adams, FAGO PATRICK ALLEN July 25, Tim Sleep June 11, James Fackenthal Park Ridge Presbyterian Church August 1, Philippe Beullens June 18, Katherine Zhou Park Ridge, IL GRACE CHURCH June 25, Arie Abbenes Pickle Piano & Church Organs NEW YORK Fort Washington, Pennsylvania July 2, Povl Christian Balslev Bloomingdale, IL St. Thomas Church, Whitemarsh July 9, Isaac Wong Tuesdays at 7 pm July 16, Vera Wünsche July 2, Julianne Vanden Wyngaard July 23, Philippe Beullens July 9, Gerard de Waardt July 30, John Widmann July 16, Tebbel Lonie Duo August 6, Gijsbert Kok Christopher Babcock July 23, Sally Harwood August 13, Lisa Lonie & Janet Tebbel July 30, Linda Dzuris August 20, Dick van Dijk St. Andrew’s by the Sea, Gainesville, Florida New Haven, Connecticut Hyannis Port University of Florida, Sundays at 3 pm Yale University, Yale Memorial Carillon June 16, Ryan Chancoco & Harold Rocha Fridays at 7 pm July 14, Ryan Chancoco June 28, Linda Dzuris August 18, Laura Ellis July 5, Ellen Dickinson July 12, Vera Wünsche Glencoe, Illinois July 19, Helen Hawley Dean W. Billmeyer GAVIN BLACK Chicago Botanic Garden July 26, Yale summer carillonneurs Princeton Early Keyboard Center Mondays at 7 pm August 2, Roy Lee June 3, Tim Sleep University of Minnesota August 9, Philippe Beullens June 10, James Fackenthal 732/599-0392 June 17, Katherine Zhou Minneapolis 55455 • [email protected] www.pekc.org June 24, Arie Abbenes Northfi eld, Vermont July 1, Povl Christian Balslev Norwich University, Saturdays at 1 pm July 8, Isaac Wong July 6, George Matthew Jr. July 15, Vera Wünsche July 13, Elena Sadina July 22, Christmas in July July 20, Tatiana Lukyanova Byron L. Blackmore THOMAS BROWN July 29, John Widmann July 27, Sergei Gratchev UNIVERSITY August 5, Gijsbert Kok August 3, Phillipe Beullens Crown of Life Lutheran Church August 10, Gordon Slater PRESBYTERIAN CHURCH August 12, Lisa Lonie & Janet Tebbel Sun City West, Arizona August 19, Dick van Dijk CHAPEL HILL, NORTH CAROLINA August 26, Wylie Crawford Norwood, Massachusetts 623/214-4903 ThomasBrownMusic.com September 2, Mark Lee Norwood Memorial Municipal Building Mondays at 7 pm Grand Rapids, Michigan July 1, Tatiana Lukyanova Grand Valley State University July 4, Margaret Angelini & Lee B. Leach JAMES DORROH, AAGO, PhD Wednesdays at noon (3 pm) July 10, Linda Dzuris July 8, Margaret Angelini DELBERT DISSELHORST Saint Luke’s Episcopal Church July 17, Sue Bergren July 15, Richard Watson Professor Emeritus Samford University July 24, Laura Ellis July 22, Helen Hawley Birmingham, Alabama July 31, Gijsbert Kok July 29, Gerard de Waardt University of Iowa–Iowa City August 5, Gordon Slater Organ Consultant Organ Recitals Grosse Pointe Farms, Michigan August 12, Philippe Beullens Christ Church Grosse Pointe August 19, Lee B. Leach July 7, Robin Austin, 11:15 am STEVEN EGLER Omaha, Nebraska JOHN FENSTERMAKER Jackson, Tennessee University of Nebraska at Omaha, Hen- Central Michigan University First Presbyterian Church, Jackson Memo- ningson Campanile Mt. Pleasant, Michigan rial Carillon July 4, patriotic concert, 9 am Artist in Residence TRINITY-BY-THE-COVE August 24, Jackson Symphony Orches- First Congregational Church tra with carillon, 6:45 pm Ottawa, Ontario Saginaw, Michigan NAPLES, FLORIDA Peace Tower Carillon [email protected] Kennett Square, Pennsylvania July & August, weekdays, 11 am Longwood Gardens, Sundays at 3 pm July 1 Andrea McCrady (9 am) June 23, Lisa Lonie & Janet Tebbel July 9, Sally Harwood June 30, Julianne Vanden Wyngaard July 16, Isaac Wong TEPHEN AMILTON WILL HEADLEE July 7, Gerard de Waardt July 23, Wesley Arai S H July 21, Sally Harwood July 30, student recital recitalist–clinician–educator 1650 James Street July 28, Linda Dzuris Syracuse, NY 13203-2816 August 4, Daniel Kehoe Owings Mills, Maryland www.stephenjonhamilton.com August 18, John Widmann McDonogh School, Fridays at 7 pm (315) 471-8451 August 25, Gordon Slater July 5, Julianne Vanden Wyngaard September 1, Ellen Dickinson July 12, Gerard de Waardt September 8, Janet Tebbel September 15, Doug Gefvert July 19, Lisa Lonie Gary L. Jenkins July 26, Philippe Beullens ANDREW HENDERSON, DMA August 2, Buck Lyon-Vaiden Central Presbyterian Church Lincoln, Nebraska Madison Avenue Presbyterian Church Director, Schmidt Concert Series First-Plymouth Congregational Church Carmelite Monastery Saturdays at 6:15 pm Philadelphia, Pennsylvania New York, NY June 15, Austin Ferguson First United Methodist Church of German- Curator of Organs July 13, Kathleen Johnson town, Mondays at 7:30 pm www.andrewhenderson.net Rose-Hulman Institute of Technology August 10, Brent Shaw June 24, Janet Tebbel Terre Haute, Indiana July 1, Julianne Vanden Wyngaard Madison, Wisconsin July 8, Gerard de Waardt University of Wisconsin July 15, Lisa Lonie & Janet Tebbel Thursdays at 7:30 pm July 11, 18, 25, Lyle Anderson Princeton, New Jersey David Herman , Grover Cleveland Mariemont, Ohio Tower, Sundays at 1 pm Trustees Distinguished Professor Emeritus of Music and University Organist Mary M. Emery Memorial Carillon June 30, Janet Tebbel Sundays at 7 pm July 7, Julianne Vanden Wyngaard The University of Delaware Q [email protected] June 2, June 23, July 4 (2 pm), July 14, July 14, Gerard de Waardt August 4, August 18, September 2 (2 pm), July 2, Lisa Lonie Richard D. Gegner July 28, Sally Harwood June 9, George R. Gregory August 5, Linda Dzuris A Professional Card in June 16, June 30, July 7, July 21, August August 11, Doug Gefvert 11, September 1, Richard M. Watson August 18, Gordon Slater July 28, August 25, Richard D. Gegner & August 25, Tebbel Lonie Duo The Diapason Richard M. Watson Sept 1, Anton Fleissner For rates and digital specifi cations, contact Jerome Butera 847/391-1045; [email protected] Middlebury, Vermont Rochester, Minnesota Middlebury College, Fridays at 5 pm Mayo Clinic July 5, George Matthew Jr. July 8, Povl Christian Balslev, 7 pm July 12, Elena Sadina July 19, Tatiana Lukyanova LORRAINE BRUGH, Ph.D. July 26, Sergei Gratchev University of Rochester, Hopeman Memo- rial Carillon, Mondays at 7 pm August 2, Phillipe Beullens Associate Professor August 9, Gordon Slater July 8, Carol Jickling Lens August 16, George Matthew Jr. (7 pm) July 15, Sally Harwood University Organist July 22, Tim Sleep Minneapolis, Minnesota July 29, Philippe Beullens Valparaiso University Central Lutheran Church, Sundays Valparaiso, IN July 7, Povl Christian Balslev, 9:30 am St. Paul, Minnesota July 28, Chelsea Vaught, 11:15 am House of Hope Presbyterian Church www.valpo.edu Sundays at 4 pm Naperville, Illinois July 4, Dave Johnson Naperville Millennium Carillon July 7, Povl Christian Balslev 219-464-5084 Tuesdays at 7 pm July 21, Dave Johnson [email protected] June 4, Tim Sleep July 28, Chelsea Vaught

