THE DIAPASON NOVEMBER 2019

The First Church, UCC Nashua, New Hampshire Cover feature on pages 22–24 PHILLIP TRUCKENBROD CONCERT ARTISTS

ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

^^d/E,/E>

2019 W®›Ùٛ^͘—çWÊÄã &®ÙÝãWÙ®þ›t®Äě٠>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄ

òƒ®½ƒ½›®Ä㫛h͘^͘ ›¦®ÄĮĦ®ÄÝçÃÛÙ

JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH

IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 11, A free gift with new subscriptions Whole No. 1320 and gift subscriptions NOVEMBER 2019 We remind you that a subscription to The Diapason makes Established in 1909 the perfect gift for a friend who shares your interest in the Stephen Schnurr ISSN 0012-2378 organ, church music, harpsichord, and carillon. And, just in 847/954-7989; [email protected] time for the holidays, we are extending our promotional offer- www.TheDiapason.com An International Monthly Devoted to the Organ, ing of new Raven CDs for new and gift subscriptions. One free the Harpsichord, Carillon, and Church Music CD for a one-year subscription; two CDs for a two-year sub- Sayer provides a brief but fascinating history of the organs of scription; and three CDs for a three-year subscription. Check the Temple Church, London, UK. CONTENTS it out now at www.thediapason.com/subscribe. In “On Teaching,” Gavin Black continues his discussion of FEATURES J. S. Bach’s The Art of the Fugue, with comments on structure. Aloÿs Claussmann, Organist and Composer The Gruenstein Award John Bishop, in “In the Wind . . .,” has compiled a list of must- (1850–1926): A re-estimation Nominations are now being have tools and solutions an organbuilder should keep on hand, by Steven Young 16 accepted for The Diapason’s new and many of these items are helpful with household tasks, as A history of the Temple Church organs Gruenstein Award, to honor a young well. In “Harpsichord Notes,” Larry Palmer narrates his early by Roger Sayer 19 author and his or her scholarship years of music training. NEWS & DEPARTMENTS and writing. Article-length essays Our cover feature takes us to The First Church, UCC, Editor’s Notebook 3 are sought from authors who have Nashua, New Hampshire, and its Austin Organs, Inc., instru- Letters to the Editor 3 not yet reached their 35th birthdays. ment. The project of rebuilding has returned many of the lost Here & There 3 For full details, visit www.thedia- sounds of the original 1926 Austin organ. Carillon News by Laura Ellis 6 pason.com, or see our September Nunc Dimittis 8 2019 issue, page 3. Looking ahead to that special date . . . Appointments 9 Next month marks the 110th anniversary of the fi rst issue of On Teaching by Gavin Black 11 In this issue The Diapason, released December 1, 1909. For the occasion, Harpsichord Notes by Larry Palmer 12 1909 2019 In the wind . . . by John Bishop 14 110 Steven Young writes about the we look forward to presenting a feature by our former editor, life and organ music of Aloïs Clauss- Joyce Johnson Robinson, on Ernest M. Skinner and his appear- REVIEWS mann (1850–1926) of France. Roger ances in The Diapason. Q Choral Music 10 New Organ Music 10 New Recordings 10, 24 Letters to the Editor

CALENDAR 25 Dear Editor, to send it to her. He wasn’t able to go became the opening movement of his RECITAL PROGRAMS 29 I have enjoyed receiving The Diapa- to her wedding because he had injured Sonata in A Major. CLASSIFIED ADVERTISING 30 son for many, many years! I was read- his knee in a carriage accident. Fanny I thought your readers would enjoy ing the review of the Musforum con- wrote the Prelude in F (dated Septem- knowing about Fanny’s predicament. ference in the October edition, and I ber 28, 1829) for the processional, and What would a bride do today if she had need to make a small correction. When on the eve of her wedding (October 3, to write her recessional the night before THE I spoke about how Felix Mendelssohn 1829), she wrote the Praeludium in G her wedding? DIAPASON NOVEMBER 2019 did not deliver the recessional for his for her recessional. We are fortunate Nancy S. Ypma, D.Mus. sister Fanny’s wedding to her on time, that Felix did not abandon the work Professor of Music it was not because he forgot to take it to he intended to be the recessional for McKendree University the wedding, it was because he forgot Fanny’s wedding—the piece eventually Q Here & There

