THE DIAPASON JANUARY 2016

Our Lady of Fatima Church Lafayette, Louisiana Cover feature on pages 24–25 ēęĊėēĆęĎĔēĆđĔĒĕĊęĎęĎĔē ĎēēĊėĘ

First International 28th International Organ Competition Organ Competition Longwood Gardens St. Albans, England Kennett Square, PA First Prize Pierre S. DuPont First Prize (Interpretation) BENJAMIN JOHANNES SHEEN ZEINLER

Assistant Organist University of Music and St. Thomas Church, Performing Arts Fifth Avenue, New York City Vienna, Austria

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‡ƒ‹Ž̿ ‘ ‡”–ƒ”–‹•–•Ǥ ‘Ȁͤ͢͜Ǧ͢͜͡Ǧͣͤ͜͜Ȁ™™™Ǥ ‘ ‡”–ƒ”–‹•–•Ǥ ‘ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Seventh Year: No. 1, In this issue Whole No. 1274 The Diapason is beginning its 107th year with a feature by JANUARY 2016 Gregory Hand concerning the origin of notes inégales and a Established in 1909 report by David Spicer on new developments (including a new Joyce Robinson ISSN 0012-2378 home) with the Albert Schweitzer Organ Competition. 847/391-1044; [email protected] John Bishop writes of St. Cecilia, and of organs that have www.TheDiapason.com An International Monthly Devoted to the Organ, infl uenced him, at Oberlin, Harvard, and elsewhere. Gavin the Harpsichord, Carillon, and Church Music Black continues his discussion of practicing to achieve the Our website is another benefi t for our subscribers. It offers desired tempo. Larry Palmer offers an index of harpsichord- videos, full-issue PDFs, classifi ed ads with photos, and more. CONTENTS related items that have appeared in issues of The Diapason Be sure you visit TheDiapason.com frequently. FEATURES from 2006 through 2015. We also include our annual index that Performing notes inégales: covers the year 2015. 20 under 30 Evidence from cantates françoises Our cover feature this month is the new organ by Kegg Pipe One month remains for you to send nominations for our by Gregory Hand 20 Organ Builders at Our Lady of Fatima Church, Lafayette, “20 under 30” Class of 2016. See the section below for specifi c The Schweitzer Festival Louisiana. details and requirements, and submit your nominations by moves to Trinity College by David Spicer 22 February 1. Only nominated persons can be chosen. Should TheDiapason.com, and more you need assistance, do not hesitate to contact me. NEWS & DEPARTMENTS We now offer our subscribers our digital magazine, which Editor’s Notebook 3 works beautifully on electronic devices such as tablets and Welcome Here & There 3 phones. If we have an e-mail address on fi le for you, we have This month’s issue of The Diapason is the fi rst for which Appointments 6 sent you a link to our digital magazine. Contact me if you have Cathy LePenske is our designer. We extend a hearty welcome Nunc Dimittis 8 any diffi culties. to Cathy and look forward to presenting her work to you. Q Harpsichord News by Larry Palmer 10 In the wind . . . by John Bishop 16 On Teaching by Gavin Black 18 REVIEWS Special Bulletin Music for Voices and Organ 11 Book Reviews 12 New Recordings 13 20 under 30 Evaluation of the nomina- New Organ Music 14 New Handbell Music 15 The Diapason reminds you to submit your nominations for tions and selection of the our “20 under 30” awards. We will be recognizing 20 young members of the Class of 2016 ORGAN PROJECTS 26 men and women who have made signifi cant achievements in will take place in February; CALENDAR 27 the organ, church music, harpsichord, carillon, and organ- the winners will be announced building fi elds—before their 30th birthday. Please consider in the May 2016 issue of ORGAN RECITALS 31 whether any of your students, colleagues, or friends would be The Diapason. CLASSIFIED ADVERTISING 32 worthy of this honor. (Self-nominations will not be allowed.) You can submit your nomination at TheDiapason.com (click 2015 In Review—An Index 34 Nominees will be evaluated on how they have demonstrated on “20 under 30”). leadership skills, creativity and innovation, career advance- If you are unable to use our website, you may submit a nomi- THE ment, technical skills, and community outreach. Evaluations nation by postal mail. Please include the nominee’s name, birth- DIAPASON JANUARY 2016 will consider such things as awards and competition prizes, date, school or employer, and phone or e-mail address, along publications and compositions, offi ces held, and signifi cant with a brief (300–600 words) statement on why they should be positions. Nominations will close February 1, 2016. Nomi- considered, which highlights their accomplishments. And don’t nees cannot have reached their 30th birthday before January forget your own name and contact information. We look forward 31, 2016. to receiving all your nominations! Q

Our Lady of Fatima Church Lafayette, Louisiana Cover feature on pages 24–25 Here & There

COVER Events Spring Choral Concert with orchestra; Kegg Pipe Organ Builders, Hartville, Ohio; Cathedral Church of St. Paul, April 10, Northwest Choral Society; May Our Lady of Fatima Church, Lafayette, Detroit, Michigan, continues Choral 13 (7 p.m.), Tom Trenney accompanies Louisiana 24 Evensong, Sundays at 4 p.m., January the silent movie The Mask of Zorro. 10, February 28, April 10, 4/24, May 5 (7 Wednesday organ recitals take place Editorial Director JOYCE ROBINSON p.m.), and 5/22. In addition, the cathe- at 12:10 p.m.: February 3 and March and Publisher [email protected] dral offers the following programs: Feb- 23, Christopher Urban. For information: 847/391-1044 ruary 14, Jeremy David Tarrant; 2/20, www.fpcah.org. Cantus; March 6 and April 12, Jeremy Sr. Vice President RICK SCHWER [email protected] David Tarrant; 4/15, Charles Miller; May Loyola University, Chicago, Illi- 847/391-1048 14, Cathedral Choirs. For information: nois, continues its organ recital series, www.detroitcathedral.org. third Sunday of the month at 3 p.m. in Editor-at-Large STEPHEN SCHNURR [email protected] Madonna della Strada Chapel: Janu- 219/531-0922 Baroque Band continues its con- ary 17, Daniel Schwandt; February 21, certs, to be held at Symphony Center, Carl Chadek; March 20, Minkyoo Shin; Sales Director JEROME BUTERA Chicago, Music Institute of Chicago, April 17, Derek E. Nickels; May 15, [email protected] 608/634-6253 in Evanston, Illinois, and Augustana Gabriel Mayhugh. For information: Lutheran Church, Chicago: January 15, www.luc.edu. Circulation/ 16, 20, Duel at the Devil; March 11, 12, Subscriptions DONNA HEUBERGER [email protected] 16, Leipzig’s Got Talent; June 1, 3, 4, Second Presbyterian Church, St. 847/954-7986 L’Arte del Violino. For information: Louis, Missouri, continues its Couts www.baroqueband.org. Music Series: January 17, Young Art- Glatter-Götz organ, Claremont United Designer CATHY LEPENSKE Church of Christ (photo credit: Jill Carol) [email protected] ists from the Bach Society of St. Louis; 847/954-7964 First Presbyterian Church, Arling- February 7, silent movie accompanied ton Heights, Illinois, continues its concert by Andrew Peters; March 20, Palm Sun- Claremont United Church of Contributing Editors LARRY PALMER series, at 4 p.m. except as noted: January day concert with Angel Riley, soprano, Christ, Claremont, California, presents Harpsichord 17, Northwestern University Community and Andrew Peters, piano; April 1, an exploration of its Glatter-Götz pipe JAMES MCCRAY Ensemble, gospel choir concert honor- Symphony Where You Worship Concert organ: January 23, 3 p.m., organ dem- Choral Music ing Martin Luther King; February 14 featuring an ensemble from the St. Louis onstration and pipe chambers crawl; 4 (2 p.m.), Operatic Valentine’s Day Gala; Symphony. For information: p.m., performances and refreshments, BRIAN SWAGER Carillon 2/21, 31st Annual Organ Fest; March 20, www.secondchurch.net. suggested donation $20 per adult; 1/24, ³ page 4 JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2016. Printed in the U.S.A. On Teaching 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers Allison A. Alcorn Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Paul Cienniwa Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other John L. Speller Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. John Collins Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Sarah Mahler Kraaz issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 3 Here & There

³ page 3 Campbellsville University, Camp- 4 p.m., recital by Carey Robertson, cele- bellsville, Kentucky, continues its eighth brating her 25th anniversary as principal annual organ recital series, at 12:20 p.m. organist. For information: 909/626-1201. in Ransdell Chapel or Our Lady of Per- petual Help Church: February 2, Louie Music & Arts at St. Luke’s in the Bailey; March 1, Kevin Faulkner; April Fields continues concerts, featuring the 12, Wesley Roberts. For information: choir of St. Luke’s in the Fields, New www.campbellsville.edu/keyboard. York City: January 28, Biber Mystery Sonatas for violin and Muffat toccatas for Camp Hill Presbyterian Church, organ; February 25, Kings of the Earth/ Camp Hill, Pennsylvania, continues music Queen of Heaven, featuring works writ- events: February 3, Eric Riley; March 2, ten for King Philip II; April 28, Schütz Deborah Dillane; April 6, Aaron Sunstein. Resurrection Historia and motets for the For information: www.thechpc.org. Easter season. For information: www. stlukeinthefi elds.org/music-arts/concerts. St. Peter in Chains Cathedral, Cin- cinnati, Ohio, continues concerts: Febru- The Cathedral Church of the ary 7, The Rose Ensemble; 2/19, Chanti- Genie Burkett (timpani), Bruce Barrie, Kevin Tague, Gary Malvern, Steven Advent, Birmingham, Alabama, con- cleer; 2/21, Early Music Choral Festival; Trinkle (trumpets), and Thomas Strauss (organ) at the University of Nevada, tinues concerts, all free and open to the March 23, Ancient Offi ce of Tenebrae; Las Vegas public (except April 24, a ticketed event): April 13, Tallis Scholars. For information: On November 1, the American Guild of Organists Southern Nevada January 29, Philip Brisson; March 20, www.stpeterinchainscathedral.org. Chapter and the Department of Music at the University of Nevada, Las Frederick Teardo; April 15, University Vegas, hosted organist Thomas Strauss with Trinkle Brass Works at Rando- of Montevallo Concert Choir; 4/24, Seraphic Fire, Patrick Dupré Quig- Grillot Recital Hall on the UNLV campus. Repertoire included works for Saint Thomas Choir of Men and Boys; ley, artistic director, presents perfor- organ, four trumpets, and timpani, by Bach, Purcell, Handel, Cassado, Torelli, May 20, Christopher Henley; June 12, mances of Mozart’s Requiem (February and Françaix. Thomas Strauss is organist, cantor, and choirmaster at St. John The Cathedral Choir. For information: 16, Washington; 2/17, New York; 2/18, the Baptist (Oppenau, Germany); members of Trinkle Brass Works perform adventbirmingham.org. Philadelphia) and Brahms’s German throughout the United States with support from the Nevada Arts Council and Requiem (April 19, Washington; 4/20, the National Endowment for the Arts. The performance was part of a short Peachtree Road United Methodist New York City; 4/21, Philadelphia). tour that began in Oppenau, Germany with two performances at the Festwoche Church, Atlanta, Georgia, continues In New York, they perform in Trin- Klassiche Musik hosted by Thomas Strauss; the fi nal concert was at Trinity its music events: January 30, Nicole ity Episcopal Church, Wall Street, in United Presbyterian Church, Santa Ana, California, hosted by the Orange Marane, with John Lemley, narrator, Philadelphia at St. Clement Episcopal County Chapter of the AGO. Prokofi ev, Peter and the Wolf; Febru- Church, and in Washington, D.C., at St. ary 9, Scott Atchison, Nicole Marane, Paul Episcopal Church, K Street. Period Randy Elkins, Michael Shake; 2/20, The instrument ensemble The Sebastians will Georgia Boy Choir Festival; March 3, also perform on the February programs. February 18–24 in Oaxaca, Mexico, and June 18. For information and registra- Three Choirs Festival; 3/13, Passion of For information: www.seraphicfi re.org. its environs. The festival will include tion, visit churchmusiciansworkshop. the Christ: The Musical Stations of the eight concerts on eight restored Oaxa- org or contact Father Pryor at apryor@ Cross; 3/18, 3/19, Atlanta Gay Men’s can organs, visits to unrestored organs nashotah.edu or 262/565-6152. Chorus, Atlanta Women’s Chorus; April and their churches, opportunities to 5, Caroline Robinson, Derek Remeš; play several of the organs, and other The Guild of Carillonneurs of 4/17, Voices in Bronze, handbell concert; activities. Performers include Liuwe North America will hold its 74th Con- 4/24, Jeremy McElroy, Clarke Harris, Tamminga of the Netherlands and Italy, gress June 16–20 on the campus of Yale countertenor; July 27, Martin Baker. For Craig Cramer from the United States, University, New Haven, Connecticut. information: www.prumc.org. Victor Contreras and Cicely Winter of The hosts will be members of the Yale Mexico. For further details including Guild of Carillonneurs, which celebrates VocalEssence continues its 47th complete schedule and fees, visit www. its 50th anniversary. For the event, 50 concert season: January 30, and April iohio.org.mx/eng/fest2016.htm. new pieces have been commissioned, 8–9, 16, River Songs and Tales with Mark which will be premiered throughout the Twain; February 21, Witness; March The Church Musicians Workshop, congress. An improvisation contest will 19–20, Thomson, Four Saints in Three an intensive fi ve-day residential pro- also be featured. The carillon in Yale’s Acts; April 22, 24, Listeners’ Choice Live; gram, will be held at Nashotah House Harkness Tower consists of 54 bells May 23, ¡Cantaré! Community Concerts. Theological Seminary from June 13–17, weighing 43 tons. Ten bells were cast in For information: www.vocalessence.org. 2016. Faculty includes Father Alexander 1921 by the John Taylor Bellfoundry of R. Pryor, Canon Joseph A. Kucharski, Loughborough, England, the remainder Grace Lutheran Church, River Lee Erickson, and R. Benjamin Dobey. in 1964. For more information, visit Forest, Illinois, continues its Bach The workshop will include lectures, www.congress.yalecarillon.org. Cantata Vespers series, Sundays at 3:45 seminars, and masterclasses on topics p.m.: January 31, Cantata 125; February of interest to church musicians, pas- The Twin Cities Chapter of 28, Cantata 199; March 20, Cantata 182; tors, and worship leaders. Instruction is the American Guild of Organists April 24, Cantata 86; May 22, Cantata customized for various ability levels, and announces a competition for an unpub- 129. In addition, each of the six sections The restored 2′ positive organ in Santa ample opportunity for practice and per- lished, meditative work for solo pipe of Bach’s Christmas Oratorio will be María de la Natividad Tamazulapan formance will be provided at several area organ. A single prize of $1,500 will be presented in worship services between venues. Additional options include indi- awarded. Any person with permanent December 25 and January 26. For fur- Instituto de Órganos Históricos vidual lessons as well as a guided church residence in North America is eligible to ther information: de Oaxaca will hold its eleventh inter- tour and organ crawl through the historic submit a composition that is a minimum www.graceriverforest.org. national organ and early music festival churches of downtown Milwaukee on ³ page 6 The right organ at the right price We’ll help you chose from the hundreds of vintage organs available through our website. 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4 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Daniel Bruun Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organist/Conductor Organist Organist/Harpsichordist Indiana University Montevideo, Uruguay Charlotte, North Carolina Indianapolis, Indiana Copenhagen, Denmark Ann Arbor, Michigan

Leon W. Couch III Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Henry Fairs Faythe Freese Organist/Lecturer Organist/Pianist Organist Organ/Carillon Head of Organ Studies Professor of Organ Birmingham, Alabama Hutchinson, MN Holland, Michigan University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Sarah Hawbecker Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Organist/Recording Artist Organist/Presenter Organist/Lecturer Organist Organist Professor of Music/Organist Oconomowoc, WI Atlanta, GA Hasselt, Belgium Bernardsville, NJ Brooklyn, New York Ripon College

Angela Kraft Cross David K. Lamb Mark Laubach Colin Lynch Yoon-Mi Lim Philip Manwell Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Conductor Assoc. Prof. of Organ Organist San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania Boston, Massachusetts SWBTS, Fort Worth, TX Reno, Nevada

Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Organist/Lecturer Organist U of Nebraska-Lincoln Manhattan School of Music Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College

Ann Marie Rigler Brennan Szafron Edward Taylor Michael Unger Rodland Duo Christine Westhoff Organist/Presenter Organist/Harpsichordist Organist/ Choral Conductor Organist/Harpsichordist Viola and Organ & Timothy Allen William Jewell College Spartanburg, S. Carolina Carlisle Cathedral, UK Cincinnati, Ohio Eastman School of Music/ Soprano & Organ St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 28th year of operation Here & There

in New York City on May 5. Meloan retirement on December 31, 2015, as Appointments performed works by Albinoni, Alain, the church’s organist/choirmaster for 42 Georges Trépanier has been named general Joplin, and Vierne at Fordham United years. The celebration included a pro- manager of Orgues Létourneau. He succeeds Fer- Methodist Church in Bronx, New York, gram and a luncheon following worship. nand Létourneau, the fi rm’s president and founder, on September 27 with Thomas Sexton, Binkley’s responsibilities included who has served as general manager for more than 36 trumpet. Katherine Meloan is repre- music teaching in the Sunday church years. Trépanier, who has occupied the position since sented by Concert Artist Cooperative. school, direction of three singing choirs, March 1, 2015, is Létourneau’s nephew; he gravi- For information: KatherineMeloan.com. and coordination of the church’s Music, tated to the fi eld of organ building from a young age. Art and Drama Series. A new 42-rank He earned a diploma in administration from HEC Schantz organ was installed in 2008 after Montréal’s School of Management and has managed a major renovation of the church build- the company’s fi nancial affairs as controller since ing. The church regularly presents organ 2002. In his new position, Trépanier is responsible recitals, including a monthly organ con- Georges Trépanier for all aspects of the company’s administration and cert featuring members of the Harrisburg for implementing the strategic plan as developed with Mr. Létourneau to assure American Guild of Organists chapter. the company’s continuity. For information: letourneauorgans.com. Binkley graduated from Lebanon Valley College and received a Master Kent Tritle has been appointed of Sacred Music degree from New chair of the organ department at the York City’s Union Theological Seminary Manhattan School of Music (MSM), School of Sacred Music; his primary New York City. Tritle, who also serves organ teachers have been Robert Clip- as MSM’s director of choral activities, pinger, Karl Moyer, Pierce Getz, and is organist for the New York Philhar- Robert Baker. David Binkley has pre- monic (since 1994) and American sented recitals and church music work- Symphony Orchestra (since 1993), shops throughout central Pennsylvania; and serves as director of music and Marsha Foxgrover and Seth Carlson he holds the AGO Colleague certifi cate, organist at the Cathedral of St. John and in 1996 was awarded Certifi ed the Divine in New York City. He is also Marsha Foxgrover and Seth Carl- Church Musician status by the Presbyte- music director of both Musica Sacra, son collaborated on a concert October rian Association of Musicians. the longest continuously performing 11, 2015, at First Covenant Church, professional chorus in New York, and Rockford, Illinois, to celebrate the 50th the Oratorio Society of New York. anniversary of the installation of the The MSM program offers a range 52-rank Schlicker organ. The program Kent Tritle (photo credit: Joshua South) of degrees including Master of Music, included works performed by Edward Professional Studies, and Doctor of Mondello and Roger Nyquist in 1966, a Musical Arts. Formerly, the organ department was chaired by McNeil Robinson, section honoring the Swedish heritage of who died last May. A tribute to Robinson can be found in the July 2015 issue of the church with a congregational hymn The Diapason, page 10. by Nils Frykman arranged by Marsha Foxgrover, and a special “Seasons” seg- Carlo van Ulft has been appointed carillonneur for the Thomas Rees Memo- ment: The Snow Lay on the Ground rial Carillon, Springfi eld, Illinois. Ulft is the fourth carillonneur for Springfi eld by Sowerby, Hills in the Springtime by since the instrument’s completion in 1962. Prior to Ulft’s appointment effective Chen, Grand Chorus with Thunder by October 1, 2015, he served as carillonneur in Centralia, Illinois, for 18 years. Corrette, and Comes Autumn Time by A native of the Netherlands, Ulft holds European Masters Level degrees in Sowerby. Appropriate seasonal visuals of organ performance, carillon performance, and theatre organ performance. From the church accompanied this segment. 1984–87, he served on the faculty of the Royal Carillon School “Jef Denyn” in Mechelen, Belgium. He also held municipal carillonneur positions in several cit- ies of the Netherlands. He is a frequent carillon recitalist throughout the United States and Europe, having performed for several conferences of the Guild of Carillonneurs in North America. In 1993, the University of California, Berkeley, Richard W. Kurtz awarded him a Medal of Honor for “distinguished service to the carillon.” He Richard W. Kurtz has retired as was a founder of the North American Carillon School in 2012. The school has organist and choirmaster of Christ Epis- branches throughout the United States. Ulft succeeds Robin Austin, Springfi eld copal Church, Woodbury, New Jersey, Park District Carillonneur for two years, and Karel Keldermans, who served the after 40 years of service. His fi nal service district for 35 years prior to retirement in 2012. Q occurred All Saints’ Day, November 1, 2015. A brass plaque honoring Kurtz’s tenure was blessed, affi xed to the wall next to the organ console. Kurtz attended ³ page 4 People the New England Conservatory, Bos- of four and no longer than seven min- ton, Massachusetts, and Westminster utes in length, and which uses original Choir College, Princeton, New Jersey. material (does not incorporate any pre- At a retirement dinner, Kurtz received existing work or melody). Submissions proclamations from the City of Wood- must be postmarked before May 1, 2016; bury, the Gloucester County Board of winner will be announced June 1, 2016. Chosen Freeholders, and Westminster One entry per person. For entry rules Paul Jacobs Choir College. Kurtz will continue his and the required offi cial entry form, visit work with the R. W. Kurtz Organ Co. of www.tcago.org. Paul Jacobs, chair of the organ Woodstown, New Jersey. department at the Juilliard School, is now under the full-time management of Colbert Artists Management in New York City (www.colbertartists.com), an agency closely affi liated with Juilliard and whose roster includes celebrated musicians such as the Juilliard String Quartet, soprano Dawn Upshaw, harpist Yolanda Kondonassis, and the ensemble Tafelmusik. Jacobs launched his concert career in 2000 under the guidance of Katherine Meloan Phillip Truckenbrod Concert Artists and during that time performed well over 500 Katherine Meloan, chapel organist solo organ recitals and organ concerto and director of chapel music at United performances throughout the United States Merchant Marine Academy in States. As of February 1, all future organ Stephen Tharp Long Island and faculty member at recital bookings should be made by con- Manhattan School of Music, will present tacting Charlotte Schroeder at 212/757- Stephen Tharp continues an active recitals this winter and spring: Febru- 0782 or [email protected]. touring schedule that includes the open- ary 11 at Princeton University Chapel, ing concert for the Organ Historical Princeton, New Jersey; March 11 at St. David H. Binkley was honored on Society’s National Convention in Phila- Paul’s Episcopal Church, Wilmington, November 15 at Camp Hill (Pennsylva- delphia (at Irvine Auditorium); the 25th www.pipe-organ.com North Carolina; and St. Mary the Virgin nia) Presbyterian Church, marking his ³ page 8

6 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM IT’S ALL IN THE DETAILS.

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www.johannus.com Here & There Nunc Dimittis Cor Edskes, organologist, leader in the organ reform movement and historic ³ page 6 alterations in the composer’s hand. Taken organ restoration in Europe, and former editor of Het Orgel, died September 7, anniversary of the Ruffatti organ at Spivey into account for the fi rst time was the 2015, in Groningen, the Netherlands. Further information and tribute will be Hall, Atlanta; the one-year anniversary autograph organ part and information published in a future issue of The Diapason. of the new Quimby organ at Fourth disregarded in editions until now, as, for Presbyterian Church, Chicago; European example, in the Chrysander edition that Thomas R. Rench of Racine, Wisconsin, died on November 28, 2015. He tours that include the Basilica del Sacro has been popular since the 19th century. was 85. Born February 11, 1930, in Racine, he entered the Massachusetts Insti- Cuore, Rome; the Grote Kerk, Breda; St. For information: www.edition-walhall.de. tute of Technology in 1948 to study aeronautical engineering but was drafted Marien, Lübeck; the cathedrals of Madrid for service in the Korean War. Rench earned a bachelor’s degree in mechanical and León, Spain; Frankfurt and Limburg, Michael’s Music Service announces engineering at Miami University, Coral Gables, Florida, in 1956, a master of Germany; Pécs, Hungary; and the Terra new sheet music reprints: Andante can- science in mechanics degree at Illinois Institute of Technology, Chicago, in Sancta Festival in Israel, performing con- tabile, from Tchaikovsky’s String Quartet, 1960, and a degree at Miami University of Ohio, after which he spent a year certs in Tel Aviv, Bethlehem, Nazareth, op. 11; Toccata on Deo Gratias by Rich- on that school’s faculty. While working in the engineering fi eld, Rench also and Jerusalem. Stephen Tharp has been ard Keys Biggs; Alpine Dance by Edwin did occasional work for organbuilders. In 1982, he established his own organ- artist in residence at St. James’ Madison H. Lemare, published in 1925; Sonata, building fi rm in Racine, building and restoring organs until his retirement in Avenue (Episcopal) in New York City by Otto Olsson. Also available are Vom 2005. Thomas Rench is survived by his wife, Marilyn Stulken; children Alan since November 2014. For more informa- Himmel hoch, by Garth Edmundson; The and Mary Rench of Byers, Colorado; Evan Rench of Louisville, Kentucky; Eric tion: www.stephentharp.com. Kings of the Orient (“March for Christmas- and Bobbi Rench of Kenosha, Wisconsin; and Kari Eschmann of Racine, seven tide”), by Charles Cronham (can be used grandchildren, and former wife, Bobbie Williams. for Christmas or Epiphany); Sanctus from Gounod’s Messe Solennelle, presented in an Christopher Tambling, composer, organist, and 1892 arrangement by Edwin Lott; and Toc- former director of music at the Benedictine Downside cata, by Bonaventura Somma, a restoration Abbey and at Downside School near Bath, England, of the work’s second edition from 1934. For died in Wells on October 3, 2015. He was 51. Following information: michaelsmusicservice.com. studies at Canterbury Cathedral and St. Peter’s College, Oxford, Tambling taught at various schools in England and Scotland before being appointed at Downside in Recordings 1997. He also served as organist at Downside Abbey Pro Organo has released The Four and leader of several instrumental ensembles and as Quarters of Jerusalem (Pro Organo CD Master of the Schola Cantorum of Downside Abbey. 7273), a new recording from the Cathedral Christopher A composer, arranger, and editor, particularly of choral Church of St. John the Divine, New York. Tambling and organ music, Tambling’s works were published by The new release is a collaboration between Kevin Mayhew in Britain and Dr. J. Butz in Germany. Rose of the Compass, directed by Nina Tambling also edited Masses by Charles Villiers Stanford and Richard Runci- Stern, and the Cathedral Choir, under the man Terry, and received numerous commissions from Germany; often these Gail Archer direction of Kent Tritle. The recording cel- led to large-scale premieres. September 2014 saw the fi rst performance of his ebrates the diverse musical and religious Missa brevis in B fl at, sung by 1,400 singers on Diocesan Children’s Choirs Day Gail Archer performs concerts: cultures in the city of Jerusalem, from in the Marienkirche, Landau, and of the Schönstatt-Jubiläumsmesse, which January 17, Cathedral of St. Mary of the traditional pieces, Coptic chants, to works was heard by over 10,000 churchgoers in Vallendar. Christopher Tambling is Assumption, San Francisco; February by Eric Whitacre, Géronimo Gonzales, survived by his wife Sara and his sons Edward and Benjamin. Q 7, Bethel Lutheran Church, Rochester, Gerald Cohen, and Palestrina. For infor- Minnesota; 2/14, St. Alban’s Episco- mation: www.proorgano.com. pal Church, Tucson, Arizona; 2/20, University of Music, performs Tambling’s The disc includes world premiere record- Walla Walla University, Walla Walla, works on the newly installed Hugo Mayer ings of works by Joel Martinson, David Washington; 2/28, Bluff Park United organ at the Basilika St. Kastor in Koblenz, Sanger, and Philip Moore. Jacobs, a native Methodist Church, Hoover, Alabama; Germany (IV/52). All recorded works are of England, is interim organist and choir- March 6, First Presbyterian Church, also published as sheet music by Dr. J. Butz- master for St. Mark’s Episcopal Church, Oakland, California; 3/13, Women in Musikverlag, Bonn, Germany. The CD is Philadelphia, Pennsylvania. In 2015, he the Arts Festival, Buffalo, New York; available through Dr. Butz-Musikverlag was awarded an Artist Diploma from 3/16, Cathedral, Barcelona, Spain; 3/18, or the Classicophon recording label, Ger- Oberlin Conservatory of Music where he St. Helena Episcopal Church, Beaufort, many. For information: butz-verlag.de. studied with James David Christie, and he South Carolina; 3/20, St. Joseph Roman was named a member of The Diapason’s Catholic Church, Macon, Georgia. For “20 under 30” Class of 2015. He won fi rst information: www.gailarcher.com. prize and the audience prize at the 2013 St. Albans International Organ Competi- tion. He is represented in the United Publishers States by Phillip Truckenbrod Concert Edition Walhall announces a new Christopher Tambling CD Artists. For information: edition of Handel’s Alexander’s Feast, www.simonthomasjacobs.com. HWV 75, for soprano, tenor, bass, choir, Dr. J. Butz Musikverlag has released two recorders/fl utes, two oboes, two bas- a new recording of organ works by the late soons, two horns, trumpet, harp, timpani, British composer Christopher Tambling. Organ Builders organ, and strings (score EW904, €88.50). The CD exemplifi es Tambling’s style, The University of Minnesota has Edited by Michael Robertson, this critical rooted in the Romantic tradition and char- selected Foley-Baker, Inc. of Tolland, edition is based on the manuscript copy acterized by sophisticated harmonies and Connecticut, to remove and recondition by John C. Smith, which was made refi ned rhythms. On the recording organist its Aeolian-Skinner organ, Opus 892. The during Handel’s lifetime and contains Jörg Abbing, professor at the Saarbrücken Simon Thomas Jacobs, Parthenia Nova 110-rank instrument will be reinstalled in the refurbished Northrop Auditorium on Simon Thomas Jacobs’ debut the university campus. The auditorium recording, Parthenia Nova, has been was constructed in 1928 with nearly 5,000 released on the Fugue State label. This seats. The organ was installed in chambers is the fi rst commercial recording on the above and to the rear of the proscenium new Richards, Fowkes & Co. organ of arch. The rebuilt Northrop Auditorium St. George’s, Hanover Square, London, now contains 2,800 seats and the organ England. Opus 18 is the fi rst American chambers are nearly directly behind a pipe organ to be installed in London, in much-expanded opening for tonal egress a church with a notable musical heritage. above the proscenium. Except for some physical chamber equipment layouts made necessary by the move and an Church of Saint Jude the Apostle electronic relay system, the organ will Wauwatosa, Wisconsin see no changes. Work has already begun Three manuals – forty ranks and should be fi nished within 30 months. Dean Billmeyer is university organist. For A RTISTRY – R ELIABILITY – A DAPTABILITY information: www.foleybaker.com. CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