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 29 CALIFORNIA LUTHERAN UNIVERSITY 2013 Summer Carillon Concert Calendar Visit The Diapason Kyle Johnson, DMA Sewanee, Tennessee August 11, Tin-Shi Tam website: University Organist University of the South September 8, Jeremy Chesman  rLFKPIOT!DBMMVUIFSBOFEV Sundays at 4:45 pm www.TheDiapason.com June 23, J. Samuel Hammond www.callutheran.edu Storrs, Connecticut June 26, J. Samuel Hammond (7 pm) Storrs Congregational Church June 30, Robin Austin Mondays at 7 pm July 4, John Bordley & Charlene William- June 17, David Maker son (1 pm) July 22, Isaac Wong Brian Jones KIM R. KASLING July 7, Anton Fleissner D.M.A. August 25, Ellen Dickinson (4 pm) Director of Music Emeritus July 14, Ray Gotko & Michael Moore St. John’s University July 21, Richard Shadinger TRINITY CHURCH Toronto, Ontario Collegeville, MN 56321 Spokane, Washington University of Toronto, Soldiers’ Tower OSTON B Cathedral of St. John the Evangelist Wednesdays at 5 pm July 4, Wesley Arai, 9 pm July 10, Sally Harwood July 17, Isaac Wong Springfi eld, Illinois July 24, Wesley Arai JAMES KIBBIE Thomas Rees Memorial Carillon July 31, Canadian student recital The University of Michigan June 2, Robin Austin, 7 pm Ann Arbor, MI 48109-2085 June 2, Carol Jickling Lens, 7:45 pm Valley Forge, Pennsylvania ORGAN CONSULTANT June 3, Carol Jickling Lens, 7 pm Washington Memorial Chapel 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com June 3, Arie Abbenes, 7:45 pm Wednesdays at 7:30 pm email: [email protected] June 4, Arie Abbenes, 7 pm July 3, Julianne Vanden Wyngaard June 4, Malgosia Fiebig, 7:45 pm July 10, Gerard de Waardt June 6, Malgosia Fiebig, 7 pm July 17, Janet Tebbel-Lisa Lonie Duo A Professional Card in June 6, Brian Tang, 7:45 pm July 24, Sally Harwood David K. Lamb, D.Mus. June 7, Margaret Pan, 7 pm July 31, Linda Dzuris The Diapason June 7, Robin Austin, 7:45 pm Director of Music/Organist August 7, Daniel K. Kehoe For rates and digital specifi cations, June 8, Brian Tang, 7 pm First United Methodist Church contact Jerome Butera June 8, Margaret Pan, 7:45 pm August 21, Gordon Slater Columbus, Indiana 847/391-1045 August 28, Doug Gefvert 812/372-2851 [email protected] Springfi eld, Missouri Missouri State University, Jane A. Meyer Victoria, British Columbia Carillon, Sundays at 7 pm Netherlands Centennial Carillon June 9, Jeremy Chesman Sundays at 3 pm, June–August July 14, Karel Keldermans Rosemary Laing, carillonneur

Calendar

Tom Trenney; Anderson Auditorium, This calendar runs from the 15th of the month of issue through the following month. The deadline Montreat Conference Center, Montreat, is the fi rst of the preceding month (Jan. 1 for NC 8 pm Feb. issue). All events are assumed to be organ Margaret Martin; Elliott Chapel, Presby- ANDREW PAUL MOORE recitals unless otherwise indicated and are grouped terian Homes, Evanston, IL 1:30 pm A.S.C.A.P. within each date north-south and east-west. •=AGO FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH chapter event, • •=RCCO centre event, +=new organ 26 JUNE dedication, ++= OHS event. 345 SADDLE LAKE DRIVE Frederick Hohman; Methuen Memorial ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS Information cannot be accepted unless it (770) 594-0949 specifi es artist name, date, location, and hour in Music Hall, Methuen, MA 8 pm writing. Multiple listings should be in chronological Christopher Houlihan; All Saints’ Epis- order; please do not send duplicate listings. copal, Atlanta, GA 7:30 pm THE DIAPASON regrets that it cannot assume Derek Nickels; St. Mary’s Catholic responsibility for the accuracy of calendar entries. LEON NELSON DOUGLAS O’NEILL Church, Menasha, WI 12:15 pm Director of Traditional Music Cathedral of the Madeleine James Hammann; Sinsinawa Mound, Salt Lake City, Utah UNITED STATES Sinsinawa, WI 7 pm Southminster Presbyterian Church East of the Mississippi David Jonies; First Evangelical Luther- Arlington Heights, IL 60005 [email protected] an, Iron Mountain, MI 7:30 pm 801/671-8657 16 JUNE William Ferris Chorale, Vierne, Messe 27 JUNE MARILYN MASON Solennelle; Madonna della Strada Chapel, ++Isabelle Demers; Holy Angels Roman CHAIRMAN, DEPARTMENT OF ORGAN Loyola University, Chicago, IL 3 pm Catholic Church, St. Albans, VT 9 am UNIVERSITY OF MICHIGAN ++Ray Cornils; First Baptist, Burlington, ANN ARBOR 17 JUNE VT 8 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Tom Trenney; Anderson Auditorium, with awesome technique and a thrilling command of its daring writing.” Montreat Conference Center, Montreat, 28 JUNE The American Organist, 1980 NC 8 pm ++James David Christie; St. Paul’s Ca- thedral, Burlington, VT 8 pm 19 JUNE David Jonies; St. Paul’s Episcopal, Mar- William Ness; Methuen Memorial Music quette, MI 7:30 pm LARRY PALMER SYLVIE POIRIER Hall, Methuen, MA 8 pm Sarah Kraaz; Memorial Presbyterian, 29 JUNE Professor of PHILIP CROZIER Appleton, WI 12:15 pm Peter Richard Conte, Ray Cornils, & ORGAN DUO Sister M. Arnold Staudt, OSF; Sinsina- Christian Elliott, with Friends of the Wa- Harpsichord and Organ wa Mound, Sinsinawa, WI 7 pm namaker Organ Festival Chorus and Brass 3355 Queen Mary Road, Apt 424 Ensemble; Wanamaker Organ, Macy’s, Meadows School of the Arts Montreal, H3V 1A5, P. Quebec 21 JUNE Philadelphia, PA 10 am–6 pm Bruce Neswick; Church of the Good John Gouwens, carillon, American SOUTHERN METHODIST UNIVERSITY Canada Shepherd, Lexington, KY 7:30 pm works; Memorial Chapel, Culver Acad- (514) 739-8696 emies, Culver, IN 4 pm Dallas, Texas 75275 Fax: (514) 739-4752 22 JUNE John Gouwens, carillon; Memorial Cha- 30 JUNE Musical Heritage Society recordings [email protected] pel, Culver Academies, Culver, IN 4 pm Isabelle Demers; St. John’s Episcopal, West Hartford, CT 8:30 pm 23 JUNE •Bruce Neswick, conference service; Raleigh Ringers; First Church, Wethers- First Congregational, Kalamazoo, MI 8 pm fi eld, CT 4 pm Povl Balslev, carillon; Rockefeller Me- Kenneth Danchik; St. Paul Cathedral, morial Chapel, Chicago, IL 5 pm Pittsburgh, PA 4 pm Arie Abbenes, carillon; Rockefeller Me- 1 JULY morial Chapel, Chicago, IL 5 pm •Todd Wilson, masterclass; Christ Erik Wm. Suter; Shepherd of the Bay Church Cathedral, Hartford, CT 3 pm WARREN D. HOOD II, DSM Lutheran, Ellison Bay, WI 7 pm •Nathan Laube; St. Augustine Cathe- Stephen Hamilton; Shrine of Our Lady dral, Kalamazoo, MI 8 pm Organist and Director of Music of Guadalupe, La Crosse, WI 3 pm Th e Historic Sharon Baptist Church 2 JULY 24 JUNE Christopher Houlihan; Trinity College Baltimore, MD 21217 ++Joan Lippincott; Southwick Music Chapel, Hartford, CT 8 pm Complex Recital Hall, University of Ver- David Jonies; St. Joseph Catholic mont, Burlington, VT 6:30 pm Church, Lake Linden, MI 7:30 pm