Events Candlelight Vespers are offered Boy Choir Festival; March 3, Oliver

The First Church, UCC Nashua, New Hampshire Cover feature on pages 22–24 Wednesdays in Advent and Lent at 7:30 Brett; 3/15, Musical Stations of the p.m., with the Shadyside Strings, Cha- Cross; April 4, Three Choirs Festival; tham Baroque, and the Pittsburgh Girls 4/26, Notre Dame benefi t concert; May COVER Choir: December 4, 11, 18, February 6, Sue Mitchell-Wallace; 5/13, Scott The First Church, UCC, Nashua, New 26, March 4, 11, 18, 25, and April 1. For Atchison and Oliver Brett; 5/20, Kirk Hampshire; Austin Organs, Inc., Hartford, Connecticut 22 further information: Rich; 5/27, Jens Korndörfer; August 5, www.shadysidepres.org/migs. David Higgs. For information: www.prumc.org. Editorial Director STEPHEN SCHNURR and Publisher [email protected] 847/954-7989

President RICK SCHWER [email protected] 847/391-1048

Editor-at-Large ANDREW SCHAEFFER [email protected] Shadyside Presbyterian Church, Pitts- burgh, Pennsylvania, Reuter organ Sales Director JEROME BUTERA [email protected] 608/634-6253 Shadyside Presbyterian Church, Circulation/ Pittsburg, Pennsylvania, announces Subscriptions THE DIAPASON P.O. Box 300 its 2019–2020 Music in a Great Space Peachtree Road United Methodist Lincolnshire, IL. 60069-0300 series: November 3, Durufl é, Requiem; Church, Atlanta, Georgia, Mander organ [email protected] December 8, Lessons & Carols; 12/15, Toll-Free: 877/501-7540 Local: 847/763-4933 Pittsburgh Camerata; Peachtree Road United Methodist Cathedral of St. Mary of the Assumption, January 19, 2020, Pittsburgh Youth Church, Atlanta, Georgia, announces San Francisco, California, Ruffatti organ Designer KIMBERLY PELLIKAN Symphony Orchestra and Junior Men- music events for the 2019–2020 sea- [email protected] delssohn Choir of Pittsburgh; February son: November 3, Feast of All Saints The Cathedral of St. Mary of the 847/391-1024 9, Pittsburgh Camerata; March 8, Virginia Evensong, with recital by Su-Ryeon Assumption, San Francisco, Califor- Contributing Editors LARRY PALMER Glee Club; 3/15, Una Voce of Seton Hill Ji; December 8, The Many Moods of nia, announces recitals, Sundays at 4:00 Harpsichord University; 3/22, Choirs of Duquesne Uni- Christmas; 12/15, Carols by Candle- p.m.: November 3, Raymond Hawkins; BRIAN SWAGER versity; April 10, Stainer, The Crucifi xion; light; 12/20–21, Georgia Boy Choir; 11/10, David Troiano; 11/17, Hannah Carillon 4/26, The Tallis Scholars; May 3, Choir of January 17, 2020, hymn festival; Tarley, violin; 11/24, Jin Kyung Lim, Westminster Presbyterian Church, Buf- February 2, Coro Vocati; 2/11, Jennifer with Amabilis Ensemble. St. Mary’s JOHN BISHOP falo; June 3, Pittsburgh Camerata. Shin and Alden Wright; 2/22, Georgia ³ page 4 In the wind . . .

GAVIN BLACK THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of On Teaching Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Reviewers Karen Schneider Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. Jay Zoller Canada and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Steven Young 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading John L. Speller only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 3 Here & There

³ page 3 Mass in B Minor, St. James’s Episcopal Cathedral houses a 1971 Fratelli Ruf- Church, West Hartford; April 26, Ivory, fatti organ of four manuals, 89 ranks. Wood, and Steel, First Church of Christ, For information: Congregational, New Britain. For infor- www.stmarycathedralsf.org. mation: www.concora.org.