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Buried Treasures: Instruments and Builders Kirkpatrick Centennial, June 11 (13–14), July 15 (10); Paul Jordan (d. 2015), May 15 The Harpsichord Pages William Dowd: An Appreciation, Jan Gavin Black; Remembering Wm. Neil (18–19); Roger Goodman (d. 2015), Sept in Retrospect (2006–15) 09 (22), LP; The Earliest Surviving Eng- Roberts, Sept 11 (12–14), LP; Joseph Ste- 15 (10); Alan Curtis (d. 2015), Oct 15 (10). Once upon a time (well, twice actu- lish Spinet by Charles Haward [c.1668], phens—In Memoriam, Sept 14 (15), LP; ally, in The Diapason issues of January July 09 (12, 14), Charles West Wilson; Remembering Hilda Jonas, Dec 14 (11), Esoteric Ephemera 1974 and February 1979), we offered Harpsichord News: ARTEK Goes Ger- Glendon Frank and LP; Remembering Nineteenth-century harpsichord cit- cumulative indices of harpsichord- man, July 15 (13), LP; Autobiography George Lucktenberg, Feb 15 (11), LP; ings: Bizet and a Chopin student [Harp- related matters in the journal, from of a Clavichord (Dolmetsch-Chickering Remembering Richard Rephann, Mar 15 sichord News], Feb 08 (12), information Philip Treggor’s fi rst harpsichord 2006), Dec 15 (12–13), LP. (25), Allison Alcorn. from John Carroll Collins reported by LP; column (October 1967), through Historic 20th-Century Harpsichordists in December 1978. Treggor continued Repertoire and Pedagogy and Technique Hungary, Italy, and the Czech Republic his responsibility for harpsichord news Performance Practice Dear Harpsichordists: Why Don’t We [Harpsichord News], Feb 08 (12), Robert until December 1968. Following his Mozart and the Harpsichord: An Alter- Play from Memory?, Sept 11 (24–25), Tifft; Bytes from the Electronic Mailbag: resignation, harpsichord submissions nate Ending for Fantasia in D minor, K. Paul Cienniwa; Continuo (On Teaching), Fandango, Misspellings of the Word Harp- were managed by the magazine’s Chi- 397, Nov 06 (20), LP; “Entartete” Music: Nov 11 (15–17), Dec 11 (11–13), Jan 12 sichord, April 14 (10–11), LP; November cago staff until September 1969, at Hugo Distler and the Harpsichord, Aug (16–17); Gavin Black; Recital Program- Musings: Blessed Cecilia (In Honor of which point I took over at the invitation 08 (22–23), LP; Harpsichord News: Chris ing, Aug 12 (13–14), Gavin Black. Isolde Ahlgrimm’s 100th Birthday), Nov of Editor Frank Cunkle. DeBlasio Dances, Soler, Scarlatti, Lully, 14 (12), LP; A mystery, a cautionary tale: As it has been 36 years since we have the Borrel Manuscript, May 09 (14), LP; Reports on Harpsichord Events Mark Schweizer’s The Maestro Wore offered a third cumulative listing of Mario Castelnuovo-Tedesco’s English Southeastern Historical Keyboard Mohair and Simon Menges’ misadventure harpsichord-centered writings, it may Suite at 100, Dec 09 (36–37), LP; The Society 2006 Meeting in Rome, Georgia, [Harpsichord News], Oct 15 (12), LP. be time to offer this “backward” look, Chopin Bicentennial at the Harpsichord, June 06 (12), LP; Westfi eld Center 2006 covering the past ten years. I Feb 10 (23), LP; Addenda to Chopin, Conference, Victoria, British Columbia And Something New: Mysteries cannot begin to count the Aug 10 (11), LP; A Harpsichord Piece by (includes mentions of Colin Tilney and with Musical References number of instances Henri Mulet, Aug 10 (11), LP; Mulet Petit Edoardo Bellotti), Dec 06 (29), Herbert The American expatriate author Donna in which the previ- Lied—a complete facsimile, Jan 11 (12), Huestis; Boston Early Music Festival Leon (born in New Jersey in 1942) has ous retrospectives LP; Harpsichord Works of Asiko Hira- 2007, Sept 07 (22–23), LP; East Texas Pipe published 24 books in her series starring have been of use bayashi, Nov 10 (12–13), LP; J. S. Bach’s Organ Festival 2012: A Harpsichordist in Commissario Guido Brunetti of the Vene- to me: so much so English and French Suites with emphasis Aeolian-Skinner Land, Feb 13 (20), LP; tian constabulary. Number one, Death at that I keep these on the Courante, May 11 (24–25), Renate Continuo: the Art of Creative Collabora- La Fenice (1992) introduces the soprano indices fi led next McLaughlin; Gathering Peascods for the tion—Westfi eld Center 2013 Conference Flavia Petrelli who is singing Violetta to my bound Old Gray Mare: Some Unusual Harpsi- at Pacifi c Lutheran University, 2013, in Verdi’s La Traviata at the venerable copies of the chord Music Before Aliénor, Dec 12 (27– July 13 (20–21), Andrew Willis; Historic opera house. German maestro Helmut magazine. If 29), LP; Soler’s Fandango: new edition Keyboard Society of North America 2013 Wellauer dies before the fi nal act of the this present from Ut Orpheus and recording by Diego meeting in Williamsburg, VA, April 14 opera, and Brunetti fi nds that he has a list proves Ares, Dec 13 (12), LP; Multi-Media (10–11), LP; HKSNA International Con- complicated bit of detecting to do before useful Mozart—Words, Notes, and Sounds ference in Montréal and Aliénor Compe- solving this clever crime. to you, [Harpsichord News], Feb 14 (12–13), LP; tition, Aug 15 (10–11), LP; Broadening a For Acqua Alta, book fi ve in the series, please Christmas Music for Harpsichord, Oct 14 Harpsichordist’s Horizons: Remembering Leon brings back this soprano, a “favorite let me (12), LP; Going [J. William] Greene— 2014 ETPOF, Sept 15 (11), LP. character because of her voice.” By the know. Music for Harpsichord, June 15 (11), LP; novel’s end Flavia is off to sing her fi rst Pedaling the French: A Tour de France Reviews of Books, Handel opera, a plot twist chosen so that, of Revival Harpsichordists 1888–1939, Music, and Recordings should Petrelli return in future books, Aug 15 (10–11), LP; Harpsichord Plus: A Guide to Musical Temperament Leon would be able to write about her The Accompanied Harpsichord Music of (Thomas Donahue), reviewed by G. N. best-loved music. In real life the author Jacques Duphly, Nov 15 (10), LP. Bullat, June 06 (16); Guilty Pleasures: Mark became closely associated with American Schweizer’s The Soprano Wore Falsettos, conductor Alan Curtis; together they Personalities in the Choices (a novel) by Paul Wolfe, CD of created an opera company, Il Complesso Harpsichord World Landowska reissues, DVD: Landowska— Barocco, to perform rare works by Handel Helmut Walcha, Oct 07 (28–29), Uncommon Visionary [Harpsichord News] and other baroque composers. References Nov 07 (21–23), Dec 07 (21–23), Paul Mar 07 (10), LP; Peter Watchorn Plays to harpsichord are found on pages 201–2 Jacobs; Oscar Peterson, Feb 08 (12), Bach’s WTC I [Harpsichord News] Aug 07 of Acqua Alta, and again on page 229 when LP; Gustav Leonhardt (anecdote, (12–13), LP; Fernando Valenti’s Scarlatti Flavia’s companion Brett chooses Mozart’s footnote 3 in AGO National recordings, Feb 08 (12, 14), LP; Peter Jupiter Symphony for listening rather than Convention Review), Nov 08 Watchorn’s Isolde Ahlgrimm, Vienna, and harpsichord music, the “plunky sound of (27), LP; Pavana Lachrimae: the Early Music Revival and a published which would snap her nerves.” A California Tribute to score for Richard Strauss’ Capriccio Suite, Volume 24 of the Brunetti stories Gustav Leonhardt, Aug 12 June 08 (12), LP; The Best Medicine—a arrived in 2015: Falling in Love is set in (18), Lee Lovallo; Crazy review of Schweizer’s The Diva Wore Dia- La Fenice again, this time with Petrelli about Organs: Leonhardt monds, Aug 09 (10), LP; New Harpsichord starring as Puccini’s Tosca. Music fi gures interview from 2000, Nov Music, Oct 09 (18–19), John Collins; a new prominently, the plot is gripping, and I 12 (20–22), Jan-Piet Knijff; compact disc set of Bach’s Six Partitas, and particularly enjoyed a comment on page Gustav Leonhardt—a Letter the publication of A Medici Harpsichord 154, where Brunetti is reminded of a CD to the Editor from Hellmuth Book from Ut Orpheus, April 12 (12), LP; shop owner who opined that “the weird- Wolff, Jan 13 (3); Mamusia: Joys of Re-Reading: Blue Harpsichord, est customers were people who liked Paul Wolfe Remembers Early Music mystery series by James organ music. ‘Most of them shop at night,’ Wanda Landowska, Oct Gollin, and more, Aug 14 (11), LP; Harp- his friend said. ‘I think it’s the only time 12 (23–25), Craig Smith; sichord News: Words and Music—Ralph some of them ever leave their houses.’” Janos Sebestyen, May 12 Kirkpatrick Letters and Frank Ferko Trip- Further “baroquery” is to be found in (12–13), Robert Tifft; Harp- tych, April 15 (12), LP. Leon’s standalone novel The Jewels of sichord in the News: Mahan Paradise (2012) which features a musi- Esfahani, Jory Vinikour, Obituaries cologist and a plot driven by the legacy Frances Bedford, and a Daniel Pinkham (d. 2006), Feb 07 (8); of Italian composer Agostino Steffani I could then plan to complete index- 1615 quotation from Trabaci about the A Pinkham Memoir, Mar 07 (20), James (1654–1728). Highly recommended for ing the years 1979 through 2005. Our status of the instrument, July 12 (10, 12), McCray; Albert Fuller (d. 2007), Dec 07 all fans of mystery novels and baroque January issue includes the journal’s LP; Remembering Irma Rogell (and a (10); Remembering Albert Fuller—Trom- music. Finally, dear readers, should you composite index of the previous year; review of Martin Elste’s book Die Dame bones in Dido and Aeneas?, Feb 08 (14), come across references to the harpsi- this would be a logical target date for mit dem Cembalo), April 13 (11–12), LP; LP; Fenner Douglass (d. 2008), June 08 chord, please send me the citations! Q continuing such offerings. A Triptych for Rafael [Puyana], May 13 (8); Thomas Dunn (d. 2008), Mar 09 (10); In the following citations, the title (11–12), Betina M. Santos, Jane Clark, and Virginia Pleasants (d. 2011), Feb 12 (11); Comments are always welcome. Please or subject appears fi rst, followed by LP; Virginia Pleasants Turns 100, Feb 12 Gustav Leonhardt (d. 2012), March 12 submit them to [email protected] or by the month and year of publication, (11); Harpsichord Playing in America after (10); Christopher Hogwood (d. 2014), Nov post to Dr. Larry Palmer, 10125 Crom- page number(s) in parentheses, and Landowska, June 11 (19–21), LP; Ralph 14 (10); Bruce Prince-Joseph (d. 2015), well Drive, Dallas, Texas 75229. author. My contributions are indicated by the letters LP; other, less-frequent contributors, by their full names. I have Duchon’s Organ Pipes added a few articles not specifi cally New Reeds & New Flues published under the Harpsichord News Additions & Repairs rubric. Categories sometimes overlap, particularly those of Personalities 330/257-0491 and Obituaries. [email protected]

10 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ As with all Christian holy days and tend to be refl ective, somewhat slow This cherished American folk hymn by James McCray seasons, Lent has evolved over the years, and/or sad, and especially thankful to begins with humming by the choir, which but its purpose has always been the same: God our provider. extends into the fi rst text passage sung by Repertoire for Lent self-examination and remorse. These Lent is signifi ed by the color purple, a baritone soloist. There are some divisi Let us ever walk with Jesus, follow his are verifi ed by acts of abstinence and which is used within the church as a sections, and there is a keyboard part for example pure, penance. In 325, the Council of Nicaea color for vestments and liturgical fi ttings, rehearsal only. This sensitive and dra- through a world that would deceive us and called for a 40-day Lenten period of fast- as well as, for instance, on the covers of matic setting is certain to be a favorite of to sin our spirits lure. ing. How faithfully churches observed Lenten music publications. Many cus- both the congregation and the choir; it is Onward in his footsteps treading, trav’lers here, our home above, these customs differed by locality. In toms are associated with Lent, and choir highly recommended. full of faith and hope and love, let us do our the East, one fasted on weekdays. In the directors should investigate the tradi- Savior’s bidding. western churches, Lent was one week tions of their denomination and choose Let Us Ever Walk with Jesus, David —Sigismund von Birken shorter, but incorporated Saturdays, and music that highlights those customs. Cherwien. SATB unaccompanied (1626–81) there were several other customs. Next month’s column will feature and solo instrument, MorningStar One of our calendar surprises is that Today, most Christians observing music for Good Friday and Easter; with Music Publishers, MSM-50-7077, while we are putting away our various dec- Lenten abstinence are recalling the forty these important events falling early this $1.70 (M-). orations from Christmas and Epiphany, days Jesus spent in the desert. Common year (in March), selecting and ordering Parts for C or B-fl at instruments are we are only six weeks from Ash Wednes- church choir repertoire surrounding that music in early February will be important. on the back cover; the solo music is very day, 2016. That is a stark change of mood! event includes the following music: Jesus easy, consisting of half or whole notes This year, Lent will occur from February Walked This Lonesome Valley, O Master, Jesus Walked This Lonesome Valley, playing the tune Lasset Uns Mit Jesus 10 to March 26, with Easter Sunday the Let Me Walk with Thee, and Lord Who arr. Stanley Thurston. SATB unac- Ziehen. The choral part is on two staves next morning. This season is a period of throughout These Forty Days. In gen- companied with baritone solo, GIA in a hymn style with verses 1, 2, and 4 penance and prayer for Christians. eral, Lenten hymns and choral repertoire Publications, G-8109, $2.00 (M). ³ page 12

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 11 Reviews

³ page 11 A Lamb Goes Uncomplaining Forth, Book Reviews This, in fact, seems to be Tidwell’s using the same music. This simple devo- Dale A Witte. SATB, organ or piano, Lawrence Phelps: Organbuilder, by primary aim, and the reader looking tional setting is calm throughout. and optional congregation, Con- Burton K. Tidwell. Richmond: Organ for a clear biographical summary of cordia Publishing House, 98-4159, Historical Society Press, 2015. ISBN Phelps’s life will be frustrated by the I Want Jesus to Walk with Me, arr. $2.00 (M). 978-0-913499-47-4, xv, 177 pages; 60 vague and often imprecise biographi- Paul Nicholson. SAB, treble solo, and There are two verses with an additional black and white illustrations. Hard- cal details. With twelve appendices piano, GIA Publications, G-7829, one (Lord, When Your Glory I shall See) bound, $25.95; www.ohscatalog.org/ already, we might wish for just one $1.90 (M-). that is independent, but may be added if ohspress.html. more, in which a biographical timeline Using the African-American spiri- desired; it is unaccompanied, a bit more The Organ Historical Society, lays down exact dates, names, and loca- tual melody Sojourner as its basis, diffi cult, and for the choir only. The con- founded in 1956, is the only American tions. Without it, we are left to our own the vocal solo presents the fi rst verse gregation sings on the fi rst two verses, organization devoted specifi cally to the estimations of many dates and may above an “oo” choral background. The and they use the same music. The organ study and preservation of the historical easily miss some, such as the brief foot- second verse has the melody sung by part is on two staves with an ad-lib pedal American pipe organ. Launching the note mention of Phelps’s fi rst marriage altos while the sopranos interject short and an extended solo introduction. OHS Press in 1985 was an important to Ruth Barrett Arno, organist of The commentaries on the text. The last endeavor, and the OHS Press continues Mother Church (The First Church of verse, scored for SAB, is a loud plea for As the Cry of the First Bird, Daniel to fi ll a lacuna in publishing, address- Christ, Scientist), Boston. help that builds from a short, dramatic Nelson. SATB and piano, Paraclete ing a small but vital niche where many Tidwell begins chronicling Phelps’s keyboard interlude. Easy men’s part for Press, PPM 01526, $1.70 (M). of the larger houses may not perceive evolving style with Phelps’s work for small church choirs. The piano part usually remains a suffi cient profi t margin. OHS Press The Mother Church in Boston on the independent from the choral music, has produced work that ranges from Aeolian-Skinner Opus 1203. Actu- As Your Spirit in the Desert, Michael which is on two staves. The vocal lines facsimiles and translations to studies of ally one of the lengthier chapters, the D. Costello. SATB or solo, organ, have unison scales and some dissonant particular churches or regions and their insight gained by such a thorough optional oboe, assembly, Augsburg chords. This music is unusual, fresh, and organs to gift books of organ poetry or consideration of The Mother Church Fortress, 978-1-5064-0851-4, $1.95 contains a hymn tune quotation from “domestic drama”—without question instrument is foundational: Phelps (M-). Johann Crüger’s Herzliebster Jesu. fulfi lling its mission of publishing for built his career in part by challenging This anthem has a mysterious melody. both “the specialist and the general accepted tonal conceptions, and the Its many internal options include using Lenten Sanctus, Lee Dengler. SATB reader.” (www.organsociety.org) With Aeolian-Skinner Opus 1203 provided some solo instruments other than oboe, and piano, Hope Publishing Co., C this slender and visually beautiful vol- a vast array—Tidwell terms it a labora- using a vocal solo or unison choir instead 5933, $2.05 (M). ume dedicated to the work of Lawrence tory (p. 17)—of colors for study and of an SATB choir, or having the organ By incorporating portions of Crüger’s Phelps, Burton K. Tidwell and the OHS experimentation and helped to focus play choral sections if no choir is avail- Herzliebster Jesu and slightly Press offer scholarship that does indeed his future in organbuilding (p. 16). In able, yet allowing the assembly to sing modifying the traditional Sanctus text, include something for specialist and the following chronology, the author is one phrase as a recurring statement this work is very appropriate for most general reader alike. meticulous in highlighting the impact after each separate choral passage. This Lenten Sundays. The opening section Perhaps most immediately noticeable of The Mother Church organ, as well interesting work may become a Lenten is for unison women; later the choral are the lavishly abundant photographs. as that of Holtkamp and Harrison, favorite and is highly recommended. music introduces the men’s voices. The Forty-one percent of the pages contain whenever they are evident, but he is last section adds a soprano descant photographs, and seventeen of those also careful to note instances in which When You Prayed Beneath the Trees, above the choir as they sing the modi- images are full-page organ shots. Most Phelps diverged from these early infl u- Lloyd Larson. Two-part mixed with fi ed Sanctus text in English. The choral of the photographs are from Lawrence ences. Even when Tidwell discusses the piano or optional fl ute, oboe, French parts are on two staves, and the piano Phelps’s own fi les—including wonder- role of Schnitger and Silbermann in horn, and cello, Hope Publishing music is relatively simple. fully personal pictures of Phelps at the Phelps’s reform philosophies, he goes to Co., C 5743, $2.05 (E). Alice Tully Hall organ while his wife, great lengths to ensure readers under- Also available in SAB (C 5382) and God So Loved the World, Noel Goe- Gillian Weir, plays, or of Phelps perched stand that, while acknowledging clear SATB (C 5206); the instrumental parts manne. SAB unaccompanied, GIA on the edge of a Swell division, voicing precedents, Phelps was never inter- are available as C 5206P. This setting Publications, G-7824, $1.90 (M). a pipe—supplemented by beautiful ested in re-creation or imitation but in opens with the men for the fi rst verse John 3:16 is probably one of the best- photographic work by Len Levasseur, building on the legacy of those builders and mixed voices for the other two known and popular Scripture passages. who also designed the book. Not all of to develop an organ for today capable of verses. The piano accompaniment is In this setting from GIA Choral Classics the photographs have captions, however, the same sort of responses to the music easy as are the choral lines. There are by Noel Goemanne (1926–2010), the and it is not always obvious which organ it was now required to play. That is, he brief SAB options near the end of the slow, legato music employs sustained is pictured (for example, p. 99). believed in the organ “as an evolving, third verse. The fourth verse, which has lines where the singers are instructed If there is anything organists seem creative art that is not frozen in some an after-death story line, is not set to to take a breath only at rests and breath to like even more than organ photo- previous historical time or context” (p. music, keeping this selection for Lent, marks. Although this is an unaccompa- graphs, it is stop lists—and Tidwell has 79) that should “evolve from where we not Easter. nied setting, there is a piano reduction provided fi fty-two representative stop are—while never losing sight of the of parts to aid the singers. Very sensitive lists for perusal and comparison. Stop music, or sole raison d’être—than that Go to Dark Gethsemane, David von music that is highly recommended for lists and photographs alone can be very we try to put ourselves where we can in Kampen. SATB and piano, Con- small church choirs. instructive, and for some, this might fact never be, in a perfect untouchable cordia Publishing House, 98-4183, be a satisfactory end. Tidwell’s narra- state somewhere in the organ’s golden $2.00 (M-). Blest Are the Pure in Heart, David tive, however, makes one aware that past” (p. 80). After a free solo opening, the music Barton. SATB and organ, Paraclete Lawrence Phelps was far more than Tidwell’s scholarship is impeccable changes to 4/2 with static chords that Press, PPM 01515, $1.70 (M-). pretty organs and a collection of stop in the way he has culled, analyzed, and are doubled in the piano; however, the Only the last two pages are in a full lists. For the organ scholar, Tidwell has synthesized Phelps’s impressive body of music later changes to 12/8 with fl owing SATB format; the fi rst four pages are for synthesized Phelps’s prodigious writings writing about the organ, organ reform, eighth notes in the right hand, which SA and TB, or S solo. The organ music and laid out the complexities of scaling and organ aesthetics. He weaves sub- moves the tempo forward. The choral is easy, on two staves, and doubles the and voicing, bringing the reader to a far stantial portions of Phelps’s own words writing is not diffi cult, and the anthem voices. Quiet music that is slow and deeper understanding of Phelps’s goals throughout his explanations and analy- ends quietly. simple for most Sundays in Lent. as his work evolved. sis, not always seamlessly, but certainly