30 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer A Professional Card in Recitals – Consultations The Diapason 3 JULY Peter Latona; Basilica of the National Director of Music Emeritus For rates and digital specifi cations, Leslie Teardo; Methuen Memorial Music Shrine of the Immaculate Conception, contact Jerome Butera Hall, Methuen, MA 8 pm Washington, DC 6 pm Cathedral Church of the Advent 847/391-1045 •Todd Wilson; Asylum Hill Congrega- Vera Wünsche, carillon; Rockefeller Me- Birmingham, Alabama [email protected] tional, Hartford, CT 10:30 am morial Chapel, Chicago, IL 5 pm •Nathan Laube; Christ Church Cathe- dral, Hartford, CT 8 pm 16 JULY Katherine Meloan; Old Salem Visitor Felix Hell; Cathedral of St. Luke, Port- Nicholas E. Schmelter ROBERT L. Center, Winston-Salem, NC 12 noon land, ME 7:30 pm •Stefan Engels; Washington St. United Colin Lynch; Old West Church, Boston Director of Music and Organist SIMPSON MA 8 pm Methodist, Columbia, SC 8 pm First Congregational Church Christ Church Cathedral Virginia Vance; Christ Episcopal, Roa- Yun Kyong Kim; First Presbyterian, Bat- Saginaw, Michigan 1117 Texas Avenue tle Creek, MI 11 am noke, VA 7:30 pm Houston, Texas 77002 Huw Lewis; First Congregational, Battle John Gouwens, carillon; Memorial Cha- Creek, MI 1:30 pm pel, Culver Academies, Culver, IN 4 pm Martin Jean; Valparaiso University, Val- ORGAN MUSIC OF THE SPANISH BAROQUE paraiso, IN 11:40 am 17 JULY Stephen Tappe Karen Beaumont; Cathedral of St. John Peter Latona; Methuen Memorial Music Organist and Director of Music David Troiano the Evangelist, Milwaukee, WI 12:15 pm Hall, Methuen, MA 8 pm Saint John's Cathedral Nathan Laube, with Pittsburgh Concert DMA MAPM Charles Barland; First United Methodist, Denver, Colorado Appleton, WI 12:15 pm Chorale; St. Paul Cathedral, Pittsburgh, PA 586.778.8035 Paul Paviour, with tenor; Sinsinawa 7:30 pm www.sjcathedral.org [email protected] Mound, Sinsinawa, WI 7 pm Nathan Zullinger; Old Salem Visitor Center, Winston-Salem, NC 12 noon 4 JULY Isabelle Demers; Cathedral of Christ the Christopher Betts & Benjamin Straley; King, Atlanta, GA 7:30 pm Marcia Van Oyen Washington National Cathedral, Washing- Charles Barland; Sinsinawa Mound, Joe Utterback ton, DC 11 am Sinsinawa, WI 7 pm First United Methodist Church COMMISSIONS & CONCERTS •Dongho Lee; University of South Caro- Plymouth, Michigan lina, Columbia, SC 9 am 18 JULY 732 . 747 . 5227 •The Chenaults; Shandon United Meth- Ray Cornils; St. John’s Episcopal, Ban- mvanoyen.com odist Church, Columbia, SC 8 pm gor, ME 7:30 pm