St. Margaret’s Episcopal Church, St. Mark’s Episcopal Church, Palm Desert, California, announces Berkeley, California, announces its Sec- 2019–2020 musical events: November ond Sunday Series, the church’s 34th 3, Frederick Swann, followed by cho- season, with choral Evensong at 3:00 ral Evensong; December 8, Lessons p.m., followed by an organ recital at 4:00: & Carols; 12/12, Southern California November 10, Amanda Mole; Decem- Brass Consortium; ber 8, Emma Whitten; January 12, 2020, January 21, 2020, Monica Czausz; Margaret Kvamme; February 9, Nicho- February 3, Chanticleer; 2/23, Jan Kray- las Quardokus; March 8, Mateusz Rze- bill; 2/28, John Wright; wuski; May 10, George Fergus; June 14, March 6, Kevin McKelvie; 3/13, Den- Jonathan Dimmock. For information: nis Siebenaler; 3/15, Chelsea Chen; 3/20, www.stmarksberkeley.org. Philip Smith; 3/27, Wayne Burcham- Gulotta; April 3, Frederick Swann. For First Congregational Church Ivan-Bogdan Reinecke, winner of the Northern Ireland International Organ Compe- information: www.stmargarets.org. (United Church of Christ), Columbus, tition 2019, at the console of the organ in St. Patrick’s Church of Ireland Cathedral, Ohio, announces its 2019–2020 Concerts Armagh (photo credit: Liam McArdle) at First Church season, the church’s 48th: November 17, Vaughan Williams, The Northern Ireland International Organ Competition announced winners Mass in G Minor; December 15, Christ- of its 2019 competition, held August 19 at St. Patrick’s Church of Ireland Cathedral, mas Lessons & Carols; March 1, 2020, Armagh. Ivan-Bogdan Reincke, 21, from Hungary, won fi rst prize. Reincke is a stu- Kevin Jones, organ, with Gladden Brass dent at the Franz Liszt Academy of Music in Budapest. The prize includes a £1,500 Ensemble; April 19, Clark Wilson, silent award and seven public recitals in venues such as St. Thomas Church Fifth Avenue, fi lm, King of Kings; May 3, First Church New York; Westminster Abbey, London; King’s College, Cambridge; and St. Anne’s Choir concert for CD release. Cathedral, Belfast. Choral Evensong is offered Sundays Second prize in the senior section, sponsored by Wells-Kennedy Organ Partner- at 4:00 p.m.: November 17, January 19, ship, Lisburn, was awarded to James Anderson-Besant, 20, from Oxfordshire, February 16, March 15, and May 3. junior organ scholar at St. John’s College, Cambridge. The prize includes public The Church’s First Tuesdays concerts, recitals in Stockholm and Cambridge. at 12:15 p.m.: November 5, G. Dene Third prize, including recitals in Paris and Glasgow, went to Joshua Hughes, 20, Barnard, organ; February 4, Brahms, a student at the Royal Birmingham Conservatoire. Killian Homburg (Germany) and Liebeslieder Waltzes, op. 52; March Jonathan Lee (Australia) were highly commended. 3, Bach’s birthday concert with Kevin The Dame Gillian Weir Medal, awarded for a performance of one work that the chair Jones, harpsichord, and Amy Guitry, of the jury considers to be the most outstanding in the senior category of the competi- baroque fl ute. For information: tion and sponsored by Allen Organs NI, was awarded to Julia Raasch, 21, a student Grace Cathedral, San Francisco, www.concertsatfi rstchurch.org. of the Franz Liszt University of Music in Weimar, Germany. The Bach Prize went to California Killian Homburg, 18, of the University of Music and Theatre, Leipzig, Germany. Canterbury Choral Society, This year’s competition attracted competitors from six European countries and, for Grace Cathedral, San Francisco, Jonathan De Vries, artistic director, the fi rst time, from the United States and Australia as well as England and Scotland. The California, announces special music announces its 2019–2020 season with jury was chaired by Martin Baker, joined by Katherine Dienes-Williams and David Hill. events for 2019–2020: November performances at Church of the Heavenly The intermediate category of NIIOC 2019, sponsored by John Miley, Organ Club of 3, Benjamin Sheen; 11/10, Durufl é, Rest, New York, New York: November Great Britain, took place on August 20, also in St Patrick’s Church of Ireland Cathedral, Requiem; December 1, Advent Proces- 24, Bach, Christmas Oratorio; March 8, and was won by Julian Becker, 14, from Germany. Second place went to Kamilla sion of Lessons & Carols; 12/14–15, 2020, works of Vaughan Williams; May Levai, 21, from Hungary, and third place to Chiara Perneker, 17, from Germany. 20–22, A Cathedral Christmas, with the 17, Mozart, Mass in C Minor. For infor- The junior category, sponsored by Alasdair MacLaughlin, took place in St. Mala- Cathedral Choir of Men & Boys; 12/24, mation: www.canterburychoral.org. chy’s Roman Catholic Church, Armagh. This division was won by Adam Suk, 14, Christmas Lessons & Carols; from Pardubice, Czech Republic. Gergö Kiss, 12, from Györ, Hungary, was highly January 12, 2020, Weicheng Zhao; commended. For information: www.niioc.com. February 9, Christopher Keady; March 1, David Simon; May 3, Jeremy Bruns; 5/31, David Halls. For information: www.gracecathedral.org.