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12 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Reviews effectively. Phelps and Tidwell are clear Recital Hall is listed under “Churches contrasted to the closely miked and con- a Misterioso that contrasts the harp and that Phelps was guided by his belief that and Chapels” when it is neither church sequently less colorful harpsichord, it is organ in delicate passages marked by tonal design must begin with recognition nor chapel. Oberlin College and Whea- clear that the real charm of this record- occasional moments of excitement. The of the musical requirements of a body of ton College, on the other hand, are both ing is in hearing William Byrd played second movement moves via a Recitativo literature. Tidwell consistently returns to listed by school name. expertly on the organ. into an Andante Pastorale based on the this idea and demonstrates how it plays Tidwell’s book, Lawrence Phelps: —Paul Cienniwa same motif as the fi rst movement. The out in the instruments from the electro- Organbuilder, is an excellent and essen- Fall River, Massachusetts third movement, again based on the pneumatics to the mechanical-actions, tial addition to the body of research docu- same theme, is a Presto con Spirato. and from French tradition to German menting the work of American organ- Music by Rachel Laurin. Rachel Lau- Next come the Twelve Short Pieces tradition to Phelps’s “organs for today.” builders. He brings to light aspects of an rin, organ; Karen Holmes, organ; Volume 2, from opp. 48, 53, 54 and 58, The amount of writing Phelps published era in organbuilding yet to receive a great Damian Rivers-Moore, French horn; published in 2012. In fact there are is impressive. Short of a full bibliography, deal of attention and in so doing, reminds Caroline Léonardelli, harp. Casa- only eleven of these since the record- which is always helpful, even with foot- us of its importance. It will fi nd a welcome vant organ of Sainte-Anne Church, ing omits the seventh, Ciaccona, op. note citations, an appendix of Phelps’s place in the research libraries of scholars, Ottawa, Canada. Raven compact 58, for reasons of space. Of the Twelve published articles and commentaries on the coffee tables of afi cionados, and on disc OAR-943; www.RavenCD.com. Short Pieces, the fi rst on the compact would have been a signifi cant contribu- the shop benches of organbuilders. Epilogue, op. 50; Fantasia for Organ disc, Hommage à Couperin, op. 48, is a tion to the continuing scholarship on —Allison A. Alcorn and Harp, op. 52 (I. Misterioso—Allegro charming miniature in the classical tradi- Phelps and his work. Illinois State University giocoso, II. Andante Pastorale, III. Presto tion. The two contrasting fugues, Fuga Perhaps most valuable is the author’s con Spirito); Hommage à Couperin, op. Seriosa and Fuga Comica, op. 58, are painstaking attention to the details of 48 (Twelve Short Pieces, Volume 2); A particularly well crafted. scaling. In addition to Tidwell’s delibera- New Recordings ‘Royal Canadian Fanfare,’ op. 53; Per- We then hear another composition for tions on scaling that include comparison William Byrd: Walsingham. Jean- petuum Mobile (Trois Bagatelles, op. 54, “organ plus,” the Sonata for Organ and with that of G. Donald Harrison’s sys- Luc Ho, organ and harpsichord. no. 1); Meditation (Trois Bagatelles, op. Horn, op. 60. Here the featured organist tem, no fewer than three appendices L’Encelade ECL1401E; 54, no. 2); Dance and Variations (Trois is Karen Holmes. The fi rst movement of are devoted to the topic. Scaling charts, www.encelade.net. Bagatelles, op. 54, no. 3); Soliloquy, op. this is a sprightly Allegro, which is fol- miscellaneous scaling information, and William Byrd’s music for virginals 58; Prelude, op. 58; Ciaccona, op. 58 lowed by an Andante espressivo entitled graphs are reproduced, in the latter case should be no stranger to harpsichordists. [missing from CD]; Fuga Seriosa, op. 58; “On a Painting by Thomson.” This refers allowing one to compare, among other For organists, however, Byrd’s music Divertimento, op. 58; Canto Lugubre, to the Canadian artist Tom Thomson things, scaling of The Mother Church might seem elusive or esoteric. Jean-Luc op. 58; Fuga Comica, op. 58; Sonata for (1877–1917) whose painting Ragged Lake organ against the Mormon Tabernacle Ho’s sampling of the Elizabethan mas- Organ and Horn, op. 60 (I. Allegro, II. (1915) is featured on the front cover of organ. This is the sort of hard data that ter’s works makes a strong case for the On a Painting by Thomson . . . [Andante the leafl et that accompanies the compact is often omitted from published studies viability of the repertoire on the organ espressivo], III. Rondo Fugato [Gio- disc. The third Giocoso movement is a because of its complexity, yet is precisely while also demonstrating the versatility coso]); Prelude and Fugue in F Minor, bright and elegant Rondo Fugato. what is necessary to have a systematic of Byrd’s writing. op. 45. The fi nal two pieces on the compact understanding of organbuilders and their Named for Byrd’s expansive twenty- Rachel Laurin (b. 1961) was formerly disc are the Prelude and Fugue in F work. Tidwell and the OHS Press are to two variation set Walsingham, this titular organist at Notre-Dame Cathe- Minor, op. 45, which won the Holtkamp- be commended for this undertaking. recording alternates between groups of dral Basilica in Ottawa, Canada, but now AGO Composition Award in 2008. The Given the strength of research and pieces played on a harpsichord by Ryo devotes herself entirely to composition, rather somber beginning of the prelude scholarship in Lawrence Phelps: Organ- Yoshida (2010) after Tsasuntino (1531) recitals, lectures, and masterclasses. The reminds me somewhat of Franck’s builder, the markedly poor editing is and an organ by Quentin Blumenroeder present compact disc was recorded in Grande Pièce Symphonique but the supremely disappointing. We are not (2012) after the 1511 Koblentz organ Sainte-Anne Church, Ottawa, where piece then undergoes a number of mood even through the fi rst sentence of the found in the Sint-Laurenskerk in Alk- there is a 3/52 Casavant organ, op. 707 changes ranging from the mysterious to Preface before we stumble because of maar, Netherlands. The organ, with split of 1917, rebuilt by the original builders the exciting and ends very softly. This is a missing word (p. vii). Comma usage is sharps, and harpsichord are both tuned in 1988. followed by another bright and beauti- inconsistent: some appear where they in a meantone temperament at A=465. The recording begins with Ms. Lau- fully crafted fugue. are not needed (p. vii) and others are Seven of the organ’s sixteen stops (includ- rin playing her Epilogue for Organ, op. Ms. Laurin’s style, though very much missing where they are needed (p. 13). ing the entire four-stop Brustwerk) are 50, which won an award in the Marilyn of the twenty-fi rst century, has points of Most egregious in punctuation inconsis- awaiting funding for their completion. Mason New Organ Composition Com- contact with French romantic compos- tency, however, is the sometimes-there- With the exception of the fi nal track petition, held under the auspices of ers like César Franck and Louis Vierne. sometimes-not-there serial comma. (Memento salutis Auctor, a vocal work the Detroit Regional AGO in 2009. It Her compositions are very well crafted Either way is acceptable—but not both. from the 1605 Gradualia), all of the contrasts animated sections with a warm and more readily accessible than much Quote marks are likewise inconsistent: music on this recording was written chorale-like melody. recent music. Her work deserves to be sometimes single (pp. vii, viii), sometimes for virginals, the harpsichord’s demure This is followed by the Fantasia for much more widely known and I hope double (pp. ix, x), sometimes both within rectangular cousin, and this may, there- Organ and Harp, op. 52. This consists this compact disc will be instrumental in the same paragraph (p. 13). Sometimes fore, not be the right recording for those of three movements, the fi rst of which is achieving this. the open or close quote of a pair is miss- who prefer authenticity. Both instru- ing (p. 7) or one of a quote pair remains ments are recorded vividly, although it even when the quote has been inset (p. is disconcerting to alternate between 9). Neither is there consistency in foot- two sound environments: The organ, note format: the notes on p. 8, directly recorded at a comfortable distance, across the column from one another, stands in sharp contrast to the closely A Precious Gift use different formats to cite the same miked harpsichord. article—even the same location, so that From song variations such as The from the Past “Ibid.” would have been perfectly suffi - Maiden’s Song (played here on organ) cient. That very quote, however, is further and Walsingham (harpsichord) to dance problematic in that whole paragraphs are variations such as Sir William Petre for the Present missing from the text, but no ellipses are Pavan & Galliard (organ) and The indicated. Non-standard footnote format Queen’s Alman (harpsichord, played an and the Future is occasionally just curious, but in at least octave lower than written), Ho expresses one instance creates actual confusion: on a cantabile style that is fl uid and never Supremely beautiful and blendable p. 77, note 1, “Phelps’ Column” is cited mannered. While perhaps not as pleas- tonal color – a Gift from the Venetian with neither quote marks to indicate its ing to the casual listener, the recording’s function as a title nor with a capitalized three Fantasias (two on harpsichord, one School of organbuilding, a monumental part of our c. Unless one realized “Phelps’ Column” on organ) and Ut re mi fa sol la (organ) JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH is the actual name of the column, how are the best examples of Ho’s interpre- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN would one go about fi nding that column tive achievement. This music can suffer in, say, an inter-library loan request? One greatly under lesser hands. Unfortu- Intriguing? Let us build your dream. fi nal inconsistency to observe in editing is nately, Ho has a tendency to rush some the handling of state names: for example, rapid passages, suggesting that a fi gure is p. 7, note 2 is “California,” but p. 29, note more diffi cult than it really is. This impa- 15 is “Calif.” tience is also evident in less challenging The index is challenging in its group- works, where Ho cuts microseconds off ings according to “Churches and Cha- of the ends of phrases rather than letting pels,” but none other, such as colleges or sonorities settle with poise. universities. So, for example, the organs In spite of the organ’s incomplete, at Oral Roberts University and Wichita limited stoplist, Ho’s registrations are State University are listed by the chapel striking and, especially when using the Builders of Fine Pipe Organs to the World names rather than school names. While tremblant doux with My Lady Nev- that is a valid categorization, if somewhat ell’s Ground played at 4′ pitch, quite www.ruffatti.com more diffi cult to locate in the index, beautiful. The Blumenroeder organ Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 the University of Iowa organ in Clapp is an attractive instrument, and, when

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 13 Reviews

Bach Refl ections. Christian Brem- interesting impression of the sort of thing and 5, although how these can be best pieces by Dutch composers, attributed beck, 1913 Steinmeyer organ, St. that might have been going through the achieved is not immediately apparent. to Lafosse but without source details. Anne’s Church, Biesingen. IFO Clas- minds of German admirers of Bach on There are a few long notes that can It certainly seems markedly different sics compact disc IFO 00 336, www. the eve of the First World War. be taken by the pedals, but since the in style, possibly being written at the ifo-classics.com. —John L. Speller octave above is included, all of these end of his life, but is a charming piece. Fantasia in G Major (“Pièce d’orgue”) Port Huron, Michigan fugues can be played on manuals only. The four more substantial pieces would BWV 572, J. S. Bach; Chorale Prelude on Passagework in sixteenth notes appears make good voluntaries, and the cornet ‘Allein Gott in der Höh’ sei Ehr,’ Georg throughout no. 1 and to a lesser degree and trumpet pieces would stand out in Böhm; Prelude and Fugue in B Minor, New Organ Music as part of the subject in no. 6, but with recitals. Each piece requires dexter- BWV 544, Bach; Chorale Improvisation Charles Joseph Van Helmont: Six less frequency in the others. There is an ity, especially in the runs in thirds, and Fugue on the Motet ‘Singet dem Herr Fugues. Jacques Lafosse: Orgel- insistent dactylic fi gure in nos. 2 and 5, and there is much scope for adding ein neues Lied’ (BWV 225), Sigfrid Karg- werken. Editor: Jan Van Mol. Cal- with nos. 3 and 4 progressing with the extra ornaments. Elert; Six Fugues on BACH for Organ cant, no. 9 and 10 respectively. Avail- shortest note value being an eighth note. In each edition there is a brief intro- or Pedal-Piano, Robert Schumann; able from the editor at janvanmol@ A short written-out cadenza closes no. duction in Dutch, French, and English, Variations on the motif by Bach: Basso pandora.be or Chris Riddy at crp@ 1, and no. 5 closes with a rather longer but no critical commentary. The printing Continuo from the fi rst movement of the telenet.be. fl urry of thirty-second-note scalar runs is clear, with six systems to the page in Cantata ‘Weinen, Klagen, Sorgen, Zagen’ Charles Joseph Van Helmont (1715– before winding down over a dominant the Helmont and fi ve to the page in the and the Crucifi xus of the B-minor Mass, 90) was organist and subsequently pedal. No registration is given, leaving Lafosse. The volumes can be ordered Franz Liszt; Prelude: Basso ostinato on maître de musique of the chapel of St. the player to make his or her own selec- directly from the editor, who will then BACH, Karg-Elert; Toccata and Fugue Gudule, Brussels. His only published tion. These pieces, although too short to quote a price to include postage. It is in D Minor, Max Reger. work, from 1741, was a set of Pièces de be considered individually for recitals, very much to be hoped that sales will German recitalist Christian Brem- clavecin, comprising two suites. A large would be useful when a shorter piece is persuade him to publish some further beck here plays a program he describes amount of his liturgical music survives required at any point before, during, or collections of Belgian keyboard music as “singing Bach on the organ.” The in manuscripts, as does this collection after a service. from this period. instrument of St. Anne’s Church, Biesin- of six short fugues for keyboard, now Four pieces are found in the so-called —John Collins gen, was originally a two-manual-and- in the Royal Library in Berlin. Four of Coquiel manuscript (dated 1741). This Sussex, England pedal reedless organ of 22 ranks built by the fugues (nos. 1–3 and 5) plus the fi rst is the only source of the organ works of Steinmeyer & Co. of Oettingen in 1913, Suite from the harpsichord pieces were Abraham van den Kerckhoven and a few Anne Marsden Thomas, editor, with and to this a Great 8′ Trumpet and Pedal edited by Jos Wathelet and published other composers, as well as a very large notes by Russell Stinson. Oxford 16′ Pedal Posaune have subsequently in 1948. The complete set of six fugues number of anonymous pieces ranging Bach Books for Organ, Manuals been added. It is a comparatively gentle is now available for the fi rst time in a from versets on the eight tones to larger Only, books 1 and 2; Oxford Bach instrument in a warm acoustic, and it modern edition, the basis for which is scale fantasias; the manuscript is now in Books for Organ, Manuals and Ped- contains some very beautiful fl ute and a manuscript copy made by Wathelet, the Royal Library in Brussels. These four als, books 1–3. Oxford University string registers. which is now in the library of the Ant- pieces were signed L. F. and have been Press, 2014. The repertoire on this compact disc werp Conservatoire. attributed to Jacques Lafosse (1671– This new series of fi ve books from consists of some eighteenth-century All six are quite short, fi tting onto a 1721), organist of Antwerp Cathedral Oxford is aimed at organists “in their music composed by Bach and Böhm double-page spread, so no page turns from 1704. fi rst years of exploring the organ works and played as it might have been on this are necessary. Keys used are G, G The fi rst piece in this modern edition, of Bach,” but in their contents, layout, organ when it was fi rst built, together minor, C minor, F, E minor, and D, and Fuga—Volspel (i.e., full organ) is a lively and detailed notes on each piece, they with music on themes by Bach, or on all are in 4/4 time. Several ornament piece in C major in 4/4 time with several are valuable for experienced players the motif B-A-C-H, written in the signs are used, including the wavy line passages for sixteenth notes in thirds in as well. The volumes refl ect grade decades before and after the organ for a trill, the turn, the mordent, and the right hand. The part-writing is quite levels 2 through 8 of the Associated was constructed in 1913. As such it is a the appoggiatura, and dynamics of fl uid. The second piece, Cornet, is in Board of the Royal Schools of Music. very unusual recording, but it gives an piano and forte are included in nos. 1 D minor; opening in common time, Ms. Thomas states in the introduction it is followed by a triple-time section, that these volumes “aim to provide whose subject is different. The number reliable editions with minimal editorial of voices in the left-hand accompani- intervention for this cornerstone of the ment is again quite fl uid, the solo line organ repertoire.” Each volume con- containing much sixteenth-note pas- tains informative notes from renowned sagework and sequential fi gures; in the Bach scholar Russell Stinson. Practi- second section three-part chords and cal notes on style and technique and two-part writing also appear in the solo suggested fi ngering and pedaling for line at cadences. selected pieces from each volume are The third piece, in G minor, Trompet available online from a companion bas, is again in two sections, an opening website. Additionally, guidelines for 3/4 followed by a 6/8. The fi rst section registration, always an intimidating opens with a ten-bar passage for the subject for new organists, are given in accompaniment in the right hand in the introduction along with a table of quarter and eighth notes. The solo voice, ornaments and a bibliography. The only marked vivace, exploits octave arpeggios minor diffi culty for American organists in the French manner when it enters, might be the use of British terminology initially unaccompanied. The follow- for rhythmic values, e.g., “crochet” for ing short right-hand passage is marked quarter note, etc. Largo, followed by the return of the solo The pieces in each volume are mostly, Vivace, the movement continuing in this but not entirely, for organ. Free pieces dialogue format, although subsequent include preludes and toccatas, move- sections omit the tempo designations. ments from sonatas (No. 1 in E-fl at, No. A most effective section of sequential 2 in C minor) and concertos (A minor, writing in bars 40–50 for both hands has after Vivaldi, and C major, after Johann sixteenth notes in the left hand against Ernst), and fugues, including two from right-hand eighth notes. The second The Well-Tempered Clavier (Books 1 section has more imitative writing with and 2). The manuals-only books include sequential motivic eighth notes following a few pieces for other keyboard instru- dotted quarters; a close in the dominant ments. In Book 1, for example, the fi rst is followed by a double bar. Although of three settings of Wer nur den lieben lacking repeat dots, quite possibly each Gott läßt walten, BWV 691, comes half is to be repeated. from the Clavierbüchlein vor Wilhelm This exciting piece is followed by the Friedemann Bach. In the same volume, fourth and fi nal piece, Volspel—Fuga three Preludes, BWV 934–936, come in C major. It opens in cut time fol- from the so-called Six Little Preludes, lowed by a section in 6/8. Although the a collection with obvious pedagogical subject is quite sedate, there is much intent that may or may not have been episodic passagework in sixteenth assembled by Bach himself. No matter; notes, including runs in thirds, which Bach drafted many pieces in different will need care. In the second section, styles for his “legions of pupils,” as whose subject is based on trumpet Stinson puts it, so their inclusion in a calls, there are further runs in thirds as volume intended for organ students well as some in sixths. is eminently sensible. One imagines The collection of pieces fi nishes with Bach assigned any keyboard piece that a short binary-form Aria in C, which was seemed appropriate to his students published in 1877 in a collection of old without bothering whether it was

14 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Reviews written specifi cally for that instru- melody and rhythmic material. Here Hymn of Promise, arranged for optional parts for B-fl at clarinet, bass, ment; he was too busy cantoring and is an exciting and enjoyable work from 3–5 octaves of handbells, +D8, and and drum set. The introduction is very composing, teaching, and conducting beginning to end. keyboard with optional 3 octaves laid back and free, with the melody to do otherwise. And of course, many of handchimes by Janet Linker and played by handchimes and accompa- composers of his time didn’t specify Pathways to Musical Ringing, Vol- Jane McFadden. Agape (a division nied by singing bells. What follows is a one instrument or another; those who ume 1: Articulations and Special of Hope Publishing Company), Code relaxed gospel treatment of the hymn, were fi nancially astute even sometimes Techniques, by Sandra Eithun and No. 2708, $4.50, 2708D, Director/ using a malleted bass line. There is stated that their collections were “for Michael W. Joy. Choristers Guild, Keyboard Score, $7.95, Level 2+ much variety and a plethora of special organ or cembalo.” CGB910, 2 or 3 octave edition, or (M+). effects that make this piece memorable. Chorale settings form an important CGB911, 3, 4, or 5 octave edition, The combination of keyboard, Ringers will enjoy making music with core of these volumes. They range from both $34.95, reproducible, Levels 1-, handbells, and handchimes is used in this arrangement as much as the audi- the simplest bicinia to pieces from the 1, 2-, and 2 (E-M-). a contemplative arrangement of the ence will in listening. Orgelbüchlein, the Leipzig chorales, and This series has been created in order delightful Natalie Sleeth tune. This the manualiter chorales in part three to offer music that teaches specifi c piece should be easily within reach of O the Deep, Deep Love of Jesus, of the Clavierübung. In every case, the musical elements and fosters growth in most choirs. The keyboard coupled with arranged for 3–5 octaves of hand- chorale melody and text, in German and musicianship. These pieces have been the bell sound is a lovely partnership, bells by Linda R. Lamb. Agape (a English, are provided in the Notes. This selected from folk, classical, and sacred well written. division of Hope Publishing Com- practice, used by Robert Clark in the repertoire in order to spotlight particular pany), Code No. 2701, $4.50, Level 1984 Concordia edition of the Orgel- techniques and articulations that are Precious Lord, Take My Hand, 1+ (E). büchlein, enables the player to appreci- unique to handbells. All the selections arranged for 3–5 octaves of hand- Linda R. Lamb’s arrangement ate the theology and resulting affekt of are laid out without page turns, with bells and handchimes, with clarinet, has creatively combined portions of each piece. the exception of Berceuse. Special bass, and drums, by Cathy Mokle- Beethoven’s Moonlight Sonata with One of the most intriguing—and effects and articulations include vibrato, bust. Agape (a division of Hope Pub- the hymn tune, Ebenezer, associated surprising—entries appears in the mallet suspended bells, let vibrate, lishing Company), Code No. 2730, with other hymn texts including Once to appendix of Book 1 for Manuals Only. thumb damp, echo, singing bell, shake, $5.25; Code No. 2730P, conductor’s Every Man and Nation. This setting is An arrangement of the Fugue in G swing, martellato, martellato lift, mallet score, clarinet, bass and drums, simply written, but charming and effec- Minor (nicknamed “the Little”), by bells on table, and plucking. This is a $12.50, Level 3+ (D). tive in its simplicity. Johann Georg Schübler, one of Bach’s great reproducible collection, all under This arrangement of Thomas A. —Leon Nelson pupils, is published here for the fi rst one cover. Dorsey’s beloved hymn includes Vernon Hills, Illinois time in a performing edition. Schübler kept Bach’s subject and countersubject but reduced the number of voices to two and whittled down the length of the piece to 43 measures. Schübler subtitled his version, “Lass mich gehn, denn dort kommt meine Mutter her,” which trans- lates as “Let me go, because here comes my mother.” As Stinson points out, the words fi t the rhythm of the fi rst phrase of the fugue subject perfectly, which leads him to ask, “Does this mean that one of the most beloved melodies ever attributed to Bach is borrowed from a folk song?” The image of young lovers hurriedly separating at the approach of a parent seems a bit at odds with the serious nature of Bach’s counterpoint, but as a fugue subject, the tune can’t be beat. It might also be worth remem- bering that Bach wrote a quodlibet on two folksongs to conclude the Goldberg Variations, and there is also the aria “So oft ich meine Tobackspfeife” in D minor, BWV 515, in the Notebook for Anna Magdalena Bach (1725). Bach was no snob when it came to raw material for his compositions. These are intelligent and user- friendly volumes. The music is printed cleanly, editorial additions are minimal, and the format is standard book size. Marsden Thomas’s long experience as a teacher and performer are evident in the choice of repertoire and practical suggestions for registration, technique, and performance practice. Organists who desire more historical knowledge are guided, by means of the bibliog- raphy in each volume, to works by eminent scholars (including Stinson, of course). Highly recommended. —Sarah Mahler Kraaz Ripon, Wisconsin

New Handbell Music God of Amazing Grace, arranged for 3, 4, or 5 octaves of handbells with optional 3 octaves of handchimes, by Cathy Moklebust. Choristers Guild, CGB878, $4.95, Level 3- (D-). Opening with a spectacular fanfare introduction and settling into a rhythmic accompaniment, this arrangement intro- duces the hymn God of Grace and God of Glory. With a verse in this style, the piece changes rhythm and progresses into a fl owing pattern that introduces the old favorite Amazing Grace, with the melody played on handchimes. A transi- tion brings the piece back to the original

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 15 In the wind...

A saint of our own retired in 1948 and returned to Oberlin. Some old friends Sometime in the middle of the second I recall meeting him during that week Mr. Van Cleef’s gift provided a plat- century Anno Domine, a young Christian in November of 1974 in the hallway by form for the education of hundreds woman who had made a faithful vow of Haskell Thomson’s teaching studio. We of organists. 1974 was the heart of the virginity was married to a man named were introduced, and I thanked him for Orgelbewegung movement—the time Valerian. During the wedding, she sat his gift. He was 94, I was 18. when American organists and organ- alone and sang to God professing her Frank Van Cleef is not the fi rst builders were in the thrall of classic faith. The bride, Cecilia, substantiated wealthy elderly patriarch to be encour- styles of organ building and playing, her previous vow by appearing before aged to write a memoir. Gathering when so-called “factory built” organs lost Valerian with an angel protecting her. Horsefeathers is the third installment in favor among many. In retrospect, I think Around 180 AD, the young couple suf- a trilogy, a goofy history of his life with that the movement was less about the fered martyrdom for their faith under his family, replete with tales of designing oft-repeated battle between tracker and the Emperor Marcus Aurelius. At the houses, arguing about shrubbery, killing electric actions, but the realization that time of her death, Cecilia asked the pope rattlesnakes (really?), and ultimately, the collapse of the economy in 1929 and to convert her home to a church. rallying his family to donate the funds especially the economic impact of World In 1585, Pope Sixtus V released a for the new organ. I was amused to note War II led to the diminution of artistic papal bull founding the National Acad- that early in his career, while he and his integrity of American organs. emy of St. Cecilia, naming her as the fi rst wife were planning the construction The Aeolian-Skinner organ in Ober- patron saint of music. We celebrate the of their fi rst house, they lived on the lin’s Finney Chapel was considered Feast of St. Cecilia on November 22, twenty-second fl oor (looking south) of “second-class,” and the town was crawl- which is today, as I write. One Fifth Avenue in New York. That ing with Flentrops. Including the organ St. Cecilia is often depicted in statues, building is a few blocks from where we in the Episcopal Church, practice and paintings, stained glass, and tapestries. live in Greenwich Village—I can see it teaching organs, and the big red one in Typically, she is carrying a small portative through my offi ce window if I swivel my Warner Hall, there were more than a organ, and often, she’s depicted mishan- chair. Looking south provides an expan- dozen Flentrops in town. dling it. Assuming the Saint to be of aver- St. Cecilia (photo credit: “Cecilia Raphael,” sive view of Washington Square Park, It’s a long time since I played on that age height, the organ is 18 or 24 inches licensed under Public Domain via Commons: and in 1928, there wasn’t much else organ, but I remember it vividly. It was https://commons.wikimedia.org/wiki/File:Cecilia_ high, with perhaps 20 notes. She’s look- Raphael.jpg#/media/File:Cecilia_Raphael.jpg) that tall except the 57-story Woolworth a thrill to sit surrounded by the cases, ing off to one side, and the organ droops Building (built in 1913) on Broadway, those huge pedal pipes visible in the cor- out of her hands, a few pipes slipping or Handel had such struggles—both between Park and Barclay Streets, ner of your eye. Leaving behind all the loose—I imagine that in a few seconds have much richer catalogues than Paul across from City Hall Plaza, one and a confl icting philosophies and vitriol that the pipes will clatter to the ground. I’ve Simon—but we have heard from Ben- half miles away. gushed in those days, that organ simply asked around a little, but haven’t found jamin Britten’s partner Peter Pears, that sounded beautiful. Each knob you drew anyone who has a good explanation or as W. H. Auden submitted his poem to brought a new touch of magic. The sound theory for why it’s okay for the good saint Britten in installments, he included hints was lively, the action immediate and per- to be so careless! If anyone in the Organ as to how Britten might become a better sonal. That organ was mighty important Clearing House did that, they’d be on a artist. Ouch! to my formation as an organist. bus home pretty quick. Musicians throughout the Chris- Gathering horsefeathers Harvard Square tian world celebrate St. Cecilia Day, I was a freshman at Oberlin in the When I was growing up in the Boston honoring her memory for professing fall of 1974, and that year on November area, Harvard Square was just the place. her faith through song. Henry Purcell, 22, the grand Flentrop organ in Warner In 1956, Walter Holtkamp, Sr. installed Marc-Antoine Charpentier, and George Concert Hall was dedicated. E. Power a three-manual organ in St. John’s Frideric Handel are among the many Biggs, Charles Fisk, Harald Vogel, and Chapel of the Episcopal Theological who composed music dedicated to the Dirk Flentrop were among the luminar- School (now Episcopal Divinity School). saint. Benjamin Britten was born on the ies who participated in roundtable dis- Melville Smith, director of the Longy Feast of St. Cecilia in 1913 and aspired cussions, and Marie-Claire Alain played School of Music, was the organist of to write a piece in homage to the saint, the opening recital. I don’t remember the chapel, the young Charles Fisk was but struggled to fi nd an appropriate the program, but I do remember the Holtkamp’s apprentice, E. Power Biggs Latin text. W. H. Auden wrote the poem encore. She eschewed the usual fi re- (who had taught at Longy) lived nearby, that Britten set to music in his Hymn to works and offered Ich ruf zu dir, Herr and Daniel Pinkham was Biggs’s young St. Cecilia. Jesu Christ from Bach’s Orgelbüchlein protégé. I’d love to have been a fl y on the November 22 is the date of a few aus- (#40). Mr. Biggs received an honorary wall while that organ was being installed, picious musical events. In 1928, Ravel’s doctorate of music. with its (terribly) low wind pressures, Boléro was premiered in Paris, and in The Flentrop organ was dedicated exposed Great and Positiv chests, and 1968, The Beatles released their album, to the memory of George Whitfi eld open toe holes. Those musicians, at the The Beatles, known by music lovers as Andrews, longtime professor of organ core of the revival movement, must have “The White Album.” at Oberlin, and was funded by Oberlin had some fascinating conversations in Singer/songwriter Paul Simon wrote alumnus Frank Chapman Van Cleef, Flentrop organ at Oberlin College that crowded loft. his own homage to St. Cecilia, released whose wife had studied with Dr. My father taught homiletics at E.T.S, in 1970 in Simon & Garfunkel’s album, Andrews, and whose family members The story of the Flentrop organ fi lls and when I was clamoring to have Bridge Over Troubled Waters. Accord- had been students at Oberlin in every the last pages of Van Cleef’s book, pre- organ lessons, he took me to Alastair ing to the website Genius.com, Simon decade but two of the school’s existence sumably placing the experience as a high Cassels-Brown, the chapel organist. The has said that his lyrics are a refl ection on from its founding in 1833 until the point in his life. He tells how Oberlin Holtkamp was the second organ I ever St. Cecilia as an elusive muse, depicted 1970s! After graduating from Oberlin in president Robert Fuller (his next door as a troubling lover (“ . . . you’re breaking 1904, Van Cleef earned a degree in law neighbor) and professor of organ Fenner my heart, you’re shaking my confi dence at Columbia and later founded a fi nan- Douglas came to him (by appointment) daily . . .”). I don’t know if Purcell cial management fi rm in New York. He one evening, inviting him to support the project. As he tells it, his son John (Ober- lin ’31) was present, and later the family Saving organs throughout agreed that Frank, his four children, and their spouses would support the entire cost of the project. America....affordably! My musty copy of this little book has been on the shelves of all the offi ces in which I’ve worked. I bought it that weekend in Oberlin because I had met the man, and I suppose I read it then. As I read today, I refl ect on the dozens of people I’ve met who have given gener- ously to fund the design and construc- tion of new organs. Horsefeathers? The jacket fl aps explain. They’re the long hairs on a horse’s fetlocks, and they have no par- ticular purpose. (I know that Mr. Van Cleef was a horseman because he was 1-800-621-2624 on horseback when he killed the rattle- snake!) In his words, horsefeathers are foleybaker.com “something you do for the public good, Flentrop organ, Busch-Reisinger something that has no use for you.” Museum, Cambridge, Massachusetts