5 JULY 20 JULY •Janette Fishell, masterclass; Lutheran John Gouwens, carillon; Memorial Cha- David Wagner Theological Southern Seminary, Colum- pel, Culver Academies, Culver, IN 4 pm DMA Kevin Walters bia, SC 10:30 am Madonna University M.A., F.A.G.O. 21 JULY Livonia, Michigan 6 JULY Nathan Laube; Union Evangelical Rye, New York •Janette Fishell; St. Peter’s Catholic Church, Heath, MA 4 pm [email protected] Church, Columbia, SC 1 pm Steven Anisko; St. Paul Cathedral, Pitts- Christopher Houlihan; Winthrop Uni- burgh, PA 4 pm versity, Rock Hill, SC 5 pm Timothy Duhr; Basilica of the National John Gouwens, carillon; Memorial Cha- Shrine of the Immaculate Conception, Davis Wortman pel, Culver Academies, Culver, IN 4 pm Washington, DC 6 pm KARL WATSON Olivier Latry; Madonna Della Strada 7 JULY Chapel, Loyola University, Chicago, IL 3 pm SAINT LUKE’S St. James’ Church Michael Lodico; Basilica of the National Philippe Beullens, carillon; Rockefeller New York Shrine of the Immaculate Conception, Memorial Chapel, Chicago, IL 5 pm METUCHEN Washington, DC 6 pm Marilyn Keiser; Shepherd of the Bay Lu- Isaac Wong, carillon; Rockefeller Memo- theran, Ellison Bay, WI 7 pm rial Chapel, Chicago, IL 5 pm Jeffrey Verkuilen; Shrine of Our Lady of Brass and organ works; Sacred Heart Guadalupe, La Crosse, WI 3 pm RUDOLF ZUIDERVELD Church, Palos Hills, IL 4 pm RONALD WYATT Wyatt Smith; Shrine of Our Lady of Gua- 23 JULY Illinois College, Jacksonville dalupe, La Crosse, WI 3 pm Thomas Baugh; Christ Episcopal, Roa- Trinity Church Galveston First Presbyterian Church, noke, VA 7:30 pm Springfi eld 8 JULY Christ Church Choir of Men and Girls; •Ann Elise Smoot, masterclass; Good- Christ Church Grosse Pointe, Grosse son Chapel, Shenandoah University, Win- Pointe Farms, MI 7 pm chester, VA 9 am Charles Dodsley Walker, FAGO •Nathan Laube; Trinity Episcopal, Up- 24 JULY Artist-in-Residence Founder/Conductor perville, VA 7:30 pm Ray Cornils; Basilica of Sts. Peter & Saint Luke’s Parish Canterbury Choral Society Paul, Lewiston, ME 12:15 pm 1864 Post Road 2 East 90th Street 9 JULY Harry Lyn Huff; Methuen Memorial Mu- Darien, CT 06820 New York, NY 10128 Edward Landin; Old West Church, Bos- sic Hall, Methuen, MA 8 pm (917) 628-7650 (212) 222-9458 ton, MA 8 pm Scott Hyslop; Old Salem Visitor Center, •Ann Elise Smoot, masterclass; Good- Winston-Salem, NC 12 noon son Chapel, Shenandoah University, Win- Olivier Latry; Peachtree Road United chester, VA 9 am Methodist, Atlanta, GA 7:30 pm William Webber, C.A.G.O. Herbert Buffington; Christ Episcopal, , Michael Bottenhorn; Sinsinawa Mound, /Choirmaster St. John s Episcopal Versailles Roanoke, VA 7:30 pm Sinsinawa, WI 7 pm Organist , Church, , KY Michael Batcho; Gesu Parish, Milwau- Instructor of Music & Religious Studies, kee, WI 7:30 pm 27 JULY Maysville Community College John Gouwens, carillon; Memorial Cha- Contact Bill at 10 JULY pel, Culver Academies, Culver, IN 4 pm Margaret Irwin-Brandon; Methuen Me- Karen Beaumont; St. Hedwig’s, Milwau- morial Music Hall, Methuen, MA 8 pm kee, WI 2:30 pm •Ann Elise Smoot; Goodson Chapel, A two-inch Professional Card Shenandoah University, Winchester, VA 3 28 JULY pm Marisa & Roger Cazden; St. Paul Ca- in The Diapason Brandon Burns; Old Salem Visitor Cen- thedral, Pittsburgh, PA 4 pm For information on rates and specifi cations, contact Jerome Butera: ter, Winston-Salem, NC 12 noon Benjamin Straley; Basilica of the Na- [email protected] 847/391-1045 Sister Patricia Gallagher, OP; Sinsina- tional Shrine of the Immaculate Concep- wa Mound, Sinsinawa, WI 7 pm tion, Washington, DC 6 pm John Widmann, carillon; Rockefeller 12 JULY Memorial Chapel, Chicago, IL 5 pm DAVID SPICER Gloriae Dei Cantores, Mozart & Fauré; Church of the Transfi guration, Orleans, MA 31 JULY First Church of Christ 7:30 pm Jung-A Lee; Methuen Memorial Music Wethersfi eld, Connecticut Hall, Methuen, MA 8 pm 13 JULY Brennan Szafron; Old Salem Visitor Gloriae Dei Cantores, Mozart & Fauré Center, Winston-Salem, NC 12 noon works; Church of the Transfi guration, Or- leans, MA 7:30 pm UNITED STATES John Gouwens, carillon; Memorial Cha- West of the Mississippi pel, Culver Academies, Culver, IN 4 pm

14 JULY 16 JUNE House Organist Paul Weber; St. Paul Cathedral, Pitts- David Gell, with piano and LUX; Trinity The Bushnell Memorial Hartford burgh, PA 4 pm Episcopal, Santa Barbara, CA 3:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 31 Calendar