CONCORA (Connecticut Choral Artists), Chris Shepard, artistic direc- tor, announces its 2019–2020 season: November 9, CONCORA on Broadway, Trinity-on-Main, New Britain; December Christ Episcopal Church, Bradenton, 8, Handel, Messiah, St. James’s Episcopal Florida, Létourneau organ Church, West Hartford; February 6, choral works of Maurice Christ Episcopal Church, Bra- Durufl é, Immanuel Congregational denton, Florida, announces its music Church, Hartford; March 22, Bach, ³ page 6 Back row: James Kibbie, Yong Zhang, Jihye Choi, Josiah Hamill, Stephen Price; front row, Mark Herris, Daniel Colaner, Rebecca Lee, Wilma Jensen

The Third Sursa American Organ Competition was held September 6–8 at Ball State University, Muncie, Indiana, hosted by the School of Music under the direction of assistant professor of organ Stephen Price. The competition included six pre-professionals and two high school candidates chosen from the preliminary round to compete in the semi-fi nal and fi nal live rounds. Organ repertoire from the 16th to the 21st centuries was performed on the three-manual Goulding & Wood Opus 45. The events also included an Orgelkids demonstration led by Mark Herris and Darrell Bailey from Indiana University-Purdue University Indianapolis, open for the public to participate. On the fi nal day, the judges and School of Music faculty were featured in a concert, also including solo pieces and a duet for Orgelkit instrument and the Goulding & Wood. For the pre-professional division, fi rst prize was awarded to Josiah Hamill; second prize to Jihye Choi; third prize to Yong Zhang; and audience prize to Josiah Hamill. All are students at Jacobs School of Music, Indiana University, Bloomington. In the high school division, fi rst prize was awarded to Daniel Colaner (student of David Higgs), second prize to Rebecca Lee (student of Sarah Williams). The judges for the lives rounds were Wilma Jensen, James Kibbie, and Mark AUSTINORGANS.COM Herris. The preliminary round judges were Kirby Koriath, Yevgeniya Jaynes, and 
t

8PPEMBOE
4U
)BSUGPSE
$5

Stephen Price. Josiah Hamill will be featured in concert with the Muncie Symphony Orchestra on April 4, 2020, playing the Concerto for Organ and Orchestra by Francis Poulenc. For information: www.bsu.edu/academics/collegesanddepartments/music.

4 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM www.ConcertArtistCooperative.com

Colin R. Monty Elisa Shin-Ae Leon W. Rhonda Sider Andrews Bennett Bickers Chun Couch III Edgington

Laura Faythe Simone Justin Sarah James D. Ellis Freese Gheller Hartz Hawbecker Hicks

Rob Michael Angela David K. Mark Yoonmi Hlebinsky Kaminski Kraft Cross Lamb Laubach Lim

Wynford S. Colin Katherine Scott Shelly Moorman- David F. Lyddane Lynch Meloan Montgomery Stah lman Oliver

Brenda Tom Beth Rodland Duo Portman Winpenny Zucchino Carol & Catherine Rodland

R. Monty Bennett, Director ([email protected]) Beth Zucchino, Founder & Director Emerita 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 Clarion Duo A non-traditional representation Christine Westhoff Keith Benjamin celebrating its 32nd year of operation & Timothy Allen Melody Steed Here & There