16 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM By John Bishop

when Dad was rector—he was now dean of Trinity Cathedral. Pat Quintin and I were married in that church in October of 1979 with my father offi ciating, assisted by his former assistant, my grandfather, uncle, and godfather (all priests). For the rest of his life, Dad loved to tell the story of how I shouted registration suggestions to Daniel Hathaway down the length of the nave during the wedding rehearsal the evening before. (Yup, I did that. . . .) The organ’s main case is twenty-fi ve feet tall, and the whole thing is perched on a high loft. There was scaffolding and lots of heavy lifting. I was outfi tted with Busch Flentrop nameplate a rig of leather straps like the fl agpole Flentrop organ, Trinity Episcopal carrier in a parade, so I could put the important part of my education, as each played. The fi rst, ironically, was the 1904 Cathedral, Cleveland, Ohio toe of a big tin façade pipe in a little cup week I heard a different artist playing E. M. Skinner organ at the Parish of the strapped to my waist, and climb a ladder the same organ. Some were terrifi ed Epiphany in nearby Winchester, Mas- into magpies. Calliope was the name of using both hands while co-workers pre- of it, some would have rather played a sachusetts, where Dad was rector, and I the ship that left Rotterdam in the spring ceded me sixteen feet above, balancing tracker, and some made magic happen. was about to “baritone” out of the youth of 1977, crossed the Atlantic, and sailed the top. My knees are almost sixty years Now, more than forty years out of high choir to join the adults. The Skinner was up the St. Lawrence Seaway into Lake old now, and things are different. school, I’ve worked with and played hun- in dreadful condition and was replaced Erie to the Port of Cleveland where it All the façade pipes were in place, dreds of instruments. Of course, some in 1974 with a new organ by Fisk. delivered the Flentrop organ for Trinity and as we left the cathedral, we turned are unremarkable, but most of them I was also excited to be allowed to Episcopal Cathedral. and looked back at the organ. The late bring to mind a story, a lesson learned, a practice on the big Aeolian-Skinner I was working for Jan Leek, a native afternoon sun was fl ooding the organ mystery revealed, or simply a great place organ at Christ Church (Episcopal), of the Netherlands, who had immigrated with red and blue light, and I burst into to have lunch nearby. I remember where Zero Garden Street, in Cambridge, the to the United States in 1961 to work tears. Organs still do that to me. I was the moment I grasped the concept church famous for its Revolutionary for Walter Holtkamp. When they were of electro-pneumatic actions, the time War-era bullet hole and its “George And on the other hand . . . the blower was running backwards, and Washington sat here” pew. Daniel Those Flentrop organs are terrifi c the two times I’ve fallen. It’s fun to think Hathaway was the organist there and was instruments, and they played a huge back about those that stand out and how very kind to me. Many years later, I was role in the history of the pipe organ in their histories are interwoven with my to maintain that organ, build a new con- America in the twentieth century. But experience. I’ve had plenty of conversa- sole for it, and then arrange for its sale in those days, I also learned about the tions with friends and colleagues about as the church purchased a new organ beauties of electro-pneumatic action, the organs that infl uenced them and from Schoenstein in 2006. The Organ especially working with Jan Leek in the played important roles in their careers, Clearing House dismantled the Aeolian- big Aeolian-Skinner at Church of the and I bet lots of readers are remember- Skinner for shipment—it was rebuilt by Covenant in Cleveland. And when I ing their favorites right now. I’d love to Quimby Pipe Organs and installed in a returned to Boston in 1984, I was lucky hear your stories. Q church in Sugarland, Texas. to get to care for the tremendous organs at Trinity Church, Copley Square. The Photos by William Van Pelt, except as The Busch regular Friday noontime recitals were an noted After having given weekly radio broadcasts for sixteen years on the Aeo- lian-Skinner organ in Harvard’s Busch- Reisinger Museum, in 1958 E. Power Biggs commissioned Flentrop to build a three-manual organ for the resonant but intimate room. Shortly after its installa- tion, Biggs presented the Flentrop to the world through his record-breaking series of recordings on Columbia Masterworks, Bach Organ Favorites. (It’s still the best- Window at Trinity Cathedral, Cleveland selling series of solo classical recordings.) A few days ago, friend and colleague installing the Holtkamp in Warner Hall John Panning, of the Dobson Organ at Oberlin, John noted that the school Company, posted photos of the organ on was looking for an organ technician, and 2016 Facebook. His caption read: knew that was the job for him. I worked for Jan part-time and summers when I Yesterday I enjoyed the opportunity to was a student, and as he left the school E. POWER BIGGS play what I consider the most infl uential to form his own company, I worked 20th-century organ in the United States. FELLOWSHIP The 1958 Flentrop organ in the Busch- full time with him for four years after I Reisinger Museum was not the fi rst Organ graduated. Jan, as a true Dutchman, was Reform instrument in the country, but E. friendly with the folks at Flentrop, and HONORING A NOTABLE ADVOCATE FOR Power Biggs’ many recordings of it brought we were engaged to help with the instal- the gospel of the Orgelbewegung to an examining and understanding the pipe organ, enormous audience, including me. Even lation of the big three-manual organ at today, jaded by subsequent developments, Trinity Cathedral. the E. Power Biggs Fellows will attend the it still impresses as a tremendously beauti- It was the summer before my senior OHS 61st Convention in the Philadelphia area, ful organ. year, and the fi rst time I had participated June 26 – July 2, 2016, with headquarters in I fi rst heard that Flentrop as a young in the installation of a large organ. We teenager when mentors took me to hear arrived at the cathedral to meet the truck downtown Philadelphia. Hear and experience Biggs play several recitals. At the conclu- bearing the overseas container. I carried a wide variety of pipe organs in the company sion of one of those programs, chock full a couple things up those stone stairs of organbuilders, professional musicians, and of Sweelinck, Buxtehude, and Bach, Mr. that were not featured in the Oberlin Biggs sidled out from behind the Rug- Flentrop—including a tied bundle of enthusiasts. werk and told us that he’d be happy to Swell shutters. What goes around, comes The Fellowship includes a two-year member- play another piece, but that he’d “run out around! And there was Daniel Hathaway ship in the OHS and covers these convention DEADLINE FOR APPLICATIONS of baroque music” (yeah, right!), and gave on the front steps of the cathedral, just us Charles Ives’s Variations on ‘America.’ arrived from Cambridge to start his costs: is midnight, February 29, 2016. Open to magnifi cent tenure as director of music. x Travel x Meals women and men of all ages. To apply, Calliope Daniel and I played several duo-recitals x Hotel x Registration // In Greek mythology, Calliope was using the cathedral’s two Flentrops go to HTTP: BIGGS.ORGANSOCIETY.ORG. one of the nine muses, representing (there’s a fi fteen-stop job on a platform eloquence and epic poetry. She defeated that rolls about the nave), treating audi- 2016 COMMITTEE the daughters of the King of Thessaly ences to Beethoven symphonies (3, 5, SAMUEL BAKER CHAIR SCOTT DETTRA ORGAN HISTORICAL SOCIETY in a singing competition, but instead and 6), and Rossini overtures played in JAIME CARINI PAUL FRITTS of receiving a cash prize, professional Werckmeister III. GREGORY CROWELL CHRISTA RAKICH WWW.ORGANSOCIETY.ORG concert management, and a recording Michael Jupin had been the associate contract, Calliope turned her opponents rector of the Parish of the Epiphany

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 17 On Teaching

Velocity II gesture and then execute it in the spirit Through the velocity exercises that I of my procedure from last month. have outlined in last month’s issue, we Once you know the fi ngering (maybe have moved from the predictable 5-4- 1-3-5-1-5 for the fi rst one, for example, 3-2-1 sequence to simple patterns, such or 1-3-5-1-4; maybe 1-2-4-1-5 for the as 5-1-4-2-3, or 5-4-3-2-1-3-2-1, which second) you can practice that fi ngering can be rendered predictable rather on the table or the arm of your chair. easily by studying them in advance. If Make sure that you have remembered predictability is the key to velocity, or exactly what you want to do before the most important one, then one way launching into actually doing it. Then to frame the quest to be secure and do it in as fast a tempo, and as lightly, as comfortable in playing fast is to ask how you can. For this moment of practicing, any passage can best be made fully and it seems permissible to me to ignore the consciously predictable. This month rhythm and just play fi ve notes in a row, I will continue to focus on looking at very fast and at the same pace as one one-line passages. another. Then do the same with those fi ngers at the keyboard. You have to add Predictability in the element of moving 1 and perhaps The simple patterns that I suggested, 5 to new (nearby) notes. This shouldn’t beyond 5-4-3-2-1, were designed to be slow you down, again as along as you Example 1 very easy to learn, where “learn” in this remember it very consciously before you case means exactly the same thing as do it. “make utterly predictable.” When we are Notice, by the way, that the opening dealing with pieces that are out there in gestures of this piece work especially the repertoire and that we haven’t con- well for the right hand not just—or even cocted for this purpose, we have to do mostly—because they are fairly high on what we can to create this predictability the keyboard, but because the fastest Example 2 for ourselves. This process can involve notes are going down: the direction in fi ngering choices and will always involve which the right hand can take advantage practice strategies and sometimes also of the closing-fi st gesture that I discussed various mental tips or tricks. last month. I fi nd it fruitful to approach this, in The gesture that begins measure 2 part, by building up from the little exer- is longer. As he often does, Bach intro- cises of the sort that I wrote about last duces technical elements in a way that month. One way to make it possible to is systematic enough that going through Example 3 do this is to fi nd ways of dividing pas- the passage from left to right is almost sages into small, simple components. a sort of graded method. It will involve These components might then be suffi - some moving or turning of the hand, one ciently approachable as to predictability way or another, on the model of some of that they don’t feel that different from the latter exercises from last month. the simple exercises. Then the issue If you fi nger the fi rst nine notes as 5-4- Example 4 becomes, in large part, one of putting all 3-2-1-4-3-2-1, then the moment of most of those components together without concern as to predictability is between drumming on a table. It can also mean, presents itself a bit differently for dif- losing the predictability. the f and the e, between 1 and 4. This is at the drumming stage, to practice a ferent musical textures. As long as there a routine gesture in keyboard fi ngering, bit at fi rst without doing the crossings: is one note at a time in a given hand, in Dividing into components but for the moment the point is to make just “playing” the fi ngers in the requi- theory the player has a free choice of any Example 1 shows the opening of J.S. it seem extra- or hyper-routine. This site order. Then of course it should be of the fi ve fi ngers of that hand to play any Bach’s Toccata, Adagio, and Fugue in can be addressed by practicing smaller brought back to the notes themselves, note. And striving for speed is certainly C, BWV 564, a useful laboratory for units that cross this spot. Initially away always with the same process: make sure not the only consideration in choosing thinking about this. The two opening from the keyboard, perhaps: 5-4-3-2- that you know exactly what you are going fi ngering. In fact it is not often the main gestures, which we can assume are for 1-4, of course; but also just 2-1-4; then to do before you do it, then carry it out as one, though it might sometimes be. the right hand, are very close to the 3-2-1-4, and so on. Then try units that fast as physically possible. However, it is always an available consid- kind of simple exercise that I have been allow you to practice recovering from What about the next grouping, begin- eration, one that matters more or less in presenting: more interesting musically, that moment of enhanced potential ning on middle c, just after the fourth different circumstances. especially in the way in which they set up unpredictability: 3-2-1-4-3; or 2-1-4-3; beat of this second measure? The seven Concerning the gestures from this what follows, and a bit more complicated or 2-1-4-3-2, and so on. notes beginning on that middle c might toccata that we have looked at so far, physically, but similar. You can come up Again, all of this can start away from as well be one of my exercises from just for “getting the notes,” we could with a straightforward fi ngering for each the keyboard with that sense of light, fast last month. Fingered 1-2-3-4-3-2-1 or play every note with 3 (which I mention 2-3-4-5-4-3-2, that cluster of notes is as fi rst because it is the longest and most predictable as can be. But there is a tran- balanced fi nger) or with any other fi n- Scattered leaves ... from our Scrapbook sition coming right up. Adding the fi rst ger. This is also true of the next several two notes of measure 3 seems trivially measures. Not that we would, of course. straightforward if we use 1-2-3-4-3-2-1- This would be the fi ngering that made 2-1 for the nine-note pattern. The transi- it hardest to get comfortable going fast The organ was my first orchestra. tion there is just a change of direction. (among other disadvantages). It locates If you have never played the organ, But then we have to do something, per- a transition moment between every two haps 3-2-3 on the following three notes, notes and is as far from drumming on the you have never known the joy of or perhaps 2-1-2. Or we can go back and table as you can get. feeling yourself music’s master, rethink things, perhaps changing the Probably the opposite—groupings sovereign of all the gamut of sounds whole pattern to 1-2-3-4-3-2-1-4-3-2-1-2 that are as large as possible and that or even 2-3-4-5-4-3-2-3-2-1-2-3. Which permit simply playing fi ngers in large and sonorities. Before those key- of these seems best from the point of groups rather than turning or moving the boards and pedals and the palette of view of seamless predictability? Which hand frequently—are the fi ngerings that of the quite different transition points in physiologically permit the fastest play- stops, I felt almost like a demigod, these different fi ngers seems easiest to ing. Fingerings that have many transition holding in my hands the reins that execute quickly and fl uently? points—including, sometimes, more controlled the musical universe. than would be strictly necessary, most Fingering and velocity likely for interpretive reasons—give the The last of these questions brings player more to think about and therefore Charles Munch us to the matter of fi ngering choices as have to be analyzed and practiced that they affect velocity: that is, the question much more to achieve fl awless predict- that I got from a reader and which pro- ability. The lesson of last month’s exer- voked this set of columns. That question cises, however, is that no gesture of this

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18 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM By Gavin Black sort is beyond the threshold of how fast implications for articulation. The dif- organizing this is to play fi rst all of the any of us can move our fi ngers. ferences between the members of those notes after each beat very fast, ending on Here are several ways of fi ngering the other pairs of fi ngerings would be minor and then holding the next beat, then to fi rst nine notes of the gesture that begins or nothing at a slow speed. Also, if the play all of the notes starting on each beat measure 4: fi rst note of the measure were an f-sharp very fast, ending with the last off-the- rather than an f-natural, that might beat note of each grouping. The template a) 5-4-3-2-3-2-1-2-3 bring the last three fi ngerings into play for doing this works as follows. For a b) 5-4-3-2-3-2-1-2-4 for some people, since the third fi nger set of notes written like Example 2, you c) 5-4-3-2-3-2-1-3-4 is longest and can reach raised keys the would fi rst play as shown in Example 3, d) 5-4-3-2-5-4-3-2-3 most easily and in the way that creates with the notes under each slur played e) 5-4-3-2-5-4-3-2-4 the best hand position. as fast as possible, and the notes under f) 4-3-2-1-4-3-2-1-3 So far I have been talking about play- the fermatas held as long as necessary to g) 4-3-2-1-4-3-2-1-2 ing fairly short passages very fast and feel ready to play the next cluster of fast h) 3-2-1-3-4-3-2-1-2 light, using the feeling of drumming notes; then Example 4. i) 3-2-1-3-4-3-2-1-3 on the table, and never playing more In this case, the notes under the slurs j) 3-2-1-4-5-4-3-2-3 than you can plan out and remember in should again be played as fast as pos- advance. One very good way of incor- sible. Then the last note of each grouping In next month’s column I will con- Try going through each of these and porating this idea into the practicing of can be held until it feels comfortable to tinue this topic and add some discussion evaluating the easiness—naturalness, longer passages is a particular form of execute the next cluster of fast notes. of multi-note or multi-voice textures, potential for predictability, as best you practicing with altered rhythm. I wrote along with a few special details, like the can assess it—of each of the transition about this in some detail in the column In applying this to practicing passages relationship of velocity to fi ngering in points. (I have indicated them by bold of May 2012. I quote the most relevant of the sort that we are talking about here, early music. Q italics.) Not all of these fi ngerings would part here, with a couple of examples: once you have fi ngered them and analyzed seem to make any particular sense in the transition spots, you can relax the Gavin Black is the director of the the context of the whole passage. (The Another format for altering rhythms evenness of the groupings. Just make sure Princeton Early Keyboard Center in last three don’t since you are coming to create effective targeted practice strat- that the short fast bits cover the transition Princeton, New Jersey. His website is from below and not going any higher.) egies involves speeding up not one note moments and overlap with one another so www.gavinblack-baroque.com and he But they are part of an experiment. You at a time (every other note, as above) that you are not creating moments where can be reached by e-mail at gavinblack@ may discover that they all seem more but clusters of notes. The classic way of you have trained yourself to stop. mail.com. or less equal in the respect that we are talking about. Or you may fi nd some of the transition points decidedly easier than others. This will depend in part on your training and habits and in part on the shape of your particular hand. Never forget that your unique hand matters: if your fi fth fi nger is relatively short, for example, you might fi nd c) quite awk- ward; if your second fi nger is signifi cantly shorter than your third you will probably Get Real fi nd b) meaningfully easier than a). How do the relative lengths of fi ngers 1, 2, and 3 affect the feeling of executing d) BUILDER MEMBERS as opposed to e)? If your fourth fi nger ANDOVER is quite short, you will probably fi nd g) BEDIENT easier than h). BERGHAUS AreAre yyouou purchasingpurchasing realreal sounds, There are several layers to what is BOND going on here. First of all, you can move BUZARD your fi ngers over all these notes and C.B. FISK oorr recordedrecorded sounsounds?ds? through any of these transition points CASAVANT FRÈRES ...real...real ppipesipes ccanan last for centuries. as fast as this or any piece will require DOBSON you to. (That is the lesson of last month’s GARLAND exercises and the central point of all of GOULDING & WOOD this.) Second, if one way of planning a HOLTKAMP ODELL transition point—one fi ngering—seems KEGG easier than others, it is worth consider- LÉTOURNEAU Call today for ing using that. Third, however, it is also NOACK often true that some ways of executing PARKEY APOBA’s free these transitions are more suitable musi- PARSONS cally/interpretively than others—that is, PASI 66+ page color more like what you want to hear. For PATRICK J. MURPHY example, here are some things that the PAUL FRITTS above fi ngerings will tend to accomplish QUIMBY prospectus in performance: RANDALL DYER a) easy to play legato seamlessly SCHANTZ b) puts an automatic subtle articula- SCHOENSTEIN & CO tion before the note on the second beat TAYLOR & BOODY of the measure c) seamless like a), but sets you up to SUPPLIER MEMMBERS proceed differently A.R. SCHOPP’S d) puts an automatic subtle articula- HARRIS tion before the “and” of the fi rst beat IOTI e) combines the articulations of b) and SOLID STATTE e)—and so on. SYNDYNE Placement of sharps and fl ats can OSI determine which transition-moment fi n- PETERSONO gerings will likely work best—or, some- Please watch and share times, which are really awkward or would our short video at: be nearly impossible at high speed. For www.apoba.com/video example, if the b-naturals in this excerpt were b-fl ats, then fi ngerings a), b), and c) would be close to impossible—let’s say NORTHNORTH disastrously awkward. The b-fl at would also affect the relative awkwardness/ AAMERICA’SMERICA’S naturalness of d) and e), of f) and g), or PREMIERPREMIER of h) and i). This will all vary from one person’s hand to another’s. And, again, ORGANORGAN BBUILDINGUILDING this is really about velocity. At a slow & SSERVICEERVICE FIFIRMSRMS enough tempo, even the thumb-on-a-fl at APOBA.COM 800-473-5270 fi ngering of a), b), or c) could be carried out successfully, though it might have

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 19 Baroque Performance Practice

Performing notes inégales: Evidence from cantates françoises

By Gregory Hand

he performance of notes inégales T (the primarily French convention of performing equally notated melodies in an unequal fashion by alternating short and long notes) is often a major impedi- ment to keyboardists unfamiliar with 17th- and 18th-century French music. Although there is a wealth of primary Figure 1. Michel Pignolet de Montéclair, Le Triomphe de Figure 2. Michel Pignolet de Montéclair, Le Triomphe de and secondary literature devoted to the l’Amour, First Air, Instrumental part, measures 1–2 l’Amour, First Air, Vocal part (with added arrows), measures topic of notes inégales,1 this literature is 8–10 usually focused on when notes inégales are to be used, and the differential ratio between the short and long notes. However, almost no literature exists that describes how notes inégales actually sounded. In this article, I will present new evidence on how notes inégales were performed in the eighteenth Figure 3. Louis-Nicolas Clérambault, Apollon et Doris (Book Figure 4. Louis-Nicolas Clérambault, Apollon et Doris (Book century, and how this knowledge can 4), First Air, Instrumental part, measures 1–3 4), First Air, Vocal part (with added arrows), measures 11–13 illuminate keyboard pedagogy and per- formance of notes inégales. The very fi rst challenge when play- ing French baroque music is to know exactly when notes inégales ought to be used. The treatises tend to be somewhat circumspect on the subject, occasionally just leaving it to a matter of taste. Here are but two examples of this Figure 5. Louis-Nicolas Clérambault, Clitie (Book 5), Second Figure 6. Louis-Nicolas Clérambault, Clitie (Book 5), Second maddening vagueness. Air, Instrumental part, measures 1–2 Air, Vocal part (with added arrows), measures 6–8 Nivers in 1665 states that “This style [notes inégales] is applied by personal feature an “instrumental anticipation,” discretion as are many other things a relatively new compositional device which must be governed by the ear and for French baroque vocal music. The by wisdom.”2 instrumental anticipation is simply a Saint-Lambert in 1702 instructs: short preview of the singer’s part, played “When using this inequality of eighth by an instrumentalist as an introduction. notes or quarter notes, taste must decide Comparing the instrumental anticipa- if they ought to be altered a little or tion to the upcoming vocal part yields Figure 7. François Couperin, L’art de toucher le claveçin, p. 29 greatly. There are some pieces in which special insight into French baroque it works well to alter them greatly, and performance practice, and can some- vocal part is therefore an example of example of notes inégales. Here again others where they require less. Taste times prove that the vocal part ought to notes inégales: it is notated equally, but we see that the text is naturally unequal, judges this as it does tempo.”3 be performed with notes inégales. For meant to be performed unequally. and that the momentum of the text is However, there is a body of repertoire example, in Figures 1 and 2 (both from Having isolated this melody as unam- across the beat. that can shed light on this issue: the the fi rst air of Montéclair’s Le Triomphe biguously using notes inégales, we can Figures 5 and 6, from Clérambault’s cantate françoise.4 This genre fl ourished de l’Amour), the two parts have the exact examine the text underlay to better Clitie (Book 5), Second Air, are par- in the fi rst half of the 18th century, same melody. The instrumental part is understand how notes inégales should ticularly interesting, since the composer and arias in this genre predominantly dotted, but the vocal part is not. The sound. Notice how naturally the text explicitly asks for the eighth notes to be lends itself to inequality, with a slight played inégales in the instrumental part. lengthening of “ha-” and “des”, and a And once again, we see that the text correspondingly shorter “-bi-” and “re-.” underlay is set across the beat. It is also clear that the text is set across At fi rst, it may seem puzzling that the beat. That is, the momentum of composers used a different notation the text carries us into the strong beat. for the same melody. In the fi rst two I have illustrated this by adding arrows examples above, the instrumental part to Figure 2 to show the momentum of was dotted, but the vocal part was not. the text. In the third example, a performance Figures 3 and 4, from Clérambault, directive asked for notes inégales, and Apollon et Doris (Book 4), First Air, this directive is missing from the vocal contain another example of an unequally part. The central question is: why is the notated instrumental anticipation, fol- vocal part notated equally? lowed by an equally notated vocal part. The answer seems to be that dotting The vocal part must therefore also be an the vocal part was redundant, since the