21 JUNE 18 JULY 23 JUNE 17 JULY Dana Robinson; Christ Episcopal, Ta- Stephen Tharp; Cathedral Basilica of St. Christoph Kaufmann & Tobias Lind- Philip Crozier; Friedenskirche, Pots- coma, WA 12:10 pm Louis, St. Louis, MO 8 pm ner; Klosterkirche, Muri, Switzerland 5 pm dam, Germany 7:30 pm James Welch; St. Paul’s Episcopal, Sa- Timothy Wakerell; St. Paul’s Cathedral, Hee-Jung Min; Kathedrale, Dresden, linas, CA 6 pm 19 JULY London, UK 4:45 pm Germany 8 pm Joseph Adam; Christ Episcopal, Taco- Mark Brafi eld; Westminster Cathedral, Kent Tritle; St. Vitus Church, Prague, London, UK 4:45 pm Czech Republic 7:30 pm 24 JUNE ma, WA 12:10 pm Andrej Kouznetsov •Jeannine Jordan, with media artist, ; Westminster Ab- Ruaraidh Sutherland; St. Michael & All bey, London, UK 5:45 pm Angels, West Croydon, London, UK 1:10 Bach and Sons; St. John Lutheran, Salem, 24 JULY pm OR 10:30 am James Welch; Mount Angel Abbey, Sa- 25 JUNE lem, Oregon 6 pm Dudley Oakes; St. James United 18 JULY 26 JUNE Church, Montreal, QC, Canada 12:30 pm Simone Gheller; Chiesa di S. Eurosia, •Bruce Neswick; St. Mark Lutheran, Sa- 26 JULY Stephanie Burgoyne & William Pralungo/S. Eurosia, Italy 9 pm lem, OR 3 pm Olivier Latry; St. Helena Cathedral, Hel- Vandertuin; St. Paul’s Anglican Cathedral, Alan Morrison; St. Alban’s International ena, MT 7 pm London, ON, Canada 12:15 pm Organ Festival, St. Albans, UK 6 pm 30 JUNE Jonathan Ryan; Our Lady of Fatima Choral Evensong; St. John’s Cathedral, 26 JUNE Parish, Seattle, WA 7:30 pm 19 JULY Denver, CO 3:30 pm Holger Gehring; Kathedrale, Dresden, Choir of St. Aidan’s Episcopal, Alpharet- Germany 8 pm ta, GA, Choral Evensong; St. German’s 1 JULY INTERNATIONAL Thomas Allery; St. Michael & All Angels, Church, Cardiff, UK 7 pm •Isabelle Demers; Westlake Hills Pres- West Croydon, London, UK 1:10 pm byterian, Austin, TX 7:30 pm 16 JUNE Olivier Latry; Westminster Cathedral, 20 JULY London, UK 7:30 pm Philip Crozier; Le Musée Suisse de Odile Jutten; Cathedral, Evreux, France 2 JULY l’Orgue, Roche, Switzerland 5 pm 5 pm 27 JUNE •Ken Cowan, workshop; University Unit- Simone Gheller; Basilica Antica, Oropa, Travis Baker; St. Paul’s Cathedral, Lon- Christophe Mantoux; Frauenkirche, ed Methodist, Austin, TX 11:15 am Italy 9 pm don, UK 4:45 pm Nuremberg, Germany 12:15 pm •Ken Cowan; Bates Recital Hall, Univer- Edward Symington; Westminster Ca- Monica Melcova; Parroquia de Nuestro 21 JULY sity of Texas, Austin, TX 7:30 pm thedral, London, UK 4:45 pm Salvador, Granada, Spain 9 pm Choir of St. Aidan’s Episcopal, Alpharet- Dongho Lee; Air Force Academy Protes- Richard Moore; Westminster Abbey, ta, GA; Bath Abbey, Bath, UK Matins 11:15 tant Cadet Chapel, Colorado Springs, CO 28 JUNE am, Evensong 3:30 pm London, UK 5:45 pm 11 am Christian Lane; Christ Church Cathe- Choir of St. Aidan’s Episcopal, Alpharetta, dral, Victoria, BC, Canada 7:30 pm GA, Choral Evensong; St. David’s Church, 18 JUNE 6 JULY Llanddewi Rhydderch, Wales, UK 7 pm Erik Reinart Karen Beaumont; Grace Cathedral, San ; St. James United Church, 30 JUNE Tom Winpenny; St. Paul’s Cathedral, Jan-Olov Berglund; Ovansjö Church, Francisco, CA 4 pm Montreal, QC, Canada 12:30 pm London, UK 4:45 pm Jeremy David Tarrant; St. Paul’s Cathe- Kungsgården, Sweden 6 pm Daniel Cook; Westminster Cathedral, 7 JULY dral, London, ON, Canada 12:15 pm David Jernigan; St. Paul’s Cathedral, London, UK 4:45 pm London, UK 4:45 pm Zachary Hemenway; St. Mary’s Cathe- 19 JUNE Martin Baker; Westminster Cathedral, 22 JULY dral, San Francisco, CA 3:30 pm London, UK 4:45 pm Thomas Schmitz; Kreuzkirche, Dres- Choir of St. Aidan’s Episcopal, Alpharet- Ian Le Grice; Westminster Abbey, Lon- ta, GA; Christ Church Cathedral, Oxford, 15 JULY den, Germany 8 pm don, UK 5:45 pm Daryl Robinson; Spreckels Organ Pavil- Massimo Nosetti; St. Michael & All An- UK 6:05 pm ion, Balboa Park, San Diego, CA 7:30 pm gels, West Croydon, London, UK 1:10 pm 2 JULY 23 JULY Nina De Sole; St. James United Church, James Vivian; Mansion House, London, Montreal, QC, Canada 12:30 pm UK 6:30 pm martin ott pipe John Walker; St. James United Church, organ 3 JULY company Montreal, QC, Canada 12:30 pm inc. Leopold Digrys; Frauenkirche, Dres- den, Germany 8 pm 7408 Somerset Ave. 24 JULY St. Louis, MO 63105 Martin Kasparek; St. Michael & All An- Peter Planyavsky; Frauenkirche, Dres- 314-504-0366 Phone gels, West Croydon, London, UK 1:10 pm 801-756-5777 Martin Ott [email protected] den, Germany 8 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com Choir of St. Aidan’s Episcopal, Alpharet- 4 JULY ta, GA; Hereford Cathedral, Hereford, UK Lorenzo Ghielmi; Iglesia Santos Justo y 5:30 pm Member Firm: The Associated Pipe Organ Builders of America Pastor, Granada, Spain 9 pm Tak Chow; St. Michael & All Angels, RANDALL DYER 6 JULY West Croydon, London, UK 1:10 pm & ASSOCIATES, INC. Luciano Zecca, with Coro Parrocchiale Philip Scriven; Westminster Cathedral, London, UK 7:30 pm PIPE ORGANS OF QUALITY AND DISTINCTION Don Giuseppe Marcodini; Chiesa di S. Lo- BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 renzo, Crevola, Italy 9 pm 26 JULY Ton Koopman; Monasterio de San [email protected] ◆ www.rdyerorgans.com Jeannine Jordan; Stadtkirche, Witten- Jerónimo, Granada, Spain 12 noon berg-Lutherstadt, Germany 6 pm Philip Crozier; Collégiale de Neuchâtel, TUNING • MAINTENANCE sound INSPIRATION 7 JULY REBUILDING • RELEATHERING David Jonies; St. Josef, Bonn-Beuel, Switzerland 6 pm RELOCATIONS Michel Colin; Chiesa di Santa Maria Acoustical Design & Testing • Organ Consultation & Germany 7 pm UNIQUE CUSTOM Vergine Assunta, Viverone, Italy 9 pm WOOD CREATIONS Inspection • Organ Maintenance & Tuning • Sound & Video Richard Gowers; St. Paul’s Cathedral, System Design, Evaluation & Training London, UK 4:45 pm P.O. BOX 601 27 JULY ANTIOCH, ILLINOIS 60002 Peter Dutton; Westminster Cathedral, 847-395-1919 www.riedelassociates.com • (414) 771-8966 Choir of St. Aidan’s Episcopal, Alpharet- FAX 847-395-1991 email: [email protected] London, UK 4:45 pm www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Martin Ford; Westminster Abbey, Lon- ta, GA, Choral Evensong; Dublin National don, UK 5:45 pm Cathedral, Dublin, Ireland 5:30 pm

GAN BUILDERS - EST E OR . 187 28 JULY PI_P 7 9 JULY Christopher Jackson; St. James United Philip Crozier; Eglise Saint-Just, Arbois Church, Montreal, QC, Canada 12:30 pm (Jura), France 6 pm Schoenstein Edward Picton-Turberville; St. Paul’s SAN FRANCISCO 10 JULY Cathedral, London, UK 4:45 pm w Andrzej Chorosinski; Westminster Ab- ww 58 Holger Gehring, with baroque orches- .sch 47-58 oenstein.com - (707) 7 tra; Kreuzkirche, Dresden, Germany 8 pm bey, London, UK 5:45 pm Alessandro Bianchi; St. Michael & Choir of St. Aidan’s Episcopal, Alpharet- All Angels, West Croydon, London, UK ta, GA, Choral Evensong; Dublin National 1:10 pm Cathedral, Dublin, Ireland 3:15 pm Advertise in 12 JULY 30 JULY Philip Crozier; Dom, Speyer, Germany Eugenio Fagiani; Chiesa di S. Antonio, 7:30 pm Borgosesia, Italy 9 pm The Diapason Kurt-Ludwig Forg; St. James United 14 JULY Church, Montreal, QC, Canada 12:30 pm For rates and digital Philip Crozier; Barockkirche St. specifi cations, contact Franziskus, Zwillbrock, Germany 4:30 pm 31 JULY Makato James; St. Paul’s Cathedral, Thierry Escaich; Kreuzkirche, Dresden, Jerome Butera London, UK 4:45 pm Germany 8 pm A. David Moore, Inc. Julian Thomas; Westminster Abbey, Eugenio Fagiani; Chiesa di S. Lorenzo, TRACKER ORGAN DESIGNERS & BUILDERS 847/391-1045 London, UK 5:45 pm Sostegno, Italy 9 pm Stephen Tharp; Santuario di San Fran- HC 69 Box 6, North Pomfret, Vermont 05053 [email protected] 16 JULY cesco, La Verna, Italy 9:20 pm 802/457-3914 Robert Sigmund; St. James United Jonathan Hope; St. Michael & All An- Church, Montreal, QC, Canada 12:30 pm gels, West Croydon, London, UK 1:10 pm