³ page 4 prize is €5,000 for a composition on the calendar for 2019–2020: November 24, theme “Time” for a vocal soloist (upper Carillon News Haydn, Missa Brevis in B-fl at; December voice) with string quartet in the form of 8, Advent Lessons & Carols (morning) a sacred concerto or cantata. The treat- and Sarasota Young Voices (evening); ment of time as a structural element in January 19, 2020, Dexter Kennedy, the music could be included. The choice organ; February 16, Solomon Eichner, of movements is open to the contestant. piano; 2/23, Mozart, Mass in C, K. 257; Deadline for application is December 31. March 8, Bach, A Musical Offering (with For information: www.neuss-kultur.de. Sarasota-Manatee Bach Festival). An Advent recital series is offered The Eighth International Franz Thursdays at 12:15 p.m.: December Schmidt Organ Competition will take 5, Julane Rodgers, harpsichord; 12/12, place September 11–19, 2020, in Vienna, Richard Benedum; 12/19, Nancy Dona- Austria. The competition is organized by ruma, cello. A Lenten recital series is also Camerata Viennensis in cooperation with presented on Thursdays at 12:15 p.m.: Institut für Orgel, Orgelforschung und February 27, Amy Cerniglia; March 5, Kirchenmusik, Universität für Musik und Cynthia Roberts-Greene; 3/12, John darstellende Kunst Wien. First prize is Behnke; 3/19, Ann Stephenson-Moe; €5,000, second prize €3,500, third prize 3/26, Nancy Siebecker; April 2, James €2,000. The jury consists of Karl-Gerhard Walton. For information: Straßl, chair, Helmut Binder, Bernhard Participants in anniversary celebration at Century Tower, University of Flori- www.christchurchswfl a.org. Haas, Robert Kovács, Peter Planyavsky, da, Gainesville, Florida and Liubov Shishkhanova. The compe- tition is open to all organists born after The fortieth anniversary of the carillon of Century Tower, University of Conferences and festivals December 31, 1984. Deadline for appli- Florida, Gainesville, Florida, was celebrated on September 22. The original The Dallas Chapter of the Choris- cation is May 31, 2020. For information: 49-bell instrument built by Royal Eijsbouts of Asten, the Netherlands, was ters Guild announces its Dallas Church www.orgelwettbewerb.at. dedicated in recital by carillonneur Milford Myhre on May 14, 1979. The Music Workshop, January 10–11, 2020, current carillon studio celebrated this milestone with an alumni brunch and headquartered at Lovers Lane United anniversary program. Methodist Church. Presenters include Scholarships and grants UF carillonneurs from throughout the years returned to campus for the Sandy Knudson (elementary voices), The New York City Chapter of event. During the brunch, a perpetual plaque listing names of all UF carillon- Ron Mallory (handbells), Dan Baker the American Guild of Organists is neurs was unveiled. New names will be added to the plaque each semester as (youth voices), and Monica Awbrey (pre- accepting applications for grants from its carillon studio members graduate. A number of carillon alums performed in an school voices). For information: Centennial Millennium Fund through informal concert in the early afternoon. www.dallaschaptercg.org. December 31. Grant proposals are wel- The carillon studio’s mid-afternoon concert began with the fi rst composition comed for projects that will expand the performed in Century Tower, Florida Chimes Voluntary, composed by former general public’s awareness of the pipe music department chair, Budd Udell. Two selections from Myhre’s dedica- organ. Awards will be considered for tory program were also featured: Chartres, by Roy Hamlin Johnson, and Bert up to $10,000. For information, contact Gerken’s Pastel in Bronze. David Enlow, chair of Centennial Mil- Willis Bodine, University of Florida professor of music (1959–2003) and lennium Fund Trustees: university organist and carillonneur, emeritus, composed Twice Twain Ten [email protected]. for Two: A celebratory toccata-duet for the 40th anniversary of the Century Tower Carillon 1979–2019. The composer’s prefatory notes to the work outline The Organ Historical Society invites multiple references to the number 40, including: “twain ten” (the early Anglo- applications for its OHS Research Saxon version of “twenty”) is doubled by “twice” to make 40; several musical Scholarship. The award of up to $1,000 themes are drawn from the motet Spem in alium for forty voices written by supports research projects related to Thomas Tallis; the work employs a 5/8 time signature; and, the total number of the pipe organ in America in all its fi ngers and toes used by the two performers number 40. aspects—organbuilders, construction, Convocamus: Diptycha Temporalis was also composed specifi cally for this history, styles, reception, composers, celebration by Mitchell Stecker (BMus, BA ’14, MM ’19), music director and repertories, performers, performing carillonneur at The Citadel, Charleston, South Carolina, and a member of practices, and more. The grant may be The Diapason’s 20 Under 30 Class of 2019. The fi rst movement of the work, used to cover travel, housing, and other “Quadraginta,” was performed for this celebration; movement two is to be pre- research-related expenses. There are no miered at the fi ftieth anniversary of the carillon. restrictions on eligibility, and there is no A 2003 renovation of the instrument carried out by Eijsbouts included the application form. installation of twelve additional bells (for a total of 61), improvements in the Basilica de la Soledad, Oaxaca, Mexico Applications must be in English and playing action, and new performance and practice claviers. More information should include: cover letter; curriculum about the carillon program at the University of Florida may be found at: www. The Instituto de Órganos vitae; proposal not to exceed 2,000 words arts.ufl .edu/carillon. Históricos de Oaxaca A.C. (IOHIO) containing a statement of objectives; —Laura Ellis announces its 13th international organ budget showing anticipated expenses University of Florida festival, headquartered in Oaxaca, associated with the project, including Mexico, February 18–23, 2020, featuring those to be funded by the scholarship; many of the historic pipe organs in the list of other granting agencies to which should submit materials electronically by surrounding region. The festival includes the applicant has applied or expects to December 1. Send application materials nine concerts on eight organs, featuring apply to fund the research, and amounts or inquiries to: Christopher Anderson, performers such as Craig Cramer, Pavel awarded or requested; two letters of rec- chair, OHS Publications Advisory Com- Kohout (Czech Republic), and João Vaz ommendation sent under separate cover, mittee, at [email protected]. (Portugal). There will be visits to 12 addressing the merits of the proposed unrestored organs and their churches, project, the suitability of the applicant many of which are usually inaccessible to to carry it out, and the likelihood of its People the public, in the Oaxaca Valley and the successful completion. Brendan Conner presented a recital Mixteca Alta. For information: Preference is given to projects that on September 15 in the chapel of Pied- www.iohio.org.mx. include the resources of the OHS mont College, Demorest, Georgia, Library and Archives (OHSLA) housed as part of the college’s ninth annual Brendan Conner and James F. Melli- primarily at Stoneleigh in Villanova, SuperNova Concert Series. Conner is a champ, president and professor of mu- Pennsylvania. Depending on suitability, student at the Jacobs School of Music, sic at Piedmont College (photo courtesy Competitions Piedmont College) The town of Neuss, Germany, the recipient of the scholarship will Indiana University, Bloomington, in the announces a composition competition. be encouraged to submit the work for studio of Christopher Young. Conceived The contest takes place every four years publication in The Tracker or with the as an opportunity to showcase rising tal- interact with other young professional and is organized by the town of Neuss OHS Press, and/or to present aspects ent in the organ fi eld, the SuperNova musicians. For information: together with local Protestant and of the research in a public forum such Series also allows for undergraduate www.piedmont.edu. Catholic churches. The church music as an OHS convention. Applicants music students at Piedmont College to ³ page 8