20 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Villeroy. Composées par Mr. Cléram- bault, Livre IVe. Paris: L’Auteur, 1720. Facsimile, with an introduction by David Tunley (The eighteenth cen- tury French cantata, 10). New York: Garland, 1990. ———. Cantates Françoises Mellées de Simphonies; Dediées a la Reine. Com- posées par Mr. Clérambault, Livre Ve. Paris: L’Auteur, 1726. Facsimile, with an introduction by David Tunley (The eighteenth century French cantata, 10). New York: Garland, 1990. Couperin, François. L’art de toucher le clavecin. Paris: l’Auteur, 1716. http://catalogue.bnf.fr/ark:/12148/ cb38808175z (accessed May 3, 2015). ———. Pièces d’orgue II. Messe propre pour les couvents de religieux et reli- gieuses. Paris: Chéz l’autheur, 1690. Facsimile. Courlay, France: Editions J. M. Fuzeau, 1986. Helfl ing, Stephen E. Rhythmic Altera- tion in Seventeenth- and Eighteenth- Century Music: Notes Inégales and Overdotting. New York: Schirmer Books, 1993. Montéclair, Michel Pignolet de. Can- tates: à Une et à Deux Voix et avec Sinfonie. Composées par Mr. Montè- Figure 8. François Couperin, Messe pour les Couvents, “Petit Fugue sur la Chromhorne” clair. Second Livre, qui contient six Cantates Françoises et une Cantate singer had the text underlay for refer- It is also important to note that these Notes Italiène. Paris: L’Auteur, Foucault, ence. Since the French language is fi ngerings are totally unlike North 1. A review of the literature regarding [s.d.]. Facsimile, with an introduction naturally unequal, there was no reason to German and English early fi ngerings. notes inégales is summarized in Stephen E. by David Tunley (The eighteenth cen- waste engraving time to express a subtle The fi ngerings of those schools stress Hefl ing, Rhythmic Alteration in Seventeenth- tury French cantata, 12). New York: rhythm that was obvious to the singer. within-the-beat performance, and in and Eighteenth-Century Music: Notes Iné- Garland, 1990. gales and Overdotting (New York: Schirmer If you know some French, try saying my opinion, this is simply because those Books, 1993), 3–61. Ranum, Patricia M. The Harmonic Ora- (or singing) “Pourquoy cher auteur de languages are not spoken or sung as 2. Guillaume Gabriel Nivers, Livre d’orgue tor. Hillsdale, New York: Pendragon mes peines” without any inequality… it’s unequally as French. contenant cent Pieces de tous les Tons de Press, 2001. almost impossible! On the other hand, To train ourselves to play the keyboard l’Eglise. par le Sr. Nivers Me. compositeur en Tunley, David. The Eighteenth Century the instrumental part has no text, so with a French accent, it can be helpful to musique et organiste de l’Eglise St. Sulpice de French Cantata. New York: Oxford there is no signal to the player when or add a text when we practice. As an exam- Paris (Paris: chez l’Autheur proche S. Sulpice University Press, 1997. where to use notes inégales. This forced ple, I have selected the “Petit Fugue et R. Ballard seul Imp. du Roy pr. la musique, the composer to write out the inequality sur la Chromhorne” from François 1665), Preface. Cited and translated in Judith Gregory Hand is assistant professor of using dotted rhythms. Couperin’s Messe pour les Couvents. For Caswell, “Rhythmic Inequality and Tempo in organ at the University of Iowa. He has French Music Between 1650 and 1740” (PhD This is fundamental to understanding this piece, I engraved an edition myself diss., University of Minnesota, 1973), 105. given concerts and masterclasses in the notes inégales: it is a vocal phenomenon. from a facsimile of the original print, and 3. Michel de Saint-Lambert, Les Principes United States, France, Germany, Spain, As keyboardists, when we use notes iné- added a text (see Figure 8). I chose to du Clavecin Contenant une Explication exacte and Brazil. gales, we are imitating French song. add the text from the Clérambault aria de tout ce qui concerne la Tablature & le Cla- But what does it mean to imitate above (Figures 5 and 6), since it has the vier (Paris: Chez Christophe Ballard, 1702), French song at the keyboard? Simply same rhythm and meter as the Couperin. pp. 25-26. Cited and translated in Caswell, put, our performance needs to sound Keeping this text in mind while practic- “Rhythmic Inequality,” 141. like it has a French text. This precludes ing will make the notes inégales sound 4. The history of this repertoire can be a seamless legato: texts have consonants effortless, and will allow each “au-” to found in David Tunley, The Eighteenth Cen- tury French Cantata (New York: Oxford Uni- that break up the sound. At the key- transfer its momentum across the beat to versity Press, 1997). Many of the cantates are board, armed with a good and sensitive the following “-teur.” available in facsimile. action, we use subtle articulations to It is vitally important to ignore the 5. Those interested in the art of French project our “text.” instrumental-style beaming, which is baroque musical oration will fi nd Patricia Ra- Of course, if we are playing a melody a diffi cult task for performers. When num’s book, The Harmonic Orator, to be an with lots of leaps, or long virtuosic two eighth notes are beamed together invaluable and inspiring guide. passages, the music is probably instru- (like “cher” and “au-”), we often feel mentally conceived rather than vocally obligated to somehow bind those two Bibliography conceived, and the use of notes inégales notes together. But this impulse will Clérambault, Louis-Nicolas. Cantates would be inappropriate. But primarily destroy our French accent. When play- Françoises Mellées de Simphonies; stepwise melodies, with clear phrases ing French baroque keyboard music, we Dediées a Monseigneur le Maréchal de (like sentences and clauses), will be best need to have our beam-cutting scissors projected with notes inégales. close at hand. In fact, the vocal parts Fingering is an important aspect of from the cantates cited in Figures 2, 5, A New Song In Switzerland playing notes inégales at the keyboard. and 8 are completely unbeamed! We must devise a fi ngering that allows Another impulse to avoid is putting an us to easily transfer the momentum artifi cial break at the bar line. For many across the beat. This is not a new idea: musicians, this is an ingrained habit. But in 1716 François Couperin, in L’art de it is absolutely contrary to a good French toucher le claveçin (p. 29), prescribed accent at the keyboard. the right-hand scale fi ngering shown in Obviously we cannot conclusively Figure 7. generalize about how a language is (Note that the passage starts on the sung from only three examples. I second eighth note of the measure. Since strongly encourage keyboardists to the passage ends on an “orphan” eighth investigate the rich and dramatic music note, the engraver didn’t include the fi rst contained in the cantates françoises. eighth note rest, in order to make the As we get used to singing them, it total time values in the two measures add becomes easy to transfer this singing up correctly.) style to French baroque keyboard This fi ngering aligns perfectly with music. And when we reach that point, Specialists in Restoration, across-the-beat notes inégales perfor- we no longer worry about ratios, Conservation, Voicing & Tonal Finishing of High-Pressure Pipe Organs mance. For example, in the ascending articulation, or fi ngering. We simply 1845 South Michigan Avenue #1905 scale, the given fi ngering naturally trans- project the imagined text, like an JL Weiler, Inc. Chicago, Illinois 60616 5 fers the momentum from each short 3 to orator. We need only to remember to PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS 312-842-7475 the following longer 4. “play it like you say it!” Q [email protected] | www.jlweiler.com

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 21 Festival report

The Schweitzer Festival moves to Trinity College By David Spicer

t age 18, we are going to college! After a silent sigh of relief that I was after Labor Day, which would always A The Albert Schweitzer Organ Fes- “off the hook” for raising the funds to run close to Dr. Schweitzer’s death date Trinity College tival is moving to its new home at Trin- complete Bernie’s dream, I noticed post- (September 4, 1965). His birth date was ity College in Hartford! After enjoying ers on the wall about Albert Schweitzer’s in January (January 14, 1875), and it was text is from The Quest for the Historical eighteen glorious years of this annual organ recitals. I asked about them, and felt that, in Connecticut, the weather Jesus, by Albert Schweitzer) festival at the First Church of Christ in Mr. Robles stated that there had been might be a little colder than most would Go Ye Into All the World, Robert Wethersfi eld, we look forward to even an Albert Schweitzer Organ Festival in wish for. Wetzler greater community participation mov- Holland, and that “we would like to have I selected the repertoire for the com- Hymn: Let Heaven Rejoice, ing forward. At this time of transition, I a festival in America.” We kept talking, petition, which refl ected the Schweitzer hymn tune: Rock Harbor, music by would like to offer a brief history of the and the energy was fl owing. I volun- posters and his friendship with Charles- Alan McMillan, text by Hal M. Helms. festival, along with a report on our 2015 teered our church as a possible site—and Marie Widor. As a young boy, I fondly weekend—plus a glimpse of the future. the rest is history. remember those big, grey copies of my John Walker, a judge for 2015, writes: The Albert Schweitzer Organ Festival We launched the idea of a competi- music, even though they now lack covers “Emerging from the six brilliant began as an overtone. An inventor-type tion by presenting Thurston Moore’s and the pages have become separated. fi nalists in the eighteenth annual Albert entrepreneur, Bernard Baruch Surkis, multimedia production, “Words of Even so, I still use them! Schweitzer Organ Festival, Monica had joined the First Church of Christ, Albert Schweitzer and the Music of Hymns were included, because most Czausz won fi rst place in the Young and during a service, he felt that God Bach,” which had been debuted by the of us end up in a church position, and it Professional Division, and Adrian Bin- wanted him to give his newest invention Tennessee Players a few years earlier. seemed to me that most teachers were kley took top honors in the High School to the Albert Schweitzer Hospital in Organists who played for this were not stressing the importance of hymns Division. All contestants played at an Haiti. His invention was a machine that Ronald Ebrecht, Ellen Hunt, Ezequiel and their interpretation of the texts. impressively high level, everyone there- turned salt water into drinking water. Menendez, Christa Rakich, Catherine Finalists were to play—the High School fore being declared a winner. Having While other machines already did this, Rodland, John Rose, and Ralph Valen- Division: a major Bach work, a Widor been nurtured for almost two decades his had a special feature, the purpose of tine. Guest narrators were Joanne Nesti, slow movement, a work from a com- by its founder, David Spicer, ASOF is which I do not recall. At any rate, Mr. Gilbert Bond, and the Rev. Donald W. poser born after 1850, and two hymns; far more than a performance competi- Surkis wished to make fresh water easily Morgan. The organ works of Bach were the Young Professional Division: one tion: featured events of the weekend accessible for the hospital. Tragically, he interspersed with readings about or by of the Franck Chorales, a major Bach included a festival concert with massed died in a car accident, and since he was Albert Schweitzer. The pieces included: work, a Widor slow movement, and two choirs and organ, the competition, a friend of mine, I spoke at his memo- Toccata and Fugue in D Minor, Nun hymns. One of the two hymns, which is opportunities for all contestants to rial service and shared his vision, saying komm der Heiden Heiland, Liebster Jesu, required, was St. Thomas (Williams)—”I play in services of worship at the First that I would follow through on his idea wir sind hier, and the St. Anne Fugue, Love Thy Kingdom, Lord.” This became Church of Christ (Wethersfi eld) and the for the Haitian hospital. I later learned among others. We had to have overfl ow our “Schweitzer Hymn” because the Cathedral of St. Joseph (Hartford), an that a machine would cost $100,000! I seating! Thurston Moore and his wife, words were by Timothy Dwight (1752– organ masterclass with the adjudicators, gulped, but made an appointment with Georgianna, were with us for this event. 1817), then the president of Yale. He a fi eld trip to the Austin Organ factory, the Albert Schweitzer Institute, then We tried to fashion the competition and his grandfather Jonathan Edwards and shared meals with competitors, housed in Wallingford, Connecticut. The after its European counterpart, as it (1703–58) spent time together in the adjudicators, and board members of director at that time, Harold Robles, met was described to us. The adjudicators Wethersfi eld area. The only steeple ASOF. Following that memorable week- with Ruth Brennan, chairperson of my opened the event to inspire the fi nalists, around was that of the meetinghouse end, everyone departed with renewed music committee, and Nancy Andersen, then the competition was the next day. in Wethersfi eld (still used here at First inspiration and confi dence in the future from the First Church of Christ, and We were told that a large, black curtain Church), so they most likely were quite of our chosen vocation.” informed us that our offer to give the hid the players from the judges. familiar with its beauty. In the second machine was wonderful, but not needed, We decided that Friday night would verse of the hymn, Dwight wrote: “I love Diane Meredith Belcher, judge, because a donor had given funds to drill be our judges’ performance night. The Thy Church, O God; Her walls before writes: a well that would provide fresh water for competition was launched. We chose to Thee stand. . . .” Reverend Donald W. “The eighteenth annual Albert the hospital. have the festival on the fi rst weekend Morgan felt sure that Dwight had the Schweitzer Festival has a history of bring- meetinghouse steeple in mind when he ing together student, volunteer, and pro- penned those words. fessional church musicians, and this year We felt that three judges would be was no exception. It was exhilarating to best, and, like the European model, they see the combination of so many talented would not be able to see the fi nalists high school and college/graduate school when playing. organists, combined church choirs and We determined that three fi nalists vocal soloists, and seasoned professional would be invited in the High School Division and three from the Young Professional Division, to be chosen from the applicants. The level of playing has been incredibly high! On the opening night, we invited the three judges to play 8–10 minutes each and we formed a Fes- tival Choir to sing. Complementing the judges’ selections, our usual repertoire was composed by organists: Prelude – (played by me) Psalm 150, César Franck Hymn: Christ Is Made the Sure Foun- dation, hymn tune: Christ Church, Richard Dirksen David Spicer, Artistic Director, awarding David Spicer, Artistic Director, awarding Kyrie (Messe Solennelle, op. 16), Louis fi rst prize in the Young Professional Di- fi rst prize in the High School Division to Vierne It’s never too early to start practicing for vision to Monica Czausz Adrian Binkley He Comes to Us, Jane Marshall (The the Albert Schweitzer Organ Festival

22 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Lutheran Church in Wethersfi eld, Con- necticut; Bethany Covenant Church, Ber- lin; the Cathedral of St. Joseph, Trinity College, and Asylum Hill Congregational Church in Hartford; St. John’s Episcopal Church and St. James’s Episcopal Church in West Hartford; and First Church of Christ, Congregational, in Glastonbury. The graciousness of the congregation, staff, and the community was truly a blessing! This year’s festival featured judges Diane Meredith Belcher, Peter Richard Conte, and John Walker, and opened on Friday, September 11, with a Festi- val Choir composed of representatives from Center Church in Hartford, the Cathedral of Saint Joseph, and the First Church of Christ. Ezequiel Menendez accompanied, and I conducted. Here are this year’s fi nalists. High School Division 1st Place ($2,000): Adrian Binkley First Church of Christ, Wethersfi eld from Madison, Wisconsin, a student of Thomas Bara, Interlochen Center for organists serving as performers, teachers, the Arts. This prize is provided by the mentors, and/or judges. As usual, David Marjorie Jolidon Fund of the Greater Spicer led his fl ock of fi nalists, assisting Hartford Chapter, American Guild of musicians, volunteers, and guest judges Organists. (Peter Conte and John Walker) with 2nd Place ($1,000): Aaron Patterson energy and commitment that is astound- from Philadelphia, Pennsylvania, a stu- ing. What I continue to love most about dent of Dennis Elwell. this festival is that it truly is about what 3rd Place ($500): Elena Baquerizo most organists do and what church from Miami, Florida, a student of music is about: serving God and being at Thomas Schuster. service to others in the church through Young Professional Division music. Finalists not only compete, they 1st Place ($3,500): Monica Czausz perform in church and in masterclasses from Houston, Texas, a student of Ken and observe others rehearsing choirs Cowan, Rice University. and playing for services. A more collab- 2nd Place ($1,500): Robin Ericksen orative, inspirational, and heartwarming from Macon, Georgia. competition/festival one fi nds only rarely 3rd Place ($750): Mary Pan from Bur- in our profession. Kudos to David Spicer lington, Connecticut, currently studying and the board of the ASOF for another with Thomas Murray, Yale School of wonderful success, and congratulations Music. to all six fi nalists, who were winners The David Spicer Hymn Playing before even arriving.” Award ($1000): Adrian Binkley. Save the dates: the festival is moving I would like to thank the First Church to the last weekend in September—Fri- of Christ for eighteen glorious years! A day, September 30, to Sunday, October special note of thanks to ministers Donald 2, 2016, with an opening concert at the Elena Baquerizo, Aaron Patterson, Robin Ericksen, Adrian Binkley, Mary Pan, and W. Morgan, J. Jey Deifell, Jr., and Deryk Cathedral of St. Joseph in Hartford. Monica Czausz Richenburg for their support and encour- The competition will be held at Trinity agement. It has been wonderful to have College on Saturday, October 1, and Menendez, Soo Hwan Pai, John Rose, Christ in Wethersfi eld, Connecticut, in so many talented organists with us, along the 2015 fi rst-prize winners will return and Phillip Truckenbrod. 1986. In 1996 he and Dr. Harold Robles with supporters who travel from as far as on Saturday night to play a recital at St. For more information about the festi- founded the Albert Schweitzer Organ the Czech Republic, Wisconsin, and Flor- John’s Episcopal Church in West Hart- val weekend and next year’s competition Festival. Spicer is a graduate of the Cur- ida, and have faithfully attended, hearing ford. A masterclass ending the festival requirements, please see our website at tis Institute of Music, where he studied the church’s magnifi cent Austin organ. A will be held on Sunday afternoon at Trin- www.schweitzerfestival.org, or contact with Dr. Alexander McCurdy, and is a special note of thanks is given to Austin ity College. 860/529-1575, ext. 209. The deadline for graduate of the Eastern Baptist Theo- Organ Service of Avon, Connecticut— We are grateful to our newly formed application is June 7, 2016. logical Seminary. He is married to Dana, Bon Smith, president, and to Alex Belair board of directors for their vision and Bernard Surkis would be pleased that a and they have a blended family of seven and Michael Tanguay, for the gracious gift support. Board members include: fresh supply, not of water, but of support children and twelve grandchildren. The of servicing the organ for this festival. We Robert Bausmith, chair, Marilyn Aus- for young organists, has been created! Q picture seen on page 22 is three-year also thank the additional practice sites tin, Stewart Battle, Robert Clement, old Edan (grandchild number 11), for making their instruments available: William L. Dean, Newton R. Gilchrist, David Spicer began as minister of with Grandpa at the Wethersfi eld Trinity Episcopal Church and St. Paul’s John Gorton, Vaughn Mauren, Ezequiel music and the arts at the First Church of Austin Organ.

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 23 Cover feature

Nave with Grande Orgue, Recit, Positif, and partial Pedale on the left; Choeur and partial Pedale on right

Kegg Pipe Organ Builders, peril. Pipe organs built in the United as appropriate, including new 8′ and 4′ the largest of the three reed choruses and Hartville, Ohio States in the 1960s pose a particular chal- stops of substantial scale. The Positif was are shared with the Pedale. Our Lady of Fatima Church, lenge. These organs were usually honest a division that did not fi t well into the The Recit contains all that might be Lafayette, Louisiana best efforts by builders, but few have new scheme, nor did the pipe spacing on expected. The principal chorus here stood the test of time. They tend to be the chest lend itself to larger scales. In is lighter than the Grande Orgue. The From the organbuilder excessively light in the bass, thin in the the end, this division was retained largely strings are narrow in the Cavaillé-Coll tra- When we were fi rst approached by middle, and shrill at the top. Coupled intact as a foil for the new Grand Orgue dition. The reeds are bright and fi ery. This music director Keith D’Anna to rebuild with the change in desires for an instru- when playing lighter polyphonic works. reed chorus is the brightest of the three the Hoffman pipe organ at Our Lady ment that will better support both lay and The right chamber was largely empty, in the instrument. The composed cornet of Fatima Church in Lafayette, Louisi- trained singers, these organs frequently which gave us a blank canvas to work here is light and lyrical in contrast to the ana, we recognized the builder’s work leave congregations wanting. To rebuild some magic. Here are located new Pedal commanding Grande Orgue Cornet III. and were familiar with it. The organ an organ and make it into an instrument Subbasse and Bombarde stops along The Choeur has many duties includ- is installed in large open chambers at that will serve well and age gracefully with an entirely new Choeur division. ing accompanying most of the choral the sides of the sanctuary. Most of the requires the builder to be fl exible, fi nding The Choeur is located directly behind work. Thus it is designed as a second original organ was in the left chamber, the assets in the instrument and taking the choir area with expression shades Recit rather than a typical Choir division. quite far away from the choir seating advantage of them while introducing new facing both the choir and nave of the The Gambe is more broad than the Recit area, making use of the organ with the elements to build a cohesive instrument church. The nave shades can be closed Salicional, providing a clear unison line. choir diffi cult. Unwise changes to the that meets the needs of the client. when working with the choir to more A wide range of dynamics is available original organ, made largely by hobby- The original organ was built on easily balance the organ with the voices. from the mystic Flute Celeste through ists, needed to be addressed. In addition electro-pneumatic pitman wind chests. In order to facilitate choral accompani- the Trompete chorus. This reed chorus is to rebuilding the organ mechanically, These chests we have rebuilt to new ments, this division has many stops the darkest of the three on the organ and there was the desire to bring parts of the condition. All existing pipes were mea- duplexed onto a fl oating Bombarde divi- has proven to be the workhorse chorus organ closer to the choir loft on the right sured for scale, metal thickness, mouth sion, effectively providing the organist for hymns and choral work. Note that the side of the church as well as transform it width and cutup, along with judgments two manuals of organ resources that are Gambe also plays at 4′ pitch, providing into an instrument that was in the style regarding sound. Placed on paper, these close to the singers. a third level of 4′ tone that is between of late Cavaillé-Coll circa 1885, in part to measurements were then considered as The Grande Orgue has rich unisons the Principal and the Flute Conique. refl ect the French heritage of this parish. though the organ were completely new. that easily support the upperwork, which Such a stop is most welcome when the This was a tall order. Our solution was Existing stops that would fi t in the new is topped by a Cymbale III. Though choir needs a small boost of pitch sup- a complete rethinking of the organ both plan were retained. Those that would three ranks, this last stop is only one pitch port when the 4′ Principal is more than mechanically and tonally. not were discarded. Many retained stops partial higher than the Fourniture. When needed. Also in this division are a strong The rebuilding of an existing pipe were placed in different locations to con- added it brings sparkle without impact. Harmonic Flute and a Cromorne, both organ can be the most daunting task for tribute in a new way. A new expression The Grande Orgue’s principal chorus at 8′ pitch. The Cromorne is in typical an organ builder. When successful, it can enclosure was built for the Recit giving is powerful and dignifi ed. The Flute Cavaillé-Coll style, being strong, round, be one of the most rewarding as well, but more room for additions. Mixtures were Ouverte is wood and contrasts nicely with and dark with a slight hint of edge at the the path to success can be fraught with recomposed. New pipework was added the metal Bourdon. The Bombardes are center of the tone.

Kegg Pipe Organ Builders

GRANDE ORGUE (II) RECIT (III, enclosed) CHOEUR (I, enclosed) POSITIF (IV) 16′ Violon Basse 73 pipes 16′ Salicional 73 pipes 16′ Bourdon 73 pipes 8′ Bourdon 61 pipes 8′ Montre 61 pipes 8′ Diapason 61 pipes 8′ Bourdon (ext) 8′ Cor de Chamois 61 pipes 8′ Violoncelle (ext) 8′ Flute a Cheminee 85 pipes 8′ Flute Harmonique 61 pipes 4′ Prestant 61 pipes ′ ′ ′ 2 8 Bourdon 61 pipes 8 Salicional (ext) 8 Gambe 85 pipes 2⁄3′ Nazard 61 pipes ′ ′ ′ 8 Flute Ouverte 61 pipes 8 Voix Celeste (TC) 49 pipes 8 Flute Dolce 61 pipes 2′ Quarte d’Nasard 61 pipes 4′ Prestant 61 pipes 4′ Prestant Conique 61 pipes 8′ Flute Celeste (TC) 49 pipes 1 1⁄3′ Quinte 61 pipes 4′ Flute a Cheminee 61 pipes 4′ Koppel Flute 61 pipes 4′ Prestant 61 pipes ′ 2 ′ ′ Cymbale III 183 pipes 2 Doublette 61 pipes 2⁄3 Nasard 61 pipes 4 Flute Conique 61 pipes ′ Cornet III 183 pipes 2′ Doublette 61 pipes 4′ Gambette (ext) 8 Rohr Schalmei 61 pipes 1 Tremblant 1⁄3′ Fourniture IV 244 pipes 2′ Flute (ext, Flute a Cheminee) 2′ Doublette (from Mixture) 3 Positif 16′ Cymbale III 183 pipes 1⁄5′ Tierce 61 pipes 2′ Flute 61 pipes Tremblant Plein Jeu III 183 pipes 1′ Piccolo (ext, Gamba) Positif Unison Off 16′ Bombarde (Ped) 16′ Basson-Hautbois 73 pipes Mixture IV 244 pipes Positif 4′ 8′ Bombarde (Ped) 8′ Trompette 73 pipes Scharf IV (from Mixture) 8′ Fatima Trompette (G.O.) 4′ Clairon (Ped) 8′ Hautbois (ext) 16′ Trompete 85 pipes Etoile Grande Orgue 16′ 8′ Voix Humaine 61 pipes 8′ Trompete (ext) Grande Orgue Unison Off 4′ Clarion (ext) 8′ Cromorne 61 pipes Grande Orgue 4′ Tremblant 4′ Clairon (ext) 8′ Fatima Trompette 61 pipes Recit 16′ Tremblant Recit Unison Off Choeur 16′ Recit 4′ Choeur Unison Off 8 Fatima Trompette (G.O.) Choeur 4′ 8′ Fatima Trompette (G.O.)

24 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM The 16′ Bombarde with Haskell con- struction, where the pipe is inverted on itself. This is a full-length speaking pipe in half the height. The Fatima Trompette

Choeur pipes prior to installation of The console with the Grande Orgue, Recit, Positif and partial Pedale behind the Cromorne. Mixture IV is in the fore- ground. The mitered pipes are of the heavily infl uenced by late Cavaillé-Coll Steinman, whose contributions to the Flute Dolce. work. Our Lady of Fatima Church is a project were invaluable. gratifying and reverberant space with —Kegg Pipe Organ Builders The Pedale is complete with a full The Fatima Trompette from the baptis- hard surfaces all around. The organ Charles Kegg, President and Artistic principal chorus through Mixture III. mal area looking toward the altar fi lls the room evenly throughout the Director It has all the color and power to sup- dynamic range. While most at home Philip Brown port the manuals and to dominate when 6-inch pressure, which is not excessively playing French Romantic works, it is Michael Carden required. Reasonable borrows from the high; its position gives it the presence that quite capable of playing other styles with Cameron Couch manuals appear here for convenience. is needed. The bass is round and tuba-like conviction. Its ability to support and Randall Crawford The 32′ stops are note-by-note record- and grows in point as it ascends. It can encourage congregational singing has Joyce Harper ings of specifi c stops, not digital recre- be brought into the full organ with the received much praise. John Johnson ations. They are kept in balance with the blessing of the congregation yet bring the We are grateful to Father Michael Philip Laakso rest of the organ for proper blend. bride down the aisle with aplomb. Russo and music director Keith D’Anna Bruce Schutrum In the rear of the church is the dra- The net result is not a Cavaillé-Coll for their support and faith throughout Dwayne Short matic Fatima Trompette. This stop is in organ, but a unique instrument that is the project. We are also grateful for very polished brass with fl ared bells. It is on clearly built by the Kegg company and special help from Lesha Theriot and John Photo credit: Charles Kegg

Our Lady of Fatima Church, Lafayette, Louisiana

BOMBARDE (fl oating) PEDALE 8′ Trompette (Rec) Positif to Grande Orgue 16′ 8′ Bourdon (Ch) 32′ Principal* 4′ Fatima Trompette (G.O.) Positif to Grande Orgue 8′ 8′ Gambe (Ch) 32′ Bourdon* 4′ Clairon (ext) Positif to Grande Orgue 4′ 8′ Salicional (Rec) 16′ Contrebasse* 4′ Cromorne (Ch) Choeur to Positif 8′ 8′ Flute Harmonique (Ch) 16′ Violon Basse (G.O.) * electronic Pedale to Recit 8′ 8′ Flute Dolce (Ch) 16′ Subbasse 44 pipes 8′ Flute Celeste (Ch) 16′ Salicional (Rec) Grande Orgue to Pedale 8′ ′ ′ Grande Orgue to Choeur 8 4 Gambette (Ch) 16′ Bourdon (Ch) Grande Orgue to Pedale 4′ Recit to Choeur 8′ 4′ Flute Conique (Ch) ′ ′ ′ ′ 8 Octave (1–12 Violon Basse) 32 pipes Recit to Pedale 8 Positif to Choeur 8 16 Bombarde (Ped) 8′ Subbasse (ext) Recit to Pedale 4′ 8′ Bombarde (Ped) ′ ′ ′ 8 Bourdon (Ch) Choeur to Pedale 8 All Swells to Swell 8 Trompette (Rec) 4′ Choral Basse (ext) Choeur to Pedale 4′ Choeur Nave Shades Closed 8′ Hautbois (Rec) ′ ′ ′ 4 Flute (Ch) Positif to Pedale 8 8 Cromorne (Ch) ′ 4′ Clairon (Ped) Mixture III 96 pipes Positif to Pedale 4 Grande Orgue / Choeur Transfer ′ 32′ Harmonics (derived) 8 Fatima Trompette ′ ′ Bombarde on Pedale 32 Contra Bombarde* Recit to Grande Orgue 16 Control system and pedal voices by Virtuoso 16′ Bombarde 85 pipes Recit to Grande Orgue 8′ (IOTI) Bombarde on Choeur ′ ′ Bombarde on Grande Orgue 16 Trompete (Ch) Recit to Grande Orgue 4 30 memory levels per user 16′ Basson-Hautbois (Rec) Choeur to Grande Orgue 16′ Unlimited users Bombarde on Recit ′ ′ Bombarde on Positif 8 Fatima Trompette (G.O.) Choeur to Grande Orgue 8 8′ Bombarde (ext) Choeur to Grande Orgue 4′ 63 ranks, 47 stops, 3,691 pipes

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 25 Organ Projects

Charles M. Ruggles, Conifer, preservation grants totalling some $1 Colorado million, resulting in a variety of sub- Henry Kilgen, 1884 stantial repairs, including a new roof, St. Augustine’s Cultural Center, steeple and wall repairs, foundation Austin, Nevada stabilization, interior refurbishing, ADA Charles M. Ruggles of Conifer, Colo- accessibility, and the like. The organ had rado, recently completed the restoration been unplayable since the 1960s and was of the Henry Kilgen organ of 1884 in the damaged, but intact. former St. Augustine’s Catholic Church, Ruggles was awarded the contract in Austin, Nevada, now St. Augustine’s Cul- May 2012 and completed the bulk of the tural Center. A one-manual, nine-rank restoration work in October 2013, when instrument, it is the only known extant the organ was reinstalled. The last phase instrument by Henry that is mechani- cally, tonally, and visually intact. The Kil- gen family of St. Louis, Missouri, were organbuilders; Henry worked indepen- dently of his more well-known father, George, from 1882 into the 1910s. The organ is of tracker action in a Victorian Gothic case in the rear gallery, now fi tted with an electric blower for convenience in playing. The church was closed and the par- ish disbanded in 1990 by the Diocese of Reno due to several factors, including declining population after the county seat was transferred from Austin to Battle Mountain in 1979. Austin, once a large sil- ver mining community founded in 1862, with some 10,000 residents at its peak, was rivalled only by Virginia City, Nevada, home to numerous gold and silver strikes, primarily the Comstock Lode. The town gradually declined in population after the 1880s and today has about 350 residents. Keydesk 1884 Henry Kilgen organ, restored by Charles M. Ruggles