32 Q THE DIAPASON Q JUNE 2013 WWW.THEDIAPASON.COM Organ Recitals

MAHLON E. BALDERSTON, Trinity DAVID HATT, St. Mary’s Cathedral, San MARY MOZELLE, First Congregational baje; Lo! He Comes with Clouds Descending, Episcopal Church, Santa Barbara, CA, De- Francisco, CA, December 30: Rhapsodie sur Church, Ridgefi eld, CT, January 27: Sinfonia Bales; The King Shall Come When Morning cember 23: Hornpipe, Voluntary, Handel; In des Noëls, Gigout; Canonic Variations on from Solomon, Handel; Air (Suite No. 3), Toc- Dawns, Johnson. Dulci Jubilo, For unto Us a Child, Bach; The ‘Vom Himmel hoch’, Bach; Prelude in D, op. cata in C, BWV 564, Bach; Adagio for Strings, Snow Lay on the Ground, Jordan; Toccata and 65, no. 7; Weihnachten, op. 145, no. 3; Fugue Barber; Allegro assai vivace (Sonata No. 1 in STEPHEN SCHNURR, St. Mary of the Pastorale, Pachelbel; Noël and Variations, Da- in D, op. 65, no. 8, Reger; Paraphrase-Fan- f, op. 65), Mendelssohn; Nocturne, Gawthrop; Lake Catholic Church, Gary, IN, January 27: quin; Jesus, Jesus, Rest Your Head, Diemer; O taisie on ‘Lauda Sion’, Grunenwald. Allegro (Symphony VI), Widor; Finale (Wil- Toccata et Fuga in d, BWV 565, Ich ruf’ zu Come All Ye Shepherds, Young; Morning Song liam Tell Overture), Rossini. dir, Herr Jesu Christ, BWV 639, O Mensch Variants, Advent Chorale, Balderston. JEANNINE JORDAN, St. Petrikirche, bewein dein’ Sünde gross, BWV 622, Fugue in Freiberg, Germany, August 22, 2012: Prelude LINDA RANEY, with Victoria Hudimac, E-fl at, BWV 552, Bach; Overture in C, K. 399, PHILIP CROZIER, Bosebo Kyrka, Lund, and Fugue in e, Bruhns; Nun freut euch, li- mezzo soprano, First Presbyterian Church, Mozart; Sonata VI in D, op. 65, no. 6, Men- Sweden, August 11, 2012: Bergamasca (Fiori eben Christen g’mein, Bach; Wir glauben Santa Fe, NM, January 6: La Nativité, Lan- delssohn; Sweet Sixteenths: A Concert Rag for Musicali), Frescobaldi; A Gigge–Doctor Bull’s all’ an einen Gott, Pachelbel; Fantasie super glais; The First Mercy, Warlock; The Carol Organ, Albright; Final (Troisième Symphonie, my selfe, Bull; Mein junges Leben hat ein End, of the Birds, Thiman; The Virgin Mary Had op. 28), Vierne. Sweelinck; Introduction and Fugue in a/A, Komm Heiliger Geist, Bach; Schmücke dich, o Nares; Schmücke dich, o liebe Seele (op. 122, liebe Seele, Telemann; Fugue in E-fl at, BWV a Baby Boy, arr. Evans; Carillon de Westmin- 552, Bach. ster, Vierne. DAVID SCHRADER, Lutheran School of no. 5), Brahms; Praeludium in F-Dur (op. Theology, Chicago, IL, January 8: Praeludium 698, no. 1), Czerny; Cortège (Heures Intimes, in g, BuxWV 163, Christ, unser Herr, zum Jor- op. 17, no. 17), Peeters. PETER K. MILLER, St. John Lutheran JIM RASMUSSEN, with Quinn Boyack, Church, Athens, TX, December 12: Benedic- cello, and Bethany Roper, harp, First Pres- dan kam, BuxWV 180, In dulci jubilo, BuxWV Sankta Maria Kyrka, Helsingborg, Sweden, 197, Buxtehude; In dulci jubilo, Dupré; Das August 12, 2012: Cantilena Anglica Fortunae, ite—Psalm 150 (Buxheimer Orgelbuch), byterian Church, Santa Fe, NM, December transcr. Booth; Ricercar #3 in F, Ricercar #4 28: In dulci jubilo, BWV 729, Bach; In dulci alte Jahr’ vergangen ist, BWV 614, In dir ist SSWV 134, Scheidt; Sonata No. 4 in B-fl at, Freude, BWV 615, Prelude and Fugue in d, in F, Fogliano; Chorale on “In Dulci Jubilo” jubilo, op. 28, no. 41, Dupré; In dulci jubilo, op. 65, no. 4, Mendelssohn; Trio Sonata No. BWV 539, Bach. 1 in E-fl at, BWV 525, Bach; Nun freut euch (Orgel Tabulaturbuch), Sicher; Canzona BWV 608, Bach; Weihnachten, op. 145, no. lieben Christen g’mein, BuxWV 210, Buxte- francese, de Macque; Puer nobis nascitur, 3, Reger; Le Sommeil de l’Enfant Jésu, op. 3, Büsser; I Saw Three Ships, arr. Wood; Sussex JOHN W. W. SHERER, Holy Name Ca- hude; Praeludium in e, Bruhns; Pastorale, Sweelinck; Gelobet seist du, Jesu Christ, WV thedral, Chicago, IL, December 23: The King Fricker; Grand Choeur, Reed. 60, Magnifi cat V toni, Scheidemann; Canzona Mummers’ Carol, arr. Grainger; Sussex Carol, arr. Wood. of Glory Comes, Miller; Prepare the Way, in G, Tunder; Nun freut euch, lieben Christen O Zion, Come, Thou Long Expected Jesus, EMMA LOU DIEMER, with Philip Fic- g’mein, Weckmann; Allein Gott in der Hoh sei People, Look East, Rejoice, Rejoice Believers, sor, violin, Trinity Episcopal Church, Santa Ehr, N. Hasse; In dulci jubilo, BuxWV 197, KEVIN ROSE, Trinity Episcopal Church, Barbara, CA, December 9: Intonation on Vom Powell; Partita on “O Lord, How Shall I Meet Lobt Gott ihr Christen allzugleich, BuxWV Santa Barbara, CA, December 2: Prelude You?”, Burkhardt. Himmel Hoch, Gell; From Heaven Above to 202, Wie schon leuchtet der Morgenstern, and Fugue in C, BWV 547, Bach; Fanfare Earth I Come, Pachelbel; Prepare the Way, BuxWV 223, Buxtehude; Der Tag, der ist so Prelude on Wachet Auf, Manz; Pastorale on STEPHEN THARP, Church of the Gesu, O Zion, Wood; Advent Prelude, Balderston; freudenreich, Vom Himmel hoch, Pachelbel; Forest Green, Purvis; Postlude on Gartan Fantasy on ‘O How Shall I Greet Thee’, Di- Milwaukee, WI, October 23, 2012: Overture Wachet auf, ruft uns die Stimme, BWV 645, (Set I, op. 101), Stanford; Choral No. 1 in (The Occasional Oratorio), Handel, transcr. emer; Listen, God Is Calling, Organ; Lo, How Prelude and Fugue in C, BWV 545, Bach. E, Franck. a Rose, Brahms; Holiday Madness Melody, Tharp; Brandenburg Concerto No. 3 in G, Bach, transcr. Fagiani; Nimrod (Enigma Vari- Toccata on ‘Lo! He Comes with Clouds De- C. RALPH MILLS, Bland Street United JEFFREY SCHLEFF, St. Andrew Lu- scending’, Diemer. ations, op. 36), Elgar, transcr. Tharp; Trois Methodist Church, Bluefi eld, WV, November theran Church, Mundelein, IL, November 18: Nouvelle Pièces, op. 87, Widor; Sortie Impro- 4: Pièce Heroïque, Franck; Two Tudor English Prelude and Fugue in g, BuxWV 149, Buxte- MATTHEW DIRST, University of Calgary, visée sur ‘Venez, Divin Messie’, Cochereau, Pieces, S. Wesley; Prelude and Fugue in G, Calgary, AB, Canada, October 30: The Art of hude; For the Beauty of the Earth, We Gather transcr. Tharp; Adagio (Symphonie No. 6 pour Fugue, Bach. Bach; Now Thank We All Our God, Bach, arr. Together, Ferguson; Veni Creator, De Grigny; Grand Orgue, op. 59), Vierne; The Fair (Pet- Fox; Jesu, Joy of Man’s Desiring, Bach; Stand Nun komm der Heiden Heiland, BWV 599, rouchka), Stravinsky, transcr. Tharp. DAVID A. GELL, Cate School, Carpin- Up, Stand Up for Jesus, Jordan. Wachet auf, ruft uns die Stimme, BWV 140, teria, CA, November 11: Toccata in a, Est- Herr Christ, der ein’ge Gottes Sohn, BWV THOMAS WIKMAN, Lutheran School of ce Mars, Sweelinck; Herr Christ, der ein’ge SCOTT MONTGOMERY, Presbyterian 601, Bach; Suite Gothique, op. 25, Boëllmann; Theology, Chicago, IL, December 4: Gelobet Gottes Sohn, BuxWV 192, Toccata in d, Homes, Evanston, IL, January 28: Imperial Prelude and Fugue in a, BWV 543, Bach. seist du, Jesu Christ, Zu Bethlehem geboren, BuxWV 155, Buxtehude; Fantasy in G, BWV March, op. 32, Elgar; Allein Gott in der Höh St. Andrew Lutheran Church, Mundelein, Walcha; Nun komm, der Heiden Heiland, BWV 571, Bach; Trumpet Processional, Fedak; sei Ehr, BWV 663, Bach; Fantasie in f, K. 608, IL, December 2: O Come, O Come Emman- 659, Piece d’Orgue, BWV 572, Bach; Prudentes Toccatina, Jones; Toccata, Aria, and Fugue Mozart; Amazing Grace, Shearing; Variations uel, Manz; Wachet auf, ruft uns die Stimme, Virgines, Veni sponsa Christi, Chausson; Pre- in C, Bender. on “Home, Sweet Home”, Buck; Final, Franck. Walther; Wachet auf, ruft uns die Stimme, So- lude modal, Chant de joie, Langlais.