WEEKEND ORGAN A. Thompson-Allen Co., LLC MEDITATIONS 11 Court Street New Haven, Connecticut 06511 JL Weiler , Inc. Grace Church in New York 203.776.1616 www.thompson-allen.com Museum-Quality Restoration www.gracechurchnyc.org of Historic Pipe Organs jlweiler.com

6 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM PLAY ICONIC PIPE ORGANS FROM ALL OVER THE WORLD With the NEW Johannus LiVE 2T-A and 3T-A

The Johannus LiVE 2T-A and 3T-A, bridge the gap between dream For every church, you can choose between four different listening positions and reality. From now on, you can experience playing the world’s – all of which provide you a unique experience. Will you sit at the organ most magnifi cent pipe organs whenever you want to. bench, as the actual organist? Or do you prefer a concert effect and listen as Right in your very own living room. if you are in the middle of the church, even though you’re playing yourself? The possibilities are endless with the new Johannus LiVE 2T-A and 3T-A. With the wave of a hand you fly to Greeley, Colorado, and take a seat at the Casavant Frères organ of the Trinity Episcopal Church. Another touch of the For more information on the new LiVE 2T-A and 3T-A, button brings you to the Willis & Sons organ of the Mossley Hill Church in contact your local Johannus dealer or visit www.johannus.com. Liverpool, England, or to one of the many other historical pipe organs we’ve recorded for you. Here & There