Façade pipework

and most construction work is neces- from concerts to art classes and exhibi- sarily “trucked in.”) Accordingly, he tions, and meetings to a “writer’s oasis” returned to fi nish regulating and tuning could occur, among the quiet beauty St. Augustine’s Cultural Center, Austin, Nevada the organ when the structure was ready. of the historic town and the adjoining The center was dedicated in a gala cer- Toiyabe Mountains. Unlike many other The decaying building was purchased of the building repairs and refurbishing emony on September 27, 2014, including small towns in the West in the nineteenth in 2003 by a group of local citizens, led was not completed, however, due to the an open house, historical lectures, panel century, there was no “Opera House” in by Jan Morrison, who created a non- scarcity of contractor labor, until the discussions, musical presentations, “silent Austin, so the center actually serves a profi t organization to save and restore summer of 2014. (Austin is about 170 auction,” and an organ recital by Michael unique function for the community. the former church. They spent the next miles east of Reno on U.S. 50, the so- Friesen of Denver, Colorado. It is Austin had at one time three pipe ten years applying for and receiving called “Loneliest Highway in America,” intended to be a place where everything organs, also including one of 1866 by Joseph Mayer of San Francisco in the Methodist Church (unfortunately Henry Kilgen, 1884/Charles M. Ruggles, 2013 destroyed) and another of 1878 by Alexander Mills of New York City in St. Augustine’s Cultural Center, Austin, Nevada St. George’s Episcopal Church (extant). The Kilgen has been awarded recogni- Henry Kilgen, St. Louis, Missouri, 1884 Manual (enclosed, except Mechanicals tion as a “National Heritage Pipe Organ” façade pipes and four unison Pedal Coupler (drawknob) Restoration: Charles M. Ruggles, Conifer, basses) Pedal Check (drawknob) of historical importance by the Organ Colorado, 2013 [8′] Open Diapason 61 pipes Piano Combination Pedal (foot lever, unla- Historical Society. Being in a small [8′] Unison Bass 12 beled) town, both pipe organs are “accessible” 1 manual, 12 drawknobs, 9 speaking stops, [8′] Stop Diapason [tc] 49 Forte Combination Pedal (foot lever, unla- to visitors and can be seen and played 10 registers, 9 ranks, 491 pipes [8′] Melodia [tc] 49 beled) Mechanical action throughout [8′] Dulciana [tc] 49 Expression Pedal by organists who pass through, either Compasses: Manual, 61 notes, C to c4; Ped- [4′] Principal 61 by advance arrangement (preferable), al, 27 notes, C to d1 [4′] Flute Harmonic 61 Note: The drawknobs for the manual stops or by asking a citizen or store proprietor 2 ′ [2 ⁄3 ] Twelfth 61 do not give the pitches, but they are sup- along Main Street to help direct them to [2′] Fifteenth 61 plied here in conventional form for con- venience. someone having a key. Pedal (unenclosed, at rear) —Michael Friesen 16′ Bourdon 27 Photo credit: Michael Friesen

26 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Patrick Pope; St. Patrick Catholic Cathe- Park Ridge Presbyterian Church This calendar runs from the 15th of the month dral, New York, NY 3:15 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Cathedral Choral Society; Washington Na- Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK tional Cathedral, Washington, DC 7:30 pm Feb. issue). All events are assumed to be organ Bloomingdale, IL Marilyn Keiser; Cathedral Church of St. recitals unless otherwise indicated and are grouped Peter, St. Petersburg, FL 5 pm within each date north-south and east-west. •=AGO Mark Kroll, harpsichord, with baroque chapter event, • •=RCCO centre event, +=new organ violin; Church of the Redeemer, Sarasota, dedication, ++= OHS event. FL 5:15 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it James David Christie; St. Joseph Cath- specifi es artist name, date, location, and hour in olic Cathedral, Columbus, OH 3 pm Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Evensong; Christ Church Grosse Pointe, order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN Grosse Pointe Farms, MI 4:30 pm Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Choral Evensong; Calvary Episcopal, Louisville, KY 5:30 pm Scott Dettra; Christ Church Cathedral, UNITED STATES Nashville, TN 3 pm East of the Mississippi Bruce Bengtson, Gary Lewis, and Dean W. Billmeyer Samuel Hutchison; Overture Hall, Madi- son, WI 7:30 pm University of Minnesota 15 JANUARY Frederick Teardo, recital and Evensong; Sarah Hawbecker; Redeemer Lutheran, Independent Presbyterian Church, Bir- Minneapolis 55455 • [email protected] Atlanta, GA 7:30 pm mingham, AL 3 pm Michael Hey; St. Petersburg College Chapel, St. Petersburg, FL 7:30 pm 25 JANUARY Baroque Band; Music Institute of Chi- Iain Quinn; Chapel of the Resurrection, cago, Evanston, IL 7:30 pm Valparaiso University, Valparaiso, IN 7:30 pm GAVIN BLACK Byron L. Blackmore Charles Callahan; Church of the Gesu, Gary Wendt; Elliott Chapel, Presbyterian Milwaukee, WI 7 pm Homes, Evanston, IL 1:30 pm Princeton Early Keyboard Center Crown of Life Lutheran Church 732/599-0392 Sun City West, Arizona 16 JANUARY 26 JANUARY www.pekc.org Ken Cowan; St. John’s Episcopal Cathe- Samuel Backman; Church of St. Louis, 623/214-4903 dral, Jacksonville, FL 4 pm King of France, St. Paul, MN 12:35 pm Baroque Band; Augustana Lutheran, Chicago, IL 7:30 pm 27 JANUARY Charles Callahan, masterclass; Church David Jonies; Cathedral of St. John, Mil- THOMAS BROWN waukee, WI 12:15 pm ROBERT CLARK of the Gesu, Milwaukee, WI 10:30 am UNIVERSITY Houston Texas PRESBYTERIAN CHURCH Master Classes, Consultation 17 JANUARY 28 JANUARY CHAPEL HILL, NORTH CAROLINA [email protected] Peter Krasinski; Church of the Advent, David Schuler, with violin; St. Luke in 513/478-0079 Boston, MA 4:30 pm, Choral Evensong fol- the Fields, New York, NY 8 pm ThomasBrownMusic.com lows, 5 pm Kurt Ison; St. Thomas Fifth Avenue, New 29 JANUARY York, NY 5:15 pm Rosalind Mohnsen; Trinity Church, Bos- Evensong; Church of the Redeemer, ton, MA 12:15 pm JAMES DORROH, AAGO, PhD David Higgs; Christ Church, Rochester, Sarasota, FL 5:15 pm DELBERT DISSELHORST NY 8 pm Saint Luke’s Episcopal Church Gary Beard, with trumpet; New Cov- Daniel Stipe; St. Bridget Catholic Samford University enant United Methodist, The Villages, FL, Professor Emeritus Church, Richmond, VA 7:30 pm 6 pm University of Iowa–Iowa City Birmingham, Alabama The Chenaults; Christ Church, Frederi- Evensong; Christ Church Grosse Pointe, ca, St. Simons Island, GA 7:30 pm Organ Consultant Organ Recitals Grosse Pointe Farms, MI 4:30 pm Jon Johnson; Good Shepherd Episco- Evensong; Cathedral Church of the Ad- pal, Lexington, KY 7:30 pm vent, Birmingham, AL 3 pm Indianapolis Symphonic Choir, Holst, STEVEN EGLER Daniel Schwandt; Madonna della Stra- The Planets; Hilbert Circle Theater, India- JOHN FENSTERMAKER da Chapel, Loyola University, Chicago, IL napolis, IN 8 pm Central Michigan University 3 pm John W. W. Sherer; Fourth Presbyterian, School of Music TRINITY-BY-THE-COVE •Jane Holstein & Charles Callahan, Chicago, IL 12:10 pm Mt. Pleasant, MI 48859 hymn festival; First Presbyterian, River For- Passagalli Consort; St. Chrysostom [email protected] NAPLES, FLORIDA est, IL 4 pm Episcopal, Chicago, IL 7:30 pm Northwestern University Community Philip Brisson; Cathedral Church of the Ensemble; First Presbyterian, Arlington Advent, Birmingham, AL 12:30 pm Heights, IL 4 pm Norberto 30 JANUARY STEPHEN HAMILTON 19 JANUARY Nicole Marane, Peter and the Wolf, with Guinaldo Jon Johnson; Hughes Auditorium, As- percussion & narrator; Peachtree Road recitalist–clinician–educator bury University, Wilmore, KY 12:10 pm United Methodist, Atlanta, GA 10 am His Music David Jenkins; Church of St. Louis, King Chanticleer; Spivey Hall, Clayton State See—Listen—Buy www.stephenjonhamilton.com of France, St. Paul, MN 12:35 pm University, Morrow, GA 7:30 pm www.GuinaldoPublications.com Indianapolis Symphonic Choir, Holst, 20 JANUARY The Planets; Hilbert Circle Theater, India- Baroque Band; Granger Ballroom, Sym- napolis, IN 7 pm phony Center, Chicago, IL 7:30 pm Marijim Thoene; Rogers Chapel, Tulane 31 JANUARY David Herman University, New Orleans, LA 12 noon CONCORA; Trinity College Chapel, Hartford, CT 4 pm Trustees Distinguished Professor Emeritus of Music and University Organist 22 JANUARY Erik Wm. Suter; Woolsey Hall, Yale Uni- The University of Delaware Q [email protected] Douglas Cleveland; FNB Concert Hall, versity, New Haven, CT 7:30 pm University of Alabama, Tuscaloosa, AL Paul Thomas; St. Thomas Fifth Avenue, 7:30 pm New York, NY 5:15 pm Christopher Jacobson, with South Da- Peter DuBois; Christ Episcopal, Easton, kota Chorale; St. Mark’s Episcopal Cathe- MD 4 pm A Professional Card in dral, St. Paul, MN 7:30 pm Martin Jean; Chapel, Stetson University, DeLand, FL 3 pm The Diapason 23 JANUARY Cathedra Chamber Choir; Trinity-by-the- For rates and digital specifi cations, contact Jerome Butera Bradley Burgess; Dwight Chapel, Yale Cove Episcopal, Naples, FL 4 pm University, New Haven, CT 5 pm Stephen Tharp; Hyde Park Community 847/391-1045; [email protected] David Simon; Christ Episcopal, New United Methodist, Cincinnati, OH 4 pm Haven, CT 7:30 pm Evensong; Christ Church Grosse Pointe, Brian Anderson; Spivey Hall, Clayton Grosse Pointe Farms, MI 4:30 pm LORRAINE BRUGH, Ph.D. State University, Morrow, GA 3 pm Eugene Lavery; Christ Church Cathe- Douglas Cleveland, masterclass; dral, Lexington, KY 3:30 pm Moody Concert Hall, University of Ala- Bach, Cantata 125; Grace Lutheran, River Associate Professor bama, Tuscaloosa, AL 9 am Forest, IL 3:45 pm University Organist 24 JANUARY 2 FEBRUARY Paul Cienniwa, harpsichord, with mez- Mark Dwyer; Memorial Church, Harvard Valparaiso University zo-soprano; Thomas Crane Public Library, University, Cambridge, MA 7:30 pm Valparaiso, IN Quincy, MA 3 pm Richard Webster, brass and organ www.valpo.edu Victor Hill, harpsichord; Bronfman Sci- hymn sing; Holy Innocents’ Episcopal, At- ence Center, Williams College, William- lanta, GA 7:30 pm stown, MA 3 pm Schubert, Mass in G, D. 167; Christ 219-464-5084 Jonathan Ryan; Christ Church Episco- Church Grosse Pointe, Grosse Pointe [email protected] pal, Greenwich, CT 4:30 pm Farms, MI 4:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 27 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Louie Bailey; Our Lady of Perpetual 17 FEBRUARY New York, NY Syracuse, NY 13203-2816 Help Church, Campbellsville, KY 12:20 pm Seraphic Fire, Mozart, Requiem; Trinity www.andrewhenderson.net Stephen Schnurr; Augustana Chapel, Wall Street, New York, NY 7:30 pm (315) 471-8451 Lutheran School of Theology at Chicago, Chicago, IL 12:15 pm 18 FEBRUARY Seraphic Fire, Mozart, Requiem; St. Clem- CALIFORNIA LUTHERAN UNIVERSITY 3 FEBRUARY ent Episcopal, Philadelphia, PA 7:30 pm Gary L. Jenkins Eric Riley; Camp Hill Presbyterian, Paul Jacobs, with orchestra; Kimmel Director, Schmidt Concert Series Kyle Johnson, DMA Camp Hill, PA 12:15 pm Center, Philadelphia, PA 8 pm Director of Music, Carmelite Monastery Christopher Urban; First Presbyterian, Gregory Chestnut; Christ Church, Bra- University Organist denton, FL 12:15 pm Curator of Organs Arlington Heights, IL 12 noon 

r
LFKPIOT!DBMMVUIFSBOFEV Rose-Hulman Institute of Technology 19 FEBRUARY Terre Haute, Indiana 5 FEBRUARY www.callutheran.edu Alcee Chriss III; Trinity Lutheran, Paul Jacobs, with orchestra; Kimmel Worcester, MA 7 pm Center, Philadelphia, PA 8 pm George Fergus; Woolsey Hall, Yale Uni- James O’Donnell; Longwood Gardens, KIM R. KASLING versity, New Haven, CT 7:30 pm Kennett Square, PA 8 pm Brian Jones TENET; St. Luke in the Fields, New York, Stephen Buzard; First Presbyterian, D.M.A. Director of Music Emeritus NY 7 pm Charlottesville, VA 7 pm St. John’s University Ken Cowan, with orchestra, Poulenc, Or- TRINITY CHURCH 6 FEBRUARY gan Concerto, Knowles Memorial Chapel, Collegeville, MN 56321 BOSTON Mary Pan; Christ Episcopal, New Haven, Rollins College, Winter Park, FL 7:30 pm CT 3 pm Chanticleer; St. Peter in Chains Catholic Joey Fala; Dwight Chapel, Yale Univer- Cathedral, Cincinnati, OH 7:30 pm sity, New Haven, CT 5 pm Vincent Dubois, masterclass; Hill Audi- JAMES KIBBIE TENET; Marquand Chapel, Yale Divinity torium, University of Michigan, Ann Arbor, School, New Haven, CT 7 pm MI 3:40 pm The University of Michigan Peter Richard Conte; Longwood Gar- Thomas Gouwens; Fourth Presbyte- Ann Arbor, MI 48109-2085 rian, Chicago, IL 12:10 pm ORGAN CONSULTANT dens, Kennett Square, PA 2 pm 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com 20 FEBRUARY email: [email protected] 7 FEBRUARY Natasha Ulyanovsky; St. John’s Episco- Christopher Keady; Dwight Chapel, pal, West Hartford, CT 12:30 pm Yale University, New Haven, CT 5 pm Simon Leach; St. Patrick Catholic Ca- Yale Schola Cantorum, Pärt, Passio; Ca- David K. Lamb, D.Mus. thedral, New York, NY 4:45 pm thedral of St. John the Divine, New York, Heinrich Christensen; Cathedral of St. NY 7:30 pm Director of Music John the Divine, New York, NY 5 pm Nathan Laube, masterclass; Crouse Au- Trinity United Methodist Church Bach Vespers; Holy Trinity Lutheran, ditorium, Syracuse University, Syracuse, New Albany, Indiana New York, NY 5 pm NY 10 am 812/944-2229 Henrik Bo Hansen; St. Thomas Fifth Av- James O’Donnell, lecture; St. Clement’s enue, New York, NY 5:15 pm Episcopal, Philadelphia, PA 9:30 am Paul Jacobs, with orchestra; Kimmel Will Headlee, with orchestra; Park Cen- Center, Philadelphia, PA 8 pm tral Presbyterian, Syracuse, NY 4 pm Georgia Boy Choir Festival; Peachtree Daryl Robinson; Westminster Choir Road United Methodist, Atlanta, GA 7 pm College, Princeton, NJ 7:30 pm Ken Cowan, Poulenc, Organ Concerto, A.S.C.A.P. Mozart, Mass in C Major; Christ Church, FELLOW, AMERICAN GUILD OF ORGANISTS Knowles Memorial Chapel, Rollins Col- Bradenton, FL 10 am lege, Winter Park, FL 7:30 pm 345 SADDLE LAKE DRIVE The Rose Ensemble; St. Peter in Chains Aaron David Miller, silent fi lm accom- ROSWELL-ATLANTA, GEORGIA 30076 Catholic Cathedral, Cincinnati, OH 3 pm (770) 594-0949 paniment; Community of Christ Lutheran, Evensong; Christ Church Grosse Pointe, Whitehouse, OH 7 pm Grosse Pointe Farms, MI 4:30 pm Cantus; Cathedral Church of St. Paul; Detroit, MI 7 pm 9 FEBRUARY Scott Atchison, Nicole Marane, Randy 21 FEBRUARY Elkins, & Michael Shake; Peachtree Road Yale Schola Cantorum, Pärt, Passio; Professor Emeritus – University of Michigan – Ann Arbor United Methodist, Atlanta, GA 7 pm Christ Episcopal, New Haven, CT 4 pm Professor of Organ for 67 years Griffon McMahon; Cathedral of St. John 11 FEBRUARY MarilynThe University’s longest-serving faculty memberMason the Divine, New York, NY 5 pm Katherine Meloan; Princeton University Lenten Meditation; Holy Trinity Lutheran, Chapel, Princeton, NJ 12:30 pm New York, NY 5 pm Ann Stephenson-Moe; Christ Church, Michal Markuszewski; St. Thomas Fifth Bradenton, FL 12:15 pm Avenue, New York, NY 5:15 pm LARRY PALMER Nathan Laube; Hendricks Chapel, Syra- PHILIP CROZIER 12 FEBRUARY cuse University, Syracuse, NY 4 pm Benjamin Sheen CONCERT ORGANIST Harpsichord – Organ ; St. Paul’s Episcopal, Competition Winners’ Recital; Crescent Wilmington, NC 7:30 pm Avenue Presbyterian, Plainfi eld, NJ 3 pm ACCOMPANIST Ken Cowan; Knowles Memorial Chapel, Professor of Music, Emeritus Chatham Baroque; Shadyside Presbyte- 3355 Queen Mary Road, Apt 424 Rollins College, Winter Park, FL 7:30 pm rian, Pittsburgh, PA 3 pm Christopher Houlihan; Westminster Montreal, H3V 1A5, P. Quebec Vivaldi, Gloria; Washington National Ca- SMU, Dallas, Texas Presbyterian, Knoxville, TN 8 pm thedral, Washington, DC 4 pm Canada Brian Jones & Bruce Adami, organ & 13 FEBRUARY Recitals — Lectures — Consultancies piano; First Presbyterian, Naples, FL 4 pm (514) 739-8696 Karen Beaumont ; Milwaukee Catholic Evensong; Church of the Redeemer, [email protected] Home, Milwaukee, WI 2 pm Sarasota, FL 5:15 pm [email protected] + 214.350-3628 Early Music Choral Festival; St. Peter in 14 FEBRUARY Chains Cathedral, Cincinnati, OH 3 pm Heitor Caballero; St. Patrick’s Cathe- Evensong; Christ Church Grosse Pointe, dral, New York, NY 3:15 pm Grosse Pointe Farms, MI 4:30 pm Raymond Nagem; Cathedral of St. John Vincent Dubois; Hill Auditorium, Univer- the Divine, New York, NY 5 pm announces... sity of Michigan, Ann Arbor, MI 3 pm The Diapason Lenten Meditation; Holy Trinity Lutheran, David Jonies ; Goshen College, Gos- New York, NY 5 pm hen, IN 4 pm John Blackburn; St. Thomas Fifth Av- Carl Chadek; Madonna della Strada 20 Under 30 Nominations enue, New York, NY 5:15 pm Deadline: February 1, 2016 Chapel, Loyola University, Chicago, IL 3 pm Henry Lowe; Church of the Redeemer, Michael Gagne, Andrea Handley, Don We will be recognizing 20 young Baltimore, MD 5 pm Mead, Kirstin Synnestvedt, Christopher James O’Donnell; Byrnes Auditorium, men and women whose career Urban & Gary Wendt; First Presbyterian, Winthrop University, Rock Hill, SC 3 pm Arlington Heights, IL 4 pm accomplishments place them at Jeremy David Tarrant; First Presbyte- the forefront of the organ, church Jonathan Ryan; First Congregational, rian, Ypsilanti, MI 4 pm Crystal Lake, IL 4 pm music, harpsichord, carillon, and organ-building fi elds—before 15 FEBRUARY 22 FEBRUARY their 30th birthday. Sarah Hawbecker; Advent Lutheran, Pascal Marsault; Elliott Chapel, Presby- Melbourne, FL 3 pm terian Homes, Evanston, IL 1:30 pm Visit TheDiapason.com for more information and to nominate. 16 FEBRUARY 24 FEBRUARY Seraphic Fire, Mozart, Requiem; St. Paul Jacob Street; Dwight Chapel, Yale Uni- Episcopal, Washington, DC 7:30 pm versity, New Haven, CT 12:30 pm Daniel Roth; St. Bridget Catholic Church, Stay up to date on all of the latest industry news and events. David Bellows; Morrison United Meth- Richmond, VA 7:30 pm odist, Leesburg, FL 12 noon Visit TheDiapason.com regularly. James O’Donnell; St. Chrysostom’s Couperin, Leçons de Tenebrae; St. Chrys- Episcopal, Chicago, IL 7:30 pm ostom’s Episcopal, Chicago, IL 7:30 pm

28 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery Concert Organist 25 FEBRUARY Cyril Deaconoff; Legion of Honor Mu- Mahler, Symphony No. 8, Manhattan seum, San Francisco, CA 4 pm www.ScoMo.org School of Music Symphonic Chorus and [email protected] Organ; Cathedral of St. John the Divine, 17 JANUARY New York, NY 7:30 pm Bach Society of St. Louis Young Artists; Choir of St. Luke in the Fields; St. Luke in Second Presbyterian, St. Louis, MO 4 pm the Fields, New York, NY 8 pm Thierry Escaich; Cathedral of the Mad- Cynthia Roberts-Greene; Christ eleine, Salt Lake City, UT 8 pm ANDREW PAUL MOORE LEON NELSON Paul Jacobs; Trinity First United Meth- Church, Bradenton, FL 12:15 pm Director of Traditional Music John W. W. Sherer; Fourth Presbyterian, odist, El Paso, TX 2 pm CHRIST CHURCH Chicago, IL 12:10 pm Craig Cramer; Trinity Episcopal Cathe- Southminster Presbyterian Church dral, Phoenix, AZ 4 pm SHORT HILLS Arlington Heights, IL 60005 26 FEBRUARY Tom Trenney; Neighborhood Church, Christophe Mantoux; Chapel, Princeton Palos Verdes Estates, CA 4 pm University, Princeton, NJ 8 pm Gail Archer; St. Mary Catholic Cathe- David Briggs; St. Mark’s Episcopal, dral, San Francisco, CA 4 pm Stephen G. Schaeffer Jeffrey Schleff, Ed.D. Glen Ellyn, IL 8 pm Cyril Deaconoff; Legion of Honor Mu- seum, San Francisco, CA 4 pm Recitals – Consultations Director of Music and Organist 27 FEBRUARY Timothy Howard; St. Gregory Episco- Director of Music Emeritus St. Philip’s Episcopal Church TENET; Holy Trinity Lutheran, New York, pal, Long Beach, CA 4 pm Ardmore, Oklahoma Cathedral Church of the Advent (580) 226-2191 NY 7 pm Carol Williams; Spreckels Organ Pavil- Alan Morrison; Spivey Hall, Clayton ion, Balboa Park, San Diego, CA 2 pm Birmingham, Alabama [email protected] State University, Morrow, GA 3 pm 19 JANUARY 28 FEBRUARY Jan Kraybill; Kauffman Center for the Nicholas E. Schmelter TENET; St. Barnabas Church, Green- Performing Arts, Kansas City, MO 6 pm ROBERT L. wich, CT 4 pm Director of Music 22 JANUARY Jonathan Ryan; Christ Church Episco- Immaculate Conception SIMPSON pal, Greenwich, CT 4:15 pm Samuel Metzger; Northminster Presby- terian, Tucson, AZ 7 pm Catholic Church Christ Church Cathedral Andrew Henderson, with trumpet; Madi- 1117 Texas Avenue son Avenue Presbyterian, New York, NY 3 pm Lapeer, Michigan Houston, Texas 77002 23 JANUARY Monica Czausz; Cathedral of St. John John Walko; Legion of Honor Museum, the Divine, New York, NY 5 pm San Francisco, CA 4 pm Carissimi, Jonas; Holy Trinity Lutheran, ORGAN MUSIC OF THE SPANISH BAROQUE New York, NY 5 pm 24 JANUARY Sergio Orabona; St. Thomas Fifth Av- Andrew Galuska, with piano; Church of Mark Steinbach David Troiano enue, New York, NY 5:15 pm St. John the Evangelist, Rochester, MN 4 pm DMA MAPM Mark Kroll, harpsichord, with baroque Choral Evensong; St. Paul United Meth- Brown University violin; Church of the Redeemer, Sarasota, 586.778.8035 odist, Houston, TX 4 pm [email protected] FL 5:15 pm Nathan Laube; Lutheran Church of the Gail Archer; Bluff Park United Methodist, Risen Savior, Green Valley, AZ 3 pm Hoover, AL 4 pm David Troiano; St. Mary Catholic Cathe- Christophe Mantoux; St. Joseph Catho- dral, San Francisco, CA 4 pm Stephen Tappe lic Cathedral, Columbus, OH 3 pm John Walko; Legion of Honor Museum, Marcia Van Oyen Evensong; St. Paul Episcopal Cathedral, San Francisco, CA 4 pm Organist and Director of Music Detroit, MI 4 pm Carey Robertson; Claremont United Saint John's Cathedral First United Methodist Church Evensong; Christ Church Grosse Pointe, Church of Christ, Claremont, CA 4 pm Denver, Colorado Plymouth, Michigan Grosse Pointe Farms, MI 4:30 pm Paul Jacobs, with soprano; Walt Disney mvanoyen.com Choral Evensong; Calvary Episcopal, Concert Hall, Los Angeles, CA 7:30 pm www.sjcathedral.org Louisville, KY 5:30 pm Carol Williams; Spreckels Organ Pavil- Bach, Cantata 199; Grace Lutheran, River ion, Balboa Park, San Diego, CA 2 pm Forest, IL 3:45 pm 25 JANUARY 29 FEBRUARY Raúl Prieto Ramírez; Jones Recital Hall, Joe Utterback Kevin Walters Benjamin Sheen, with fl ute; Cincinnati Baylor University, Waco, TX 7:30 pm Museum Center, Cincinnati, OH 7:30 pm COMMISSIONS & CONCERTS M.A., F.A.G.O. Echoing Air Early Music Concert; All 26 JANUARY 732 . 747 . 5227 Saints’ Episcopal, Atlanta, GA 7:30 pm Raúl Prieto Ramírez, masterclass; Rye, New York Jones Recital Hall, Baylor University, Waco, TX 2:15 pm UNITED STATES Jack Mitchener, masterclass; Christ the West of the Mississippi King Catholic Church, Dallas, TX 7 pm Alan G Woolley PhD

16 JANUARY 28 JANUARY David Wagner Musical Instrument Research DMA Luther College Nordic Choir; Trinity Epis- Jack Mitchener; Christ the King Catholic Edinburgh copal Cathedral, Portland, OR 7 pm Church, Dallas, TX 7:30 pm www.davidwagnerorganist.com [email protected]

KARL WATSON RUDOLF ZUIDERVELD SAINT LUKE’S Illinois College, Jacksonville First Presbyterian Church, METUCHEN Springfi eld 1 ( :KDW¶V1HZ"JHWWLQJWKH1HZ

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7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ Ž VM7PWLKYLHTZ HWVIHJVT Artistic Director [email protected] :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Albert Schweitzer Organ Festival