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Assistant Professor/University Organist & July 4th is approaching soon. Consider “The Certifi ed appraisals—Collections of organ Collaborative Pianist—Texas A&M International Star Spangled Banner” by John Knowles Paine. books, recordings, and music, for divorce, Harpsichord Technique: A Guide to Expres- University has a faculty position for an Assistant His variations are perfect for patriotic concerts. estate, gift, and tax purposes. Stephen L. Pinel, sivity—2nd edition with CDs, by Nancy Professor/University Organist and Collaborative Many of you play Buck’s Variations but Paine’s Appraiser. [email protected]; 609/448-8427. Metzger, now reduced 30% at author’s Pianist beginning in Fall 2013. The successful are just as much fun! michaelsmusicservice. website: www.rcip.com/musicadulce. candidate will be expected to develop a new com; 704/567-1066. organ program, perform solo organ recitals, con- Historic Organs of Southeastern Massachu- certs with orchestra, organ demonstrations, and setts—New! The long-awaited OHS Convention piano collaboration with faculty and students, 2013 Calendar—Be sure to buy your 2013 OHS recording is fi nally here! This diverse 4-CD col- A Baroque Sampler for Organ, Vol. 3: Caba- and accompany choir within the Department of Calendar today! Celebrating the Organ Histori- lection features stellar performances by 37 dif- nilles, Pasacalles de 1o Tono; Casanoves, Cantabile and Paso VII in D; Clarke, Duke of Fine & Performing Arts. Teach organ and other cal Society’s upcoming 58th National Conven- ferent organists, including Brian Jones, Thomas Marlbrough’s March, Ground (12 variations), subjects as assigned. The university features a tion in Vermont, this calendar contains 13 high- Murray, Peter Sykes, and Barbara Owen. More Prince of Denmark’s March; Francois Couperin, 2006 four-manual 69-rank Kegg pipe organ in than just a memento of the convention, this is an quality color photographs of historic pipe organs Passacaille (Huitième Ordre); Louis Couperin, an 800-seat reverberant hall. Applicants must important documentation of many historic organs the convention will be visiting June 24–29, 2013. Prelude (Pièces de Clavecin), Sarabande en have a graduate degree in music with emphasis ″ ″ that have never before been recorded, featuring on organ performance. Complete employment Calendar is 8 1/2 by 11 and opens vertically canon, Chaconne in F. Visit www.frumuspub. instruments by Beach, Erben, Hook, Hutch- application process is available via our online to highlight the beautiful photography! Photog- net for complete listings; write Fruhauf Music ings, Jardine, Johnson, and Skinner. Be among employment system, TAMIUWorks, at https:// raphy and calendar design by Len Levasseur. Publications at P.O. Box 22043, Santa Barbara, the fi rst to own this treasury! The booklet offers employment.tamiu.edu. Review of applicants will Vermont organ history details provided by Ste- CA 93121-2043; or phone 805/682-5727. begin immediately and continue until position is phen L. Pinel. Regular price: $14.99, sale price: detailed information about all performers, organs fi lled. EOE/AA. $5.00. To order: www.ohscatalog.org. and composers. Regular price: $34.95, member price: $31.95. To order: www.ohscatalog.org. Pipe Organs of the Keweenaw by Anita Camp- bell and Jan Dalquist, contains histories, stoplists, Apprentice sought to train with and succeed Newtown Requiem by Joe Utterback, dedi- and photos of some of the historic organs of the Frederick Hohman as primary Producer/Engineer cated to “the loved ones of Sandy Hook Ele- In the Organ Lofts of Paris—A new edition of Keweenaw Peninsula, the northernmost tip of and/or Director of Artists & Repertoire for the mentary School” consists of “Balm in Gilead” for Frederic B. Stiven’s 1923 Parisian study is avail- Michigan’s Upper Peninsula. Organs include an American CD/DVD label PRO ORGANO. Appli- baritone, SATB, fl ute, piano; “We Are Not Alone”, able, edited and annotated by Rollin Smith. Stiven 1899 Barckhoff and an 1882 Felgemaker. The booklet ($8.00 per copy, which includes postage) cant must display strong aptitude for acquiring a gospel setting for tenor, choir ensemble, graduated from the Oberlin Conservatory in 1907 is available from the Isle Royale and Keweenaw modern skills in audio and video media produc- piano, and possible guitar; “Requiem Aeternam” and subsequently served on the faculty. From Parks Association, 49445 US Hwy 41, Hancock, tion and must possess a base level of knowledge for soprano, alto, SATB, fl ute, piano; and “Dona 1909–11 he studied with and some practical experience in sacred music, Michigan 49930. For information: 800/678-6925. Eis Pacem” for young soprano and fl ute. Sample in Paris and each Sunday he visited important with a focus on classical organ and choral litera- pages may be viewed on http://www.jazzmuze. churches. Stiven writes charming pen-portraits of ture. Must be willing to commit to a seven-year his visits with Widor, Vierne, Gigout, and Bonnet, apprentice program, the successful completion of com/catalog_newtown.html. Price for two bound PIPE ORGANS FOR SALE copies and fl at sheets for local duplication is $50 and describes encounters with other organists, which shall culminate with the eventual assump- as well as singing in the choir of the Paris Bach tion of label operations in year 2020. Preference + $6 postage (+NJ sales tax if applicable) from Society and in a chorus directed by Charles Tour- Tracker organ built by the French organ builder given to applicants who are U.S. residents 30 Jazzmuze, Inc., 80 Rumson Place, Little Silver, Haerpfer (1983), 2 keyboards and pedalboard. 6 nemire. Stiven’s original text is illuminated with years of age and younger as of July 2013. Those NJ 07739. Phone orders accepted: 732/747- stops. Located in province of Quebec. Contact: interested are invited to send an introductory 5227. Questions? [email protected]. 68 illustrations and copious annotations by Rollin The www.expressif.org. cover letter by mail or FAX (574/271-9191)—no Smith. Includes Stiven’s articles written for Etude telephone or Internet inquiries, please—detailing magazine: “Systematized Instruction in reasons and motivation for pursuing this voca- Nigel Williams is pleased to offer a limited Organ Playing” and “The Last Days of Guilmant,” 1959 Moller Artiste #9458: 3 ranks, detached tion, along with a brief c.v., including contact selection of his organ and choral music free of and stoplists of all organs mentioned in the text. rocker tab console, walnut case, electric switches, information, to: Zarex Corp, F. Hohman, P.O. Box charge. E-mail nigel@nigelwilliamscomposernz. Hardbound; 184 pages. $24.95; OHS member good playable condition; $5,000 OBO. Steve Bed- 8338, South Bend IN 46660-8338. com or visit www.nigelwilliamscomposernz.com. price, $19.95. www.ohscatalog.org. dia 609/432-7876; [email protected].