Nunc Dimittis to the academy chapel (and since relocated to the Smithsonian Institution). She Elizabeth Ayers Compton Bellocchio, 65, served as music director and organist at First Baptist Church, Northampton, of Haverhill, Massachusetts, died August 30. Massachusetts; in Taunton, Massachusetts, at St. Thomas Episcopal Church, St. She was an organist, organbuilder, historian, and John’s Episcopal Church, and Pilgrim Congregational Church; First Presbyterian museum and arts administrator, known profes- Church, Seneca Falls, New York; and as accompanist for the children’s choir at sionally as Lisa Compton. Born October 9, 1953, Trinity Episcopal Cathedral, Portland, Oregon, where she was also a substitute in Greenfi eld, Massachusetts, she grew up in organist at other churches. Exeter, New Hampshire. She began piano les- Elizabeth Ayers Compton Bellocchio is survived by her organbuilder husband sons at Ellerslie School, Great Malvern, England, Matthew Bellocchio and their daughter Holly Bellocchio Durso of Abington, where the family lived for a year while her father Massachusetts. She is also survived by her brother Karl Compton of Rockport, was an exchange professor at Malvern College. Texas, and her sister Carol Compton of Keene, New Hampshire. A funeral was Lisa Compton was executive director of the conducted September 28 at St. Thomas Episcopal Church, Taunton, where she Seneca Falls Historical Society, Seneca Falls, had been a member since 1983. She sang in the choir, served on many committees New York, from 2000 until 2002, and was from and two terms on the vestry, and sewed the church banner that hangs by the organ Elizabeth Ayers Compton 1998 to 2000 executive director of the Friends case (1899 George Jardine & Son, Op. 1257/1980 Roche Organ Co.). Donations in Bellocchio of Vista House, Corbett, Oregon. She was the her memory may be made to the Memorial Fund of St. Thomas Episcopal Church fi rst professional director of the Old Colony or to the Old Colony History Museum, 66 Church Green, Taunton, MA 02780. History Museum in Taunton, Massachusetts, 1982–1996, and served on the Taunton Historic District Commission, revising and editing the second edition Jared Jacobsen, organist, liturgist, choir director, and community faith leader, (1986) of Taunton Architecture: A Refl ection of the City’s History. died August 27. He was born March 18, 1949, in New Castle, Pennsylvania. He She researched and wrote many entries as editor of the Organ Historical Soci- grew up in Girard, Pennsylvania, graduating from Girard High School in 1967. ety’s 2005 Southeastern Massachusetts convention handbook and served on the He began music studies at age fi ve as a piano student at the Chautauqua Institu- convention planning committee, co-chaired by her husband, Matthew Bellocchio. tion, Chautauqua, New York, and had returned every summer since. He studied She was consultant for the restorations of historic organs at the Congregational piano at Villa Maria College, Erie, Pennsylvania, and later enrolled in Westminster Church (c. 1834 E. & G. G. Hook), Berkeley, Massachusetts, and Pilgrim Congre- College, New Wilmington, Pennsylvania, where he earned a Bachelor of Music gational Church (1890 Johnson & Son), Taunton, Massachusetts. degree with honors. At the University of Arizona in Tucson, he earned a Master In 1975, as a fellow in the Summer Museum Studies program at Historic Deer- of Music degree and pursued doctoral study as a Haldeman Fellow in keyboard fi eld, Massachusetts, she researched the history of dancing and ballrooms in early performance and choral studies. New England and presented programs and lectures based on her research. She He began his church music career at age thirteen as organist for Grace Episcopal later served for two years as assistant curator at the Memorial Hall Museum in Chapel, Fairview, Pennsylvania. A California resident since 1976, he served as fi fth Deerfi eld, creating the summer Old Deerfi eld Sunday Afternoon Concert Series civic organist of the City of San Diego from 1978 through 1984, playing weekly con- that continues to date. certs on the Spreckels Organ in Balboa Park. In 1984 he moved to San Francisco to She trained and supervised tour guides at Castle Hill, the mansion on the Crane serve a Catholic parish. While there he was organist for the 1987 papal Mass in San Estate, Ipswich, Massachusetts, as an employee in the Education Department of Francisco’s Candlestick Park for a congregation of 70,000 and a viewing audience of The Trustees of Reservations, 2007–2010. She was administrator at the Universal- 70,000,000; the following year he was invited by Pope John Paul II to the Vatican as ist Unitarian Church of Haverhill, 2011–2017, and was a librarian at the Graves a delegate to its historic First World Conference on Church Music. A Presbyterian Music Library of Phillips Academy, Andover, Massachusetts, from 2010 until her church called him to service in San Diego in the fall of 1991. recent illness prohibited continuing. Since 1996, Jacobsen served as the organist and coordinator of worship and As an organbuilder, Lisa Compton was a member of the American Institute sacred music for the Chautauqua Institution. He presided over the Massey Memo- of Organbuilders, having been among the fi rst women to take and pass the AIO rial Organ of four manuals located in the amphitheater. He also led the Motet examination in 1979 to receive the Colleague Certifi cate. Employed by the Berk- Choir for daily worship services and the Chautauqua Choir for Sunday morning shire Organ Company, she became the New York City service representative. She and evening worship, played weekly recitals on the Massey organ and the 1893 later worked occasionally with other fi rms and with her husband at the Roche Tallman mechanical-action organ in the Hall of Christ, and appeared frequently Organ Co., Taunton, Massachusetts; Bond Organ Builders, Inc., Portland, Ore- as soloist with the Chautauqua Symphony and Music School Festival Orchestras. gon; Parsons Pipe Organ Builders, Canandaigua, New York; and Andover Organ In recent years, when not at Chautauqua during summer months, Jacobsen Company, Inc., Methuen, Massachusetts. served as director of music for First Lutheran Church, San Diego, California, and A 1975 graduate of Smith College, Northampton, Massachusetts, with a degree as a member of the performing arts faculty of The Bishop’s School, an indepen- in art history and music, she studied organ with Vernon Gotwals at Smith and dent college-preparatory middle and high school in La Jolla, California. earlier with Richard Bennet, organist at her high school, Concord Academy. In A memorial service for Jared Jacobsen was held August 30 in the Chautauqua 1970, she helped to relocate the 1872 E. & G. G. Hook & Hastings Opus 676 Amphitheater, the Rt. Rev. V. Gene Robinson presiding. Q