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 29 Calendar

29 JANUARY David Hegarty; Legion of Honor Muse- Christopher Houlihan; Cathedral of St. 23 JANUARY Paul Jacobs; St. John’s Episcopal Ca- um, San Francisco, CA 4 pm John the Evangelist, Spokane, WA 4 pm Thierry Escaich, silent fi lm accompani- thedral, Denver, CO 7:30 pm Christoph Bull & Paul Jacobs, with or- Jonathan Dimmock; Legion of Honor ment; Maison Symphonique de Montreal, chestra & chorus; Segerstrom Hall, Costa Museum, San Francisco, CA 4 pm Montreal, QC, Canada 8 pm 30 JANUARY Mesa, CA 8 pm Vincent Dubois, with orchestra: Pou- Nathan Laube, masterclass; First Pres- lenc, Organ Concerto; Walt Disney Con- 24 JANUARY byterian, Kirkwood, MO 10 am 7 FEBRUARY cert Hall, Los Angeles, CA 2 pm James Orford; Westminster Cathedral, Michel Bouvard; Plymouth Congrega- Gail Archer; Bethel Lutheran, Roches- David Baskeyfi eld; St. James Episco- London, UK 4:45 pm tional, Seattle, WA 7:30 pm ter, MN 4 pm pal, Los Angeles, CA 6 pm James O’Donnell; Westminster Abbey, Paul Ellison; Legion of Honor Museum, Andrew Peters, silent fi lm accompani- London, UK 5:45 pm San Francisco, CA 4 pm ment; Second Presbyterian, St. Louis, MO 20 FEBRUARY Christopher Houlihan; Our Lady Queen 4 pm Gail Archer; Walla Walla University, Wal- 29 JANUARY of Angels Catholic Church, Newport David Hegarty; Legion of Honor Muse- la Walla, WA 5 pm ••Maxine Thevenot; Knox United Beach, CA 6:30 pm um, San Francisco, CA 4 pm Hans Hielscher; Legion of Honor Mu- Church, Calgary, AB, Canada 7 pm Christoph Bull, Paul Jacobs, Fred seum, San Francisco, CA 4 pm Ken Cowan; Holy Rosary Cathedral, 31 JANUARY Vancouver, BC, Canada 8 pm Swann, Craig Williams, with orchestra; 21 FEBRUARY Nathan Laube; Cathedral Basilica of St. Segerstrom Hall, Costa Mesa, CA 3 pm Louis, St. Louis, MO 2:30 pm Jeannine Jordan, with media artist; St. Paul Lutheran, Des Peres, MO 7 pm 31 JANUARY Houston Chamber Choir, School Choral 8 FEBRUARY Christoph Tietze; St. Mary Catholic Ca- Alexander Pott; Westminster Cathedral, Festival; Grace Presbyterian, Houston, TX Vincent Dubois ; Christ the King Catho- thedral, San Francisco, CA 4 pm London, UK 4:45 pm 4 pm lic Church, Dallas, TX 7:30 pm Daniel Cook; Westminster Abbey, Lon- Bruce Neswick; Church of the Trans- Hans Hielscher; Legion of Honor Mu- seum, San Francisco, CA 4 pm don, UK 5:45 pm fi guration, Dallas, TX 7 pm 12 FEBRUARY Thomas Gaynor; St. Mary Catholic Ca- Vincent Dubois, with orchestra: Pou- 1 FEBRUARY thedral, San Francisco, CA 4 pm 26 FEBRUARY lenc, Organ Concerto; Walt Disney Con- Ken Cowan; Francis Winspear Centre Paul Ellison; Legion of Honor Museum, Samuel Metzger, with choir; First Pres- cert Hall, Los Angeles, CA 8 pm for Music, Edmonton, AB, Canada 7:30 pm San Francisco, CA 4 pm byterian, Jackson, MS 7 pm Ken Cowan Carol Williams; Spreckels Organ Pavil- ; Marvin United Methodist, 13 FEBRUARY Tyler, TX 5 pm 7 FEBRUARY ion, Balboa Park, San Diego, CA 2 pm Stefan Engels, masterclass; German Chelsea Chen; Doc Rando Hall, Univer- Martin Baker; Westminster Cathedral, Romantic repertoire; First Presbyterian, 4 FEBRUARY sity of Nevada Las Vegas, Las Vegas, NV London, UK 4:45 pm Fort Worth, TX 10 am Christoph Bull & Paul Jacobs, with or- 7:30 pm Matthew Jorysz; Westminster Abbey, Jonathan Dimmock; Legion of Honor chestra & chorus; Segerstrom Hall, Costa London, UK 5:45 pm Museum, San Francisco, CA 4 pm 27 FEBRUARY Mesa, CA 8 pm Vincent Dubois, with orchestra: Pou- Scott Dettra, with Orpheus Chamber 8 FEBRUARY 5 FEBRUARY lenc, Organ Concerto; Walt Disney Con- Singers, Durufl é, Requiem; St. Thomas David Titterington; Royal Festival Hall, William Porter, hymn festival; St. Mark cert Hall, Los Angeles, CA 8 pm Aquinas Catholic Church, Dallas, TX 8 pm London, UK 7:30 pm John Walko Episcopal Cathedral, Seattle, WA 7:30 pm ; Legion of Honor Museum, San Francisco, CA 4 pm Christoph Bull & Paul Jacobs, with or- 14 FEBRUARY 14 FEBRUARY Todd Wilson; Boston Avenue United chestra & chorus; Segerstrom Hall, Costa 28 FEBRUARY Jonathan Hope; Westminster Cathe- Mesa, CA 8 pm Methodist, Tulsa, OK 5 pm dral, London, UK 4:45 pm Daryl Robinson; Memorial Drive Pres- Choral Evensong; St. Paul United Meth- odist, Houston, TX 4 pm Joseph Wicks; Westminster Abbey, Lon- 6 FEBRUARY byterian, Houston, TX 3 pm Christoph Tietze; St. Mary Catholic Ca- don, UK 5:45 pm George Baker, workshop: French reper- Gail Archer; St. Alban Episcopal, Tuc- thedral, San Francisco, CA 4 pm toire and improvisation; Edythe Bates Old son, AZ 3 pm John Walko; Legion of Honor Museum, 21 FEBRUARY Recital Hall, Rice University, Houston, TX Daniel Roth; Cathedral of the Made- San Francisco, CA 4 pm Christopher Allsop; Westminster Ca- 10 am and 12:30 pm leine, Salt Lake City, UT 8 pm thedral, London, UK 4:45 pm INTERNATIONAL Martin Ford; Westminster Abbey, Lon- don, UK 5:45 pm Craig Cramer; San Jerónimo, Tlacocha- 16 JANUARY huaya, Mexico 12 noon Dong-ill Shin; St. Albans Cathedral, St. Albans, UK 5:30 pm 26 FEBRUARY Stephanie Burgoyne and William 17 JANUARY Vandertuin; Waterford United Church, Wa- Simon Russell; Westminster Cathedral, London, UK 4:45 pm terford, ON, Canada 7:30 pm Jeremy Woodside; Westminster Abbey, London, UK 5:45 pm 28 FEBRUARY Peter Bartetzky; Westminster Abbey, 20 JANUARY London, UK 5:45 pm Jonathan Holl; Reading Town Hall, David Enlow; Westminster United Reading, UK 1 pm Church, Winnipeg, MB, Canada 2:30 pm

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30 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM Organ Recitals

DIANE MEREDITH BELCHER, Hill The Emerald Isle, Callahan; Shenandoah, JEREMY FILSELL, Emory University, G, Bruhns; Toccata and Fugue in d, op. 59, Auditorium, University of Michigan, Ann Ar- White; Phantom of the Opera Medley, Web- Atlanta, GA, September 27: Hymne aux mé- nos. 5–6, Reger; Sonata VIII in e, opus 132, bor, MI, October 6: Passacaglia on a theme ber (arr. Chenaults). moires heroïques, Grunenwald; Fantaisie- Rheinberger; Andante, Allegretto (Sonata in by Dunstable, Weaver; Prière, op. 30, Franck; Choral No. 2 in F-sharp minor, Whitlock; E-fl at, op. 65), Parker; Etude Symphonique, Fantasie und Fuge in g-moll, BWV 542, Bach; BRENDAN CONNER, California Legion Deuxième Symphonie, Dupré; Prelude on op. 78, Bossi. Force et agilité des Corps Glorieux, Joie et of Honor, San Francisco, CA, October 10 and SLANE, Toccata on KING’S LYNN, Pott . clarté des Corps Glorieux, Le Mystère de la 11: Master Tallis’s Testament, Howells; Alle- NICHOLAS SCHMELTER, St. Fran- Sainte-Trinité (Les Corps glorieux), Messiaen; gro vivace (Symphony V), Widor; Choral in STEPHEN HAMILTON, Christ United cis of Assisi Catholic Church, Traverse City, Organ, Timbrel, and Dance: Three Jazz Or- b, Franck; Epilogue (Homage à Frescobaldi), Methodist Church, Rochester, MN, Sep- MI, August 30: Heraldings, Hebble; Carillon, gan Preludes, Michel. Langlais. tember 27: Transports de joie d’une âme Sowerby; Voluntary in F, Bennett; Variations devant la gloire du Christ qui est la sienne on Old Folks at Home, Buck; Pièce d’Orgue, R. MONTY BENNETT, White Rock KEN COWAN, Marble Collegiate Church, (L’Ascension), Messiaen; Partite Sopra la Aria BWV 572, Bach; Three Irish Melodies, Stan- Baptist Church, Durham, NC, October 22: New York, NY, October 27: Toccata, Adagio, della Folia de Espagne, Pasquini; La Roma- ford; Carillon de Westminster, Vierne. Toccata in F Major, Bach; Reverie, Still; Im- and Fugue in C, BWV 564, Bach; Harmonies nesca con Cingue Mutanze, Valente; Prelude, promptu No. 1 in F, Coleridge-Taylor; Give du Soir (Trois Impressions, op. 72), Karg-El- Fugue, and Variation, Chorale in E, Franck; JOHN W. W. SHERER, with RYAN Me Jesus, arr. Garrett; Were You There?, arr. ert; Toccata, Guillou; Variations sur un vieux Litanies, JA 119, Le Jardin suspendu, JA 71, LOECKEL, violin, Fourth Presbyterian Taylor; Joshua Fit de Battle, arr. Sowande; Lo- Noël, op. 20, Dupré; Mephisto Waltz No. Alain; Antiphon III, No. 3, Magnifi cat V, No. Church, Chicago, IL, September 25: Vol- tus, Strayhorn, arr. Wyton; Nigerian Suite No. 1, Liszt, arr. Cowan; Sonata on the Ninety- 11, Antiphon V, No. 5 (Fifteen Pieces, op. 18), untary in D, Boyce; Voluntary in f, Stan- 1, Sadoh. Fourth Psalm, Reubke. Prelude and Fugue in B, op. 7, no. 1, Dupré. ley; Tempo di minuetto, Allegretto, Allegro (Eight Pieces for Musical Clock), Haydn; JOHN BROCK, with GLENDA COUTI- PHILIP CROZIER, St. Laurentius CHRISTOPHER HOULIHAN, Church Sonata in F, Handel; No. 9 in F, No. 4 in a, ER, trumpet, and ERICKA McCARTY, can- Kirche, Langenhorn, Germany, July 21: Mag- of Christ at Dartmouth College, Hanover, No. 13 in D (Twelve Short Pieces), Wesley; tor, Cox Auditorium, University of Tennes- nifi cat primi toni, BuxWV 203, Buxtehude; NH, September 13: Toccata, Sowerby; Ital- Canzona, Zipoli. see, Knoxville, TN, October 11: Praeludium Conradus, Ferdinandi, Proportio Ferdinandi ian Concerto, BWV 971, Bach; Prelude and in C, Böhm; Meine Seele erhebt den Herren, Ulterius, Tablature of Jan z Lublina; Ciacona Fugue in A Minor, WoO 9, Brahms; Scherzo STEPHEN THARP, First Presbyterian BWV 648, Bach; Magnifi cat in the 9th mode, in F minor, Pachelbel; Capriccio sopra la (Symphonie II, op. 20), Vierne; Fantasia and Church, Philadelphia, PA, October 28: Over- Scheidt; Fugue on the Magnifi cat, BWV 733, Fugue in G Minor, BWV 542, Bach. Girolmetta (Messa della Madonna), Fresco- ture (Music for the Royal Fireworks), Handel, Bach; Sonata in F, Wq 70/3, C. P. E. Bach; baldi; Praeludium und Fuge G-dur, Bruhns; transcr. Tharp; Improvisation on St. Clement, Glimmers of Hope, Stephenson; Partita on PAUL JACOBS, Broadway Baptist Church, Jesus Christus, unser Heiland, BWV 688, An Hancock, reconstr. Berton; Variations on Two Savior of the Nations, Come, op. 8/i, Distler. Fort Worth, TX, September 20: Fantasia Wasserfl üssen Babylon, BWV 653, Allein Gott Themes, Hakim; Le Semaine Grasse (Three for Organ, Weaver; Trio Sonata No. 5 in C, in der Höh’ sei Ehr’, BWV 664, Bach; Partite Dances from Petrouchka), Stravinsky, transcr. JULIA BRUECK, Presbyterian Homes, BWV 529, Bach; Es ist ein Ros’ entsprungen, diverse sopra De Lofzang van Maria, Post. Tharp; Prière après la Communion (Livre Elliott Chapel, Evanston, IL, October 26: Pre- Brahms; Sonata No. 1 in f, op. 65, Mendels- du Saint Sacrement), Messiaen; Symphonic lude and Fugue in G Major, BWV 550, Bach; sohn; Sonata No. 1 in d, Guilmant. Andante con moto, Allegretto (Six Short Pre- ISABELLE DEMERS, Stambaugh Au- Etudes, op. 13, Schumann, transcr. Rogg; Scherzo (Symphony No. 6, ‘Pathétique,’ op. ludes and Postludes, First Set, op. 101), Stan- ditorium, Youngstown, OH, September 20: STANLEIGH JONES, Madonna della ford; Under den Linden grüne, Sweelinck; Allegro maestoso (Symphony No. 2 in e), Strada Chapel, Loyola University, Chicago, 74), Tchaikovsky, transcr. Guillou. Prelude and Fugue in G minor, WoO 10, Vierne; Excerpts from Cinderella, Prokofi ev, IL, September 20: Te Deum, Langlais; Air, Brahms; Nettleton, Toccata on Antioch, For- transcr. Demers; Adagio in E, Bridge; Fantasy Hancock; Prelude and Fugue in C, BWV 547, DAVID TROIANO, Cathedral Church est Green, Phillips; Final (Symphonie romane, on Hallelujah! Gott zu loben, Reger; Trio So- Bach; Prelude, Fugue, and Variation, Franck; of the Assumption, Bialystok, Poland, Au- op. 73), Widor. nata No. 6 in G, BWV 530, Bach; Three Short Adagio for Strings, Barber; Carillon de West- gust 14: Canzona, Langlais; Konzert a-moll, Studies, op. 68, Laurin; Variations on a Theme minster, Vierne. Bach; Obra de Septimo Tono, Torres; Toc- BRINK BUSH, Old West Church, Bos- of Paganini, Thalben-Ball. cata in F, Becker; Suonata Primo, Santucci; ton, MA, September 25: Goldberg Variations, PHILIPPE LEFEBVRE, Finney Chapel, Chant Pastorale, Dubois; Toccata on Amaz- BVW 988, Bach, arr. Middelschulte; Nun FRÉDÉRIC DESCHAMPS, St. James Oberlin, OH, September 16: Trois Pièces ing Grace, Pardini. freut euch, lieben Christen g’mein, BWV 734, United Church, Montréal, QC, Canada, pour le Grand Orgue, Franck; Fantaisie- Liebster Jesu, wir sind hier, BWV 731, Pre- September 1: Ouverture d’Alcione, Marais, Improvisation sur l’Ave maris stella (Cinq BRADLEY HUNTER WELCH, United lude and Fugue in a, BWV 543, Bach. transcr. Deschamps; Suite du 2ème ton, improvisations), Tournemire, reconstructed States Naval Academy Chapel, Annapolis, Clérambault; Prélude pour la Nuit (Le Triom- Durufl é; Clair de lune (Suite bergamasque), MD, September 26: Toccata in b, Gigout; THE CHENAULT DUO, Reid Memorial phe de l’amour), Lully, transcr. Deschamps; Debussy, transcr. Lefebvre; Cortège et Lita- Variations on O laufet, ihr Hirten, Drischner; Presbyterian Church, Augusta, GA, October O Mensch, bewein dein Sünde gross, BWV nie, op. 19, no. 2, Dupré; Improvisation. Nocturne, Jig (Organbook III), Albright; Pre- 4: Choral (Sonata à Deux), Litaize; Saint An- 622, Wir glauben all in einem Gott, BWV 680, lude and Fugue in D, BWV 532, Bach; Amaz- thony in Meditation, Paulus; Variations on Bach; Adagio (Concerto pour piano no. 23, K. STEPHEN SCHNURR, Chapel of the ing Grace, Swann; Chorale Fantasy on LOBE ‘Veni Creator Spiritus,’ Briggs; Appalachian 488), Mozart, transcr. Deschamps; Sonata da Resurrection, Valparaiso University, Val- DEN HERREN, Miller; Nimrod (Enigma Varia- Air, Two to Tango (An American Suite), Clark; Chiesa K. 144, Mozart; improvisation. paraiso, IN, September 13: Praeludium in tions), Elgar; Sonata Eroïca, Jongen.

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Wanted: Organists visiting Maui. Lahaina’s Overture Fantastique, by Gatty Sellars, is a World Library Publications: From the Piano Certifi ed appraisals—Collections of organ Holy Innocents Episcopal Church invites visiting cross between a typical organ recital opener Bench to the Organ Bench, by Alan J. Hommerd- books, recordings, and music, for divorce, organists to play its Beckerath Positiv organ at and British light music (think Eric Coates). It ing. This complete method book offers a variety estate, gift, and tax purposes. Stephen L. Pinel, Sunday services. Built in 1972 by Rudolf von sounds impressive for the effort required and of exercises to increase pedal technique and Appraiser. 629 Edison Drive, East Windsor, NJ Beckerath and then-apprentice Hans-Ulrich it’s a lot of fun. michaelsmusicservice.com, manual/pedal dexterity. Explore topics such as 08520-5205; 609/448-8427. Erbslöh for Honolulu’s Lutheran Church, the 704/567-1066. service playing/accompanying—when to lead, 408-pipe Shrankpositiv has a 54-note “split” when to follow; playing pianistic accompaniments on the organ; introduction to improvisation on the The OHS Organ Atlas chronicles the organs manual, 30-note pedal, 11 stops, 8 ranks, and and the history of the area visited by OHS con- A Christmas present for connoisseurs of organ; basics of choral conducting from the con- 6 registers. Holy Innocents acquired the instru- ventions. Available since 2006, these beautiful ment in 1977 and moved it to Maui where it has César Franck’s organ music: Seven Variations sole; and much more. 003057, $19.95, 800/566- 6150, Wlpmusic.com. full-color journals include stoplists, photographs, been played by parish musicians such as Carol on a French Noël (A la venue de Noël), in the and well-researched articles on the organs and Monaghan and visiting artists including Angus tradition of Franck’s L’Organiste, is being offered venues visited during the convention. Of special Sinclair of Canada and Dalibor Miklavcic of as a complimentary holiday gift from Fruhauf The OHS 2016 Calendar celebrates the 61st interest is the recently-published Atlas from the Slovenia. The instrument is extremely respon- Music Publications. A PDF fi le prepared in book- Annual OHS Convention–Philadelphia, June 58th convention of the OHS in 2013 celebrating sive and fi lls the worship space beautifully. The let format has been posted on the website’s 26–July 2, 2016 and the Diamond Anniversary the bicentennial of the pipe organ in Vermont, parish community is “exemplary in its hospitality home page at www.frumuspub.net, available for Year of the OHS, founded June 27, 1956. This 1814–2014. Researched and written by archi- to all visitors,” and that especially includes visit- download and reprint. calendar is fi lled with gorgeous photographs by vist Stephen Pinel, this 235-page publication ing organists. For information: 808/661-4202; Len Levasseur—12 different instruments, one includes evocative writing about the state of holyimaui.org. for each month-ranging from a 1791 Tannenberg music-making and organ building during a period Raven, America’s leading label for organ to an 1892 Hook & Hastings, a Roosevelt, E. M. of two hundred years, as well as a particularly recordings since 1978, offers one hundred CDs Skinner,to the “Wanamaker” organ, the Midmer- fi ne history of Vermont’s most famous and ubiq- PUBLICATIONS / RECORDINGS and videos at RavenCD.com. Titles include the Losh at Atlantic City, Aeolian at Longwood uitous organ builder, the Estey Organ Company 4-disc DVD/CD set about César Franck, 5-disc Gardens, and contemporary organs by Mander, of Brattleboro. An extraordinary compendium by E. A. Boadway, Jr. is a complete index of pipe Norberto Guinaldo offers unique dramatic DVD/CD set about Cavaillé-Coll, the acclaimed Brombaugh, Kney, Rieger, and Dobson. Michael organs found today throughout the state. Read- pieces for Lent and Easter. Beautiful editions Bach/Art of Fugue/DVD/CD set with George Krasulski’s welcoming article offers wonderful local history, punctuated with still more stun- able and entertaining—a collector’s item! Visit professionally engraved, spiral-bound, with Ritchie, Ritchie’s 11-CD set of the complete organ www.ohscatalog.org. artistic leatherette covers. See, Listen, Buy at works of Bach, and recent CDs recorded by Jer- ning organ photos. The calendar highlights U.S. holidays, and the major dates of the Christian www.guinaldopublications.com. emy Filsell (Epiphany Church, Washington, DC; and Jewish year. Order at www.organsociety. National Cathedral, National Shrine), Todd Wil- ELECTRONIC ORGANS FOR SALE org/2016/calendar.html. $14.99 members. $19.99 son (Gerre Hancock Organ Works at St. Thomas, OHS Convention CDs: Historic Organs of non-members. NYC), Jon Gillock (Messiaen on the new Quoirin Allen MDS 8: 2 manuals, Midi, transposer, Baltimore, Historic Organs of Boston, Historic organ, Ascension, NYC), Anthony Hammond 2 HC-15 speakers, internal speakers, AGO Organs of Buffalo, Historic Organs of Chicago, Pipe Organs of the Keweenaw by Anita specs, in very good condition. Ideal for small Historic Organs of Colorado, Historic Organs of (Coventry Cathedral, UK), Mark Brombaugh Campbell and Jan Dalquist, contains his- church, chapel or home. [email protected] Connecticut, Historic Organs of Indiana, Historic (David Dahl organ works on the Christ Church, Tacoma, John Brombaugh organ) Jack Mitch- tories, stoplists, and photos of some of 609/641-9422. Organs of Louisville, Historic Organs of Maine, the historic organs of the Keweenaw Pen- ener, Stephen Williams, J. Thoams Mitts, Adam Historic Organs of Montreal, Historic Organs of insula, the northernmost tip of Michigan’s Brakel (Beckerath, Pittsburgh Cathedral), Peter New Orleans, Historic Organs of Pennsylvania, Upper Peninsula. Organs include an 1899 PIPE ORGANS FOR SALE Historic Organs of Portland, Historic Organs of Sykes (Bach, clavichord), Maxine Thévenot, Barckhoff and an 1882 Felgemaker. The booklet Seattle, Historic Organs of SE Massachusetts. Damin Spritzer, Faythe Freese (Magdeburg ($8.00 per copy, which includes postage) is Visit the OHS online catalog for over 5,000 Cathedral), Rachel Laurin, Colin Lynch Ken available from the Isle Royale and Keweenaw Casavant (2/14, 1975), excellent condition, oak organ-related books, recordings, and sheet Cowan, Daniel Sullivan, John Brock, many more. Parks Association, 49445 US Hwy 41, Hancock, casework, $35,000. The Organ Clearing House, music: www.ohscatalog.org. www.RavenCD.com. Michigan 49930. For information: 800/678-6925. 617/688-9290, [email protected].