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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES / SUPPLIES

Two-manual, 9-rank Reuter pipe organ, Opus 1869 E. & G.G. Hook organ—Measures 14 Wood pipes. Missing pipes made to match. Highest quality organ control systems since 1052, a fully operational pipe organ, is for sale. ft. wide, 10 ft. deep (with pedal), and 20 ft. tall. Damaged pipes in any condition repaired. Over 1989. Whether just a pipe relay, combination For specifi cations and more details, visit www. Mechanical action; Great, Swell, Pedal divisions, 25 years experience. Filip Cerny, 814/342-0975. action or complete control system, all parts are Levsenpipeorgan.com. two combination pedals, 15 ranks; available compatible. Intelligent design, competitive pric- immediately. $95,000, negotiable. Please contact ing, custom software to meet all of your require- Stephen Tappe at Saint John’s Cathedral in Den- SERVICES / SUPPLIES ments. For more information call Westacott Organ 1964 M.P. Möller pipe organ. 36-rank American ver for more information: [email protected]. Systems, 215/353-0286, or e-mail orgnbldr@ Classic specifi cation including two célestes, two comcat.com. ′ enclosed divisions and 32 reed. Three-manual Need help with your re-leathering project? electro-pneumatic console. No casework or Wicks organ, 2 manuals, 4 ranks, ca. 1990. 16′ Rohrfl ute 97 pipes, ′8 Principal 85 pipes, All pneumatics including Austin. Over 45 Aeolian/Robert Morton-style maroon façades; instrument is in good condition but years experience (on the job assistance 4′ Gemshorn 73 pipes, 8′ Trumpet 61 pipes. leather is now available from Columbia Organ will need re-leathering. New price: Asking available). 615/274-6400. Excellent condition. Oak casework and console. Leathers! Highest quality. 800/423-7003, $35,000 “as is” or can be rebuilt. For more infor- Lauck Pipe Organ Co. 269/694/4500; e-mail: www.columbiaorgan.com. mation, contact Létourneau Pipe Organs at [email protected]. [email protected] or 888/774-5105. Releathering all types of pipe organ actions ANNOUNCEMENTS Expressive and compact—3/27 Kilgen (1940). and mechanisms. Highest quality materi- 1978 Reuter pipe organ, 15 stops in excellent Two expressive divisions. 17 manual 8-foot als and workmanship. Reasonable rates. condition tonally and great working condition. fl ues. Reeds include Tuba, Cornopean, Oboe, Columbia Organ Leathers 800/423-7003. Oregon Bach Festival celebrates maestro Helmuth Rilling’s 80th birthday and concluding For specifi cations or more information, visit Clarinet, Vox Humana, plus Harp and 16′ Open www.columbiaorgan.com/col. season as founding artistic director June 24–July www.milnarorgan.com. Wood. H: 237″, W: 170″, D: 189″. Stopkey con- 14. The University of Oregon event takes place in sole. Original restorable condition. $30,000. ATTENTION ORGANISTS! Are you looking Eugene, Ashland, Bend, Corvallis, Florence, and Organ Clearing House, 617/688-9290, john@ 2001 Rieger house organ—Located in Dallas; 8 for a unique dessert for your parties and Portland. Rilling conducts chorus and orchestra organclearinghouse.com. Missa Solemnis stops (GT Holzgedeckt 8, Principal 4, Doublette celebrations? We can help! Delight your in Beethoven’s June 28; Bach’s St. John Passion 2, POS Nachthorn 8, Blockfl öte 4, Flachfl öte 2, guests with a whimsical specialty choco- in a four-part lecture-exploration July 1–8, and full concert July 10; Bach’s B-Minor Dulcian 8, PED Subbass 16). $80,000, which MISCELLANEOUS FOR SALE late pipe organ cake. Each white chocolate “pipe” can be removed from the dark Mass July 12 and July 14. Rilling’s successor, Mat- includes Rieger dismantling, shipping, and chocolate organ “toeboard” and eaten thew Halls also conducts. Guest artists include reconstructing the instrument in a new space. Have a Rodgers 925 and need pipes? We have separately. Milk and dark chocolate “con- Midori, Tamara Wilson, Jeffrey Kahane, Monica Ideal for a home or chapel, or as a practice eight great sets of Laukhuff pipes, windchests, a soles” available; cake can also be tracker Huggett, and the Portland Baroque Orchestra. organ. Phone 212/289-0615; e-mail s.hamilton@ blower, etc. For more information please see our “keydesk” style. Specify white chocolate 800/457-1486; oregonbachfestival.com. prodigy.net. website: www.milnarorgan.com. naturals/dark chocolate accidentals, or vice versa. Skunk-tail accidentals avail- Postal regulations require that mail to The able on larger-size cakes. Specify number 1938 Kimball studio/practice organ, 4 ranks, Consoles, pipes and numerous miscellaneous Diapason include a suite number to assure of manuals, and how many “pipes” are delivery. Please send all correspondence 21 stops, excellent condition, 91″ H, 85″ W, parts. Let us know what you are looking for. desired. Box Cake-Con, The Diapason, to: The Diapason, 3030 W. Salt Creek Lane, 56″ D (+pedalboard). Organ Clearing House, E-mail [email protected] (not comcast), [email protected]. Suite 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. phone 215/353-0286 or 215/788-3423.

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WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2013 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Saint Thomas Church, NYC John Scott, Director March 2014

The Choir of Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Westminster Abbey, UK James O’Donnell, Director October 2014

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Jonathan Ryan Ann Elise Smoot Donald Sutherland

Celebrating Our 92nd Season!

*=Artists based outside the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young