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1981 Casavant tracker—3 manuals, 23 1928 Casavant pipe organ, completely restored Three-manual Rodgers Hybrid with seven Releathering all types of pipe organ actions stops, 30 ranks. Footprint 10′ x 14′; height 18′. with fi ve new stops by Létourneau in 1987. Two sets of pipes; all working and in excellent and mechanisms. Highest quality materi- Good working order. Available now. Seller will manuals and pedals, 24 ranks. Organ is in excel- condition. For more information please go to als and workmanship. Reasonable rates. consider offers on a competitive basis. For lent condition and is a good candidate for solid- www.milnarorgan.com. Columbia Organ Leathers 800/423-7003. details, contact consultant Dr. David Lowry at state conversion. Asking $65,000 “as is” or can www.columbiaorgan.com/col. [email protected]. be rebuilt with modifi cations. For more informa- MISCELLANEOUS FOR SALE tion, contact Létourneau Pipe Organs at mail@ Do you have a pipe organ that you would letourneauorgans.com or 888/774-5105. like to interface with an electronic or digital 1981/2015 BIGELOW tracker, II+Ped, six stops: Atlantic City Pipe Organ Company: Stinkens organ? 8′, 4′; 8′, 4′; 16′, 8′. Excellent for a small chapel, II–III Mixture and chest, 8′ Prestant, 2′ Principal, We can interface any digital organ or any organ console with any pipe organ. For more residence, or practice room. www.bigeloworgans. 1938 Kimball studio/practice organ, 4 ranks, 1-1/3′ Quint. Beautiful 1955 broad scale Möller information e-mail [email protected] (not com. Click on News. ″ ″ pipework: 1/3-tapered 8′ Diapason, strings, 16′ 21 stops, excellent condition, 91 H, 85 W, Comcast) or call 215/353-0286. 56″ D (+pedalboard). Organ Clearing House, Rohrfl ute unit and more. E-mail acorgan@com- 617/688-9290, [email protected]. cast.net or phone 609/432-7876. Aeolian organ—free to a good home. This Aeolian/Robert Morton-style maroon terrifi c organ was originally built by the Aeolian Wood pipes. Missing pipes made to match. leather is now available from Columbia Organ Company for the residence of Cyrus H. K. Curtis, Randall Dyer organ, 4 ranks, all-electric action Leathers! Highest quality. 800/423-7003, and was relocated to its present home by Ernest ′ Damaged pipes in any condition repaired. Over with expansion channel, solid-state relay; 9 tall 25 years experience. Filip Cerny, 814/342-0975. www.columbiaorgan.com. Skinner in 1935. The organ was enlarged and x 7′ wide, 4′6′′ deep with bench. randalldyer@ altered by Aeolian-Skinner in 1957, and then bellsouth.net, 865/475-9539. See photo and Complete Pipe Organ Services from the Organ substantially rebuilt by Austin in 1967 and Brant- stoplist at www.TheDiapason.com/classifi ed/ Möller 16′ Principal (32 pipes) in zinc. Suit- Clearing House: 450 vintage pipe organs avail- ley Duddy in 1972. The 1967 project included a dyer-4-rank-organ. able for a façade with over-length bodies. Asking new console, new windchests, and many added $5,000. For information: mail@letourneauor- able, renovation, tuning, consultation. Other stops. The organ comprises 108 ranks and 83 gans.com or 450/774-2698. services include transportation, cleaning and renovation of carvings, reredos, liturgical furnish- independent voices in 7 divisions. The present Kimball Organ (3/29, 1930), all enclosed, ter- ings. Call John Bishop at 617/688-9290. john@ owner is offering the instrument “free to a good rifi c Swell reeds, four 8-foot Diapasons, two Consoles, pipes and numerous miscellaneous organclearinghouse.com. sets of celestes (and you known those Kimball home.” The recipient will be responsible for dis- parts. Let us know what you are looking for. mantling and removal of the organ. Contact John strings!). $70,000. The Organ Clearing House, E-mail [email protected] (not comcast), Bishop of the Organ Clearing House for further 617/688-9290, [email protected]. phone 215/353-0286 or 215/788-3423. Submit “20 under 30” nominations at information including specifi cations, dismantling TheDiapason.com. For assistance: Joyce Robin- and relocation estimates. Serious inquiries only. son, 847/391-1044, [email protected]. Expressive and compact—3/27 Kilgen (1940). 617/688-9290, [email protected]. SERVICES / SUPPLIES Two expressive divisions. 17 manual 8-foot fl ues. Reeds include Tuba, Cornopean, Oboe, Clarinet, Postal regulations require that mail to THE Professional organ consultants assist DIAPASON include a suite number to assure Historic 1859 ROBJOHN, II+Ped, 11 ranks. Vox Humana. Harp. 16′ Open Wood. H: 237″, W: with your church’s pipe organ project. New delivery. Please send all correspondence to: Drop dead gorgeous rosewood case, 14′-2″ tall. 170″, D: 189″. Stopkey console. Original restor- organs, rebuilding, renovations, repairs, tonal THE DIAPASON, 3030 W. Salt Creek Lane, Suite Lovely for chapel, large residence, or museum. able condition. $30,000. Organ Clearing House, designs. Contact: Audio Forum, 254/230-8476, 201, Arlington Heights, IL 60005. www.bigeloworgans.com. Click on News. 617/688-9290, [email protected]. [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 Q 33 2015 In Review—An Index

Articles, Reports, and Reviews — by author (boldface) and subject

20 under 30. See Diapason staff. Dupré, Marcel. See Maycher. Labounsky, Ann. Tournemire & Messiaen: Reed organ. See Wodehouse. Acoustics. See Riedel. Recent Research. Sept 22–25* Rephann, Richard. See Alcorn. Albert Schweitzer Organ Festival. See Spicer. Editor’s Notebook. See Robinson. Letters to the Editor. Jan 3, Feb 3, May 3, July Riedel, Scott R. Acoustics in the Worship Alcorn, Allison A. Book Reviews. Feb 12–13 3, Dec 3 Space XI. June 24–25* ———. Remembering Richard Rephann, Fournier, Carolyn Shuster. New Record- February 9, 1932–December 29, 2014. ings. Dec 15 Marshall, Kimberly. See Robinson. Roberts, Wesley. Jacques Ibert’s Choral for March 25* Maycher, Lorenz. From the Alexander Organ. Aug 18–19* American Harmonium. See Wodehouse. Glück, Sebastian M. Book Reviews. Sept Boggs Ryan Collection: The Letters of Robinson, Joyce Johnson. Editor’s Note- Archer, Gail. The Muse’s Voice: A Musforum 14–16 Marcel Dupré and Alexander Boggs Ryan. book. Jan 3, Feb 3, March 3, April 3, May Conference, June 19–20, 2015, New York Goldray, Martin. Haarlem International March 19–23* 3, June 3, July 3, Aug 3, Sept 3, Oct 3, Nov City. Nov 24* Organ Festival, July 12–26, 2014. March 24* McCray, James. Music for Voices and Organ. Jan 12, Feb 12, March 12, Apr 13, 3, Dec 3 Bach, J. S. See Wagner. Haarlem International Organ Festival. See May 12, June 12, July 14, Aug 12, Sept 14, ———. Medieval to Modern: A conversation Bankole, Ayo. See Sadoh. Goldray. Oct 13–14, Nov 12, Dec 14 with Kimberly Marshall, July 20–23* Beaumont, Karen. New Organ Music. Hamilton, Stephen and Kenneth Huber. McKinney, David. New Recordings. June ———. The Liturgical Organist: A conversa- March 14 Dame Gillian Weir: Playing a “coda” at 13–14 tion with Juan Paradell-Solé. Oct 24–27* Hexham Abbey. Jan 21* ———. New Recordings. Oct 15 Messiaen, Olivier. See Labounsky. Roth, Daniel. See Kibbie. Bird, Arthur. See Wodehouse. Harmonium. See Wodehouse. Muse’s Voice. See Archer. Bishop, John. In the wind . . . Jan 16–17*, Harpsichord News. See Palmer. Music, David W. See Bullard. Ruiter-Feenstra, Pamela. See Wagner. Feb 16–17*, March 16–17*, April 18–19*, Held, Wilbur. See Raabe. Music for Voices and Organ. See McCray. Ryan, Alexander Boggs. See Maycher. May 16–17*, June 16–17*, July 18–19*, Herman, David. Book Reviews. April 15 Aug 16–17*, Sept 12–13*, Oct 22–23*, Nov Hettinger, Sharon. New Organ Music. Jan 15 Nelson, Leon. New Handbell Music. Jan 15, Sadoh, Godwin. A tribute to Ayo Bankole 16–17*, Dec 18–19* Hicks, James D. An Introduction to the Feb 15, March 15, April 16, July 17, Aug (1935–1976) on his 80th birthday. May Black, Gavin. On teaching. Jan 18–19+, Feb organ works of Kjell Mørk Karlsen. Aug 15, Sept 18, Oct 16, Dec 16 27–29*+ 18–19, March 18, April 17, May 18–19*, 23–25*+ New Handbell Music. See Nelson. June 15, Oct 20–21, Nov 18–19, Dec 17+ New Organ Music. See Beaumont, Col- Schaeffer, Andrew. New Organ Music. Dec Book Reviews. See Alcorn, Bozeman, Bullard, Ibert, Jacques. See Roberts. lins, Hettinger, Knijff, Schaeffer, Schleff, 16 Glück, Herman, Kelzenberg, Konewko, Improvisation. See Wagner. Steele, Udy, Zoller. Schleff, Jeffrey. New Organ Music. May Kraaz, Labounsky, Warde. In the wind. . . See Bishop. New Recordings. See Beaumont, Collins, 14–15, June 14, July 17 Bozeman, George. Book Reviews. June Fournier, Kelzenberg, McKinney, Owolabi, Schnurr, Stephen. Pipe Organs of La 12–13. Johnson, Edie. The Organ Works of Pamela Reed, Speller, Young, Zoller. Grange, Illinois, and the Architectural Edi- Bullard, John M. Book Reviews. Jan 12–13. Decker. Sept 19–21*+ See also July 24–25*, Oct 14–15 Obetz, John. See Kraybill. fi ces That House Them, Part I: Emmanuel ———. Church Music in the United States, Karlsen, Kjell Mørk. See Hicks. On Teaching. See Black. Episcopal Church. Aug 20–22*† 1760–1901: Essays by David W. Music and Keegan Mackriell, Andrew. A Conversa- Organ Historical Society. See Speller. Sewanee Church Music Conference. See Paul Westermeyer. July 24–25* tion with Gabriel Kney: The organbuilder Organ Recitals. Jan 31, Feb 32–33, March 33, Smedley. turns 86. Nov 20–22* April 33, May 36–37, June 33, July 33, Aug Smedley, Jane Scharding. Sewanee Church Campbell, Neal. Remembering Charles Kelzenberg, David. Book Reviews. May 32–33, Sept 32–33, Oct 41, Nov 37, Dec Dodsley Walker. April 23* 12–13 32–33 Music Conference, July 13–19, 2015. Nov Carillon News. See Swager. ———. New Recordings. June 13–14, July Owolabi, Kola. New Recordings. Aug 13–14, 25* Choral music. See McCray. 15–16 Oct 15–16 Speller, John L. New Recordings. Feb Church Music in the United States, 1760– Kibbie, James. A Conversation with Daniel 13–14, March 13–14, April 15, May 14, July Roth. Jan 22–23* 1901. See Bullard. Palmer, Larry. Harpsichord News. Feb 11*, 16, Oct 16, Nov 14–15 Collins, John. Early Organ Composer Anni- Kney, Gabriel. See Keegan Mackriell. April 12*, June 11*, July 13*, Aug 10–11*, ———. OHS 2014: Syracuse Pipe Organ versaries in 2015. Feb 24–25 Knijff, Jan-Piet. New Organ Music. Feb Sept 11*, Oct 12*, Nov 10*, Dec 12–13* ———. New Organ Music. Jan 14–15, Feb 14–15 Paradell-Solé, Juan. See Robinson. Holiday—The Organ Historical Society’s 14, July 16–17, Aug 14, Sept 17–18, Oct Konewko, Mark. Book Reviews. Aug 12, Portman, Brenda. The Eclectic Landscape Annual Convention, August 11–14, 2014. 16–18, Nov 15 Nov 12, 14 of Ride in a High-Speed Train: An inter- Feb 20–23* ———. New Recordings. Aug 12–13. Dec Kraaz, Sarah Mahler. Book Reviews. Dec view with Ad Wammes. Dec 23–25* ———. OHS 2015: The Pioneer Valley, Mas- 14–15 15–16 sachusetts—The Organ Historical Society’s Composers’ anniversaries. See Collins. Kraybill, Jan. Remembering John Obetz: Raabe, Nancy M. Remembering Wilbur Annual Convention, June 28–July 3, 2015. 1933–2015. June 18–19* Held, 1914–2015. May 26* Decker, Pamela. See Johnson. Kunc, Pierre. See Young. Reed, James M. New Recordings. Jan Oct 28–33* Diapason staff. The Class of 2015: 20 lead- 13–14, Feb 13, March 12–13, April 14–15, Spicer, David. Albert Schweitzer Organ ers under the age of 30. May 20–25* La Grange, Illinois. See Schnurr. May 13–14, Sept 16, Nov 14 Festival 17th Anniversary: September 5–7, 2014. Jan 20* Steele, Charlie. New Organ Music. March Organ Stoplists 14, April 15–16, July 17 Swager, Brian. Carillon News. Jan 11, June Ambrosino, Jonathan, Dobson Mander Ruffatti 10 Jonathan Ortloff, and Joe Turner Recital Hall, Vanderbilt Johnnie Walker, Diageo, PLC, St. Mel’s Cathedral, Longford, Sloane/Skinner University, Nashville, TN. UK. 2/5*, Dec 28 Ireland. 3/40*, Sept 1, 26–27 All Saints Episcopal Church, 2/27*, Nov 32 Tournemire, Charles. See Labounsky. Ashmont, MA. 3/24*, July 1, Möller Rule/Pomplitz 26–27 Dyer Emmanuel Episcopal Church, La Our Lady of Perpetual Help Udy, Kenneth. New Organ Music. Aug Trinity Evangelical Lutheran Grange, IL. 3/31, Aug 20–21 Church, Campbellsville, KY. 14–15, Oct 18 Austin Church, Sanford, NC. 2/8*, 1/10*, Jan 26 University of Michigan Organ Conference. St. Mark’s Episcopal Church, Aug 28 Murphy See Van Oyen. New Canaan, CT. 3/53*, Aug Church of the Covenant, Scranton, Schlueter 1, 26–28 Grandall & Engen/Schaefer PA. 3/56*, April 27 Iglesia Ni Cristo, Quezon City, Van Oyen, Marcia. The 2014 University of Spreckels Outdoor Pipe Organ, St. Mary’s Ridge Catholic Church, Philippines. 4/50*, April 1, Michigan Organ Conference: September Balboa Park, San Diego, CA. St. Mary’s Ridge, WI. 2/13*, Peragallo 24–26 28–30, 2014. April 20–22* 4/75*, Jan 1, 24–26 June 28 Co-Cathedral of St. Joseph, Brook- lyn, NY. 3/41*, June 1, 26–27 Schoenstein Wagner, David. Bach and the Art of Impro- Bigelow/Kilgen Johnson & Son Georgetown University, Dahlgren visation: A conversation with Pamela First United Methodist Church, Emmanuel Episcopal Church, La Proscia Chapel, Washington, DC. Ruiter-Feenstra. June 20–23* Salt Lake City, UT. 3/42*, Dec Grange, IL. 2/13, Aug 20 First United Methodist Church, 3/19*, Oct 19 Walker, Charles Dodsley. See Campbell. 1, 26–27 Roanoke, AL. 2/22*, Sept 28 Wammes, Ad. See Portman. Kimball Schoenstein /Aeolian-Skinner Warde, Anton. Book Reviews. July 14–15 Buzard Emmanuel Episcopal Church, La Quimby Kountze Memorial Lutheran Weir, Gillian. See Hamilton and Huber. St. Vincent Archabbey Basilica, Grange, IL. 3/22, Aug 21–22 Catalina United Methodist Church, Omaha, NE. 3/46*, Latrobe, PA. 3/59*, Feb 1, Church, Tucson, AZ. 4/57*, July 28 Westermeyer, Paul. See Bullard. 26–27 Kney Nov 1, 30–31 Wodehouse, Artis. The American Harmo- St. Mark’s Anglican Church, Taylor and Boody nium and Arthur Bird. Nov 26–29* Buzard/Hinners Niagara-on-the-Lake, Ontario, Rieger Virginia Theological Seminary, Living Word Church, Roberts, IL. Canada. 2/15*, March 1, 26–27 Basilica of the Holy Sepulchre, Immanuel Chapel, Alexandria, Young, Steven. New Recordings. Sept 16–17 2/7.5*, March 28 Jerusalem, Israel. 2/16*, Feb 28 VA. 2/44*, Oct 1, 34–36 ———. Pierre Kunc at 150: Rediscovering a Létourneau Basilica of All Nations, prize-winning composer. Dec 20–22* Casavant St. Mark’s School of Texas, Dallas, Gethsemane, Israel. 2/11*, Wallace Emmanuel Episcopal Church, La TX. 3/61*, May 1, 30–31 Feb 28 Holy Innocents’ Episcopal Zoller, Jay. New Organ Music. March 14–15, Grange, IL. 3/63*, Aug 22 Church, Christ Chapel, Atlanta, May 15, June 14, Aug 15, Sept 18, Nov 15, GA. 2/16*, May 32 Dec 16 ———. New Recordings. Nov 14

34 Q THE DIAPASON Q JANUARY 2016 WWW.THEDIAPASON.COM *=picture +=musical examples †=stoplist #=diagrams

Honors and Competitions

Balistreri, Joe,* named to “20 under 30” Class Emerson, Katelyn,* named to “20 under 30” Kennedy, Dexter,* wins 2014 Grand Prix de Ross, Alex,* wins Lynnwood Farnam Competi- of 2015. May 20 Class of 2015. May 21 Chartres de Interprétation, 24th Concours tion, Montreal, QC, Canada. July 6 ———,* awarded second prize, Arthur Poister International D’Orgue de Chartres, Paris, Baltrusch, Anna-Victoria, awarded second Schaeffer, Andrew,* named to “20 under 30” prize, Bach-Liszt Organ Competition. Dec 6 Scholarship Competition in Organ Playing, France. Jan 6 Barton, Chelsea, awarded AGO graduate Syracuse, NY. July 6 ———,* named to “20 under 30” Class of 2015. Class of 2015. May 24 scholarship. Feb 6. Fedak, Alfred, awarded honorable mention, May 22 Schickele, Peter,* (aka P.D.Q. Bach), honored ———, awarded third prize, Bach-Liszt Organ 2015 Raabe Prize for Excellence in Sacred Knapp, Colin,* named to “20 under 30” Class by celebratory concert, Ted Mann Concert Competition. Dec 6 Composition. March 4 of 2015. May 22 Hall, University of Minnesota. March 4 Bowers, Thomas,* named to “20 under 30” Gardner, Jillian,* named to “20 under 30” Kohrs, Jonathan, awarded honorable mention, Stinson, Jonathan, wins 9th Annual Interna- Class of 2015. May 20 Class of 2015. May 21 2015 Raabe Prize for Excellence in Sacred tional Anthem Competition, First Baptist Brink, Joey,* named to “20 under 30” Class of Gaynor, Thomas,* received Douglas May Composition. March 4 2015. May 20 Award, St. Albans International Organ Com- Laube, Nathan,* named to “20 under 30” Class Church, Worcester, MA. June 6 Budacova, Maria, awarded second prize, petition, St. Albans, UK. Sept 6 of 2015. May 23 Straley, Benjamin,* named to “20 under 30” Lynnwood Farnam Competition, Montreal, ———, awarded fi rst prize, Bach-Liszt Organ Law, Garrett, awarded AGO undergraduate Class of 2015. May 24 Canada. July 6 Competition. Dec 6 scholarship. Feb 6 Szeremany, J. Richard,* honored with cel- Capozzoli, Nicholas,* named to “20 under 30” Gerdes, Clara,* wins high school division, Lippincott, Joan,* awarded Sesquicentennial ebratory concert, East Liberty Presbyterian Class of 2015. May 20. Albert Schweitzer Organ Festival. Jan 20 Medal of Excellence by Rider University. Aug 6 ———,* awarded fi rst prize, Taylor Organ ———, awarded AGO undergraduate scholar- Mariano, Davide,* awarded Second Prize Church, Pittsburgh, PA. Feb 8 Competition, Atlanta, GA. July 6 ship. Feb 6 Interpretation and Peter Hurford Bach Prize, Szymanski, Andrew,* named to “20 under 30” Cassan, David,* awarded Tournemire Prize for Gethicker, Seamus,* awarded Penn Brown St. Albans International Organ Competition, Class of 2015. May 25 Improvisation, St. Albans International Organ Memorial Scholarship. Dec 4 St. Albans, UK. Sept 6 Talley, Susan and Stephen,* honored for forty Glikes, Brian,* awarded second place, young Minion, Katie,* named to “20 under 30” Class Competition, St. Albans, UK. Sept 6 years of music ministry, Covenant Presbyte- Chriss, Alcee,* awarded second prize, Taylor professional division, Albert Schweitzer of 2015. May 23 Organ Competition, Atlanta, GA. July 6 Organ Festival. Jan 20 Mueller, Tom,* named to “20 under 30” Class rian Church, Charlotte, NC. Sept 8 Cogswell, Evan,* awarded third place, young ———,* wins Arthur Poister Scholarship of 2015. May 23 Taylor, Ben,* awarded C. Pennington Brown professional division, Albert Schweitzer Competition in Organ Playing, Syracuse, NY. Nagem, Raymond,* named to “20 under 30” Memorial Scholarship for Advanced Organ Organ Festival. Jan 20 July 6 Class of 2015. May 24 Study. Jan 8 Gress, Richard,* awarded third place, high DeRouen, Jordan,* wins French Organ Music Nauratyill, Zita,* awarded Paul Patterson Prize Taylor, Jacob, awarded AGO graduate scholar- Seminar organ composition competition. April 4 school division, Albert Schweitzer Organ and Audience Prize, St. Albans International ship. Feb 6 Dumler, Donald,* honored at retirement from Festival. Jan 20 Organ Competition, St. Albans, UK. Sept 6 St. Patrick Cathedral, New York, NY. Jan 6 Houlihan, Christopher,* named to “20 under Nyatanga, Prince, awarded AGO undergradu- Tharp, Stephen,* wins 2015 Paul Creston Eimold, Forrest, awarded second place, AGO/ 30” Class of 2015. May 21 ate scholarship. Feb 6 Award. May 8 Quimby Regional Competition for Young Jacobs, Simon Thomas,* named to “20 under Pampreen, Philip,* awarded Penn Brown Thevenot, Maxine,* installed as Canon Pre- Organists, Boston, MA. June 6 30” Class of 2015. May 22 Memorial Scholarship. Dec 4 centor, Cathedral of St. John, Albuquerque, Pan, Mary, awarded AGO undergraduate scholarship. Feb 6 NM. Jan 8 Obituaries Pattavina, Alexander,* awarded second place, Toy, Halden,* named to “20 under 30” Class of Benson, Malcolm D.* Feb 10 Milliman, Robert L. “Bob.” Aug 8 high school division, Albert Schweitzer Organ 2015. May 25 Booth, Patricia Goodman. July 10 Obetz, John.* April 8 Festival. Jan 20 Utterback, Joe,* honored for 20 years of teach- Bryant, John Emery.* June 8 Prince-Joseph, Bruce. July 10 ———, awarded third place, AGO/Quimby ing, Sacred Heart University, Fairfi eld, CT. Chaney, Harold.* Jan 10 Rephann, Richard.* March 25 Regional Competition for Young Organists, Feb 10 Corina, John Hubert.* March 10 Robinson II, McNeil. July 10* Boston, MA. June 6 Criss, Myles J.* March 10 Rohlig, Harald E.* Jan 10 Price, Stephen,* named to “20 under 30” Class Wallace, Nicholas,* named to “20 under 30” Curtis, Alan. Oct 10 Rössler, Almut.* April 8 of 2015. May 24 Class of 2015. May 25 Fair, John Todd. Jan 11 Schoenstein, Bertram.* Mar 10 Quardokus, Nicholas,* wins young profes- White, David Ashley, awarded 2015 Raabe Frost, Thomas P.* Jan 10 Scott, John.* Oct 10, 22–23 sional division, Albert Schweitzer Organ Prize for Excellence in Sacred Composition. Fusner, Henry S.* May 10 Sellers, Horace W., III.* Sept 10 Festival. Jan 20 Goodman, Roger. Sept 10 Steinmeyer, Georg Friedrich. June 8* March 4 Radtke, Phillip,* wins the 2015 Schoenstein Held, Wilbur.* May 10, 26 Tronic, Myles Kenneth. Nov 8 Yu, Stephanie,* awarded second prize, 2015 Hokans, Henry L. “Hank.”* Aug 8 Tucker, Robert. July 10 Competition in the Art of Organ Accompani- Schoenstein Competition in the Art of Organ Hutto, William Benjamin, III. Dec 10 Tyrrell, John Jay.* April 8 ment, University of Michigan, Ann Arbor, Jenkins, Paul Rogers, Jr.* Nov 8 Van Doren, Robert Lawson. Aug 8 MI. Apr 3 Accompaniment, University of Michigan, Jordan, Paul.* May 10–11, 18–19 Walker, Charles Dodsley.* March 10, Reed, Douglas,* honored with celebratory Ann Arbor, MI. April 3 Kemp, Helen Hubbart.* Oct 10 April 23 concert, First Presbyterian Church, Evans- Zeinler, Johannes,* wins First Prize Interpre- Lindquist, Kristopher Erik. Dec 10 Wilkinson, Harry. March 10 ville, IN. Mar 4 Lucktenberg, George.* Feb 11 Willcocks, David.* Nov 8 Ross, Abraham, wins AGO/Quimby Regional tation and Gold Medal, St. Albans Interna- MacDonald, Robert S.* Feb 10 Wright, Donald Stuart.* Aug 8 Competition for Young Organists, Boston, tional Organ Competition, St. Albans, UK. MA. June 6 Sept 6, Nov 8

Appointments Boucher, Vincent,* to titular organist, St. Klotzbach, Susan,* to organist, Kenilworth O’Neill, Douglas,* to director of sacred Schmelter, Nicholas,* to director of music, Joseph’s Oratory of St. Royal, Montreal, QC, Union Church, Kenilworth, IL. Aug 6 music, Holy Trinity and Holy Rosary Catho- Immaculate Conception of the Blessed Canada. March 6 Korndörfer, Jens,* to director of worship, lic Churches, Springfi eld, KY. Jan 6 Virgin Mary Catholic Church, Lapeer, MI. Brink, Joey,* to university carillonneur, Uni- the arts, and organist, First Presbyterian Øgaard, Sigurd Melvær,* to cathedral organ- May 6 versity of Chicago, Chicago, IL. Sept 8 Church, Atlanta, GA. Oct 6 ist, Christ Church Cathedral, Houston, TX. Selby, Ben,* to director of music publishing, Cienniwa, Paul,* to director, Collegiate Cho- Lamlein, Scott,* to director of music and Feb 6 Oxford University Press. May 6 rale, Stonehill College, Easton, MA. March 6 organist, St. John Episcopal Church, West Ospital, Thomas, to co-titular organist, St.- Shepard, Christopher,* to artistic director, Czausz, Monica,* to organist, Christ Church Hartford, CT. July 8 Eustache, Paris, France. May 4 Connecticut Choral Artists. April 6 Cathedral (Episcopal), Houston, TX. Oct 6 Linker, John,* to director of music, Christ- Page, Daniel Bennett, to director of sacred Shoultz III, G. Phillip,* to associate conduc- Dimmock, Jonathan,* to Legion of Honor Church Cathedral, Christchurch, New music, Sacred Heart of Jesus Parish & tor, VocalEssence. July 8 Museum, San Francisco, CA. July 8 Zealand. April 6 Dirksen, Mark,* to business manager, Buzard Sacred Heart Academy, Grand Rapids, MI. Spányi, Mikolas, to teacher of improvisation, Lystrup, Karissa,* to director of music, St. March 6 Conservatory of Amsterdam, Amsterdam, Pipe Organ Builders, Champaign, IL. Feb 6 John Lutheran Church and School, Bakers- Dye, Ryan,* canon for music, St. Michael’s Potts, Nigel,* to organist and master of the the Netherlands. Nov 4 fi eld, CA. July 8 music, Grace Episcopal Church, Charleston, Spritzer, Damin,* to assistant professor of Episcopal Cathedral, Boise, ID. Dec 6 Marconi, Emanuele,* to conservator, Franken, Viktoria,* to assistant tonal director, SC. Oct 6 organ, University of Oklahoma, Norman, National Music Museum, Vermillion, SD. Buzard Pipe Organ Builders, Champaign, Rao, Doreen,* to artistic director, Chicago OK. June 6 Oct 6 IL. Feb 6 Chamber Choir. April 6 Stinson, Russell,* to Gerhard Herz Visit- Marle-Ouvrard, Baptiste-Florian, to co- Grassin, Didier,* to president, Noack Organ Reed, Douglas,* to adjunct professor of music ing Professor of Bach Studies, School of titular organist, St.-Eustache, Paris, France. Company, Inc., Georgetown, MA. May 6 (organ), Indiana University, Jacobs School of Music, University of Louisville, Louisville, May 4 Gritter, Gerben, to teacher of organ building, Music, Bloomington, IN. Oct 6 KY. July 8 Conservatory of Amsterdam, Amsterdam, Martinez, Lorenzo,* to executive director, Houston Chamber Choir, Houston, TX. Robilliard, Louis, to visiting professor for Tobiassen, Arnfi nn,* to artistic director, the Netherlands. Nov 4 French 19th- and 20th-century organ music, Norsk Orgelfestival, Stavanger, Scandanavia. Harmon, Christina,* to adjunct instructor in June 6 Miller, Charles,* to president of Phillip Conservatory of Amsterdam, Amsterdam, Nov 6 organ, Stephen F. Austin State University, the Netherlands. Nov 4 Trapp, Lynn,* to director of music, St. Joseph Nacogdoches, TX. Aug 6 Truckenbrod Concert Artists, Detroit, MI. Roland, Darryl,* to director of music, St. Catholic Church, Cockeysville, MD. Dec 6 Havinga, Matthias, to assistant professor of Sept 8 Peter Episcopal Church, Philadelphia, PA. Wenger, Barry,* to organist and bell choir organ, Conservatory of Amsterdam, Amster- Monot, Jean-Baptiste,* to co-titular organist, dam, the Netherlands. Nov 4 St. Ouen, Rouen, France. Sept 8 Aug 6 director, First Presbyterian Church, Lake Janzer, Dennis,* to organist-choirmaster, St. Mossakowski, Karol,* to 2014–2015 Young Rowley, Naomi,* to organist, First United Forest, IL. Aug 6 Mary Episcopal Cathedral, Memphis, TN. Artist in Residence, Cathedral-Basilica of Methodist Church, La Grange, IL. Sept 8 Yeargin, Andrew,* to director of music and Sept 8 St. Louis, King of France, New Orleans, LA. Ryan, Laurie,* to director of music, Grace organist, Holy Trinity Catholic Church, New Karosi, Bálint,* to cantor, St. Peter’s Lutheran March 6 Episcopal Church, Port Huron, MI. July 8 York, NY. May 6 Church, New York, NY. Nov 6 Ng, Tiffany,* to assistant professor of carillon Schleff, Jeffrey,* to director of music min- Zelek, Gregory,* to music director and organ- Kleinschmidt, Michael,* to canon musician, and university carillonneur, University of istries and organist, St. Philip’s Episcopal ist, Episcopal Church of St. Matthew and St. St. Mark’s Cathedral, Seattle, WA. Feb 6 Michigan, Ann Arbor, MI. Oct 6 Church, Ardmore, OK. Oct 6 Timothy, New York, NY. March 6

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2016 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 Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

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

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

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

Choir The Choir of Saint Thomas Church Fifth Avenue, New York City April 2016

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray Celebrating Our 94th Season!

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan

*=Artists based outside the U.S.A.

Ann Elise Smoot Tom Trenney Thomas Trotter* Todd Wilson Christopher Young