³ page 6 Bärenreiter announces new choral Organ (14097, £8.95), celebrating the (Vienna), Luigi Mengoni (Florence), publications: Brahms, Ein deutsches 20th anniversary of the Chester and and Andreas Willscher (Hamburg) con- Publishers Requiem, op. 45, in a new urtext edition North-East Wales Organists’ and Choir- ceived their compositions for organ solo. Augsburg Fortress announces new by Peter Schmitz (BA 7600, full score, masters’ Association. For information: The works are for two-manual organs, choral publications for Advent and Christ- €59); Bach, St. Matthew Passion, BWV www.banksmusicpublications.co.uk. though the Willscher work is also suit- mas: We Wait for God (9781506456959, 244, edited by Alfred Dürr on the work of able for three-manual instruments. The SATB and piano, $1.80), by Frederick Max Schneider (BA 5038-02, full score, winning compositions were selected from Gustav Brockmann; There Is No Rose €79); Haydn, Harmony Mass, Hob. 68 submissions by the cathedral organists of Such Virtue (9781506456911, SATB, XXII:14, in an urtext edited by Friedrich from Cologne, Salzburg, and Regensburg. $1.50), by Beth Kenreich; The Virgin Lippmann (BA 4659-02, full score, €62); The compositions and other Roman- Mary Had a Baby Boy (9781506456904, and Missa Brevis Arosiensis, by Mårten tic organ works are recorded on CD SAB and piano, $2.25), by Alan Smith; Jansson (BA 8527, choral score, €4.95). by Heinrich Wimmer on the Rieger and How Shall We Approach This Won- For information: www.baerenreiter.com. organ in the church of St. Jakob in der (9781506456737, SAB and organ, Burghausen (CD 632), the same church $1.95), by Carl Schalk. For information: Banks Music Publications Franz Xaver Gruber (1787–1863), the www.augsburgfortress.org. announces availability of new organ composer of Stille Nacht, heilige Nacht, music: Groundworks: Five Chaconnes received his musical education. For from the Operas (Henry Purcell) (14092, information: [email protected] or A. E. Schlueter Pipe Organ Co. £4.95), by Antony Baldwin; Highland www.organhistoricalsociety.org. Cathedral: Two Arrangements for Organ (14096, £3.95), by Michael Korb and Uli MorningStar Music Publishers Roever, arranged by Antony Baldwin; announces new publications for organ: and Celebration Suite: Six Pieces for Be Joyful! 12 Postludes on Familiar Hymns (10-457, $21), by Charles Callahan; Theme and Variations on Noël Nouvelet (10-181, $14), by Michael Burkhardt; On Christmas Night: Five 200 Jahre Stille-Nacht-Lied Komposi- Preludes for Organ (10-098, $13), by tions Wettbewerb für Orgel Solo Kenneth T. Kosche; and Suite (10-498, $18), by Clay Christiansen. For informa-  New Instruments  Tonal Additions In celebration of the 200th anniversary tion: www.morningstarmusic.com.  Rebuilding  Maintenance of Stille Nacht, heilige Nacht (Silent  New Consoles  Tuning Night, Holy Night), Butz-Musikverlag Oxford University Press announces has published compositions by three new choral publications: Christmas Ora- How can we help you? prizewinners of an international competi- torio (978-0-19-351437-9, £11.95), by tion, 200 Jahre Stille-Nacht-Lied Kompo- Bob Chilcott, for SATB, soloists, organ, 800-836-2726 sitions Wettbewerb für Orgel Solo (BU fl ute, or small ensemble; Make We www.pipe-organ.com 2936). Johann Simon Kreuzpointner Merry (978-0-19-352653-2, £8.95), by

8 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Here & There

David Bednall, for SSAA and organ, with optional brass ensemble and timpani; Appointments This Endris Night (978-0-19-352914-4, Clara Gerdes is appointed assistant organist £2.15), by Sarah Quartel, for SSAA unac- at St. Bartholomew’s Church, New York, New companied or with optional handbells or York. Her duties there include working closely organ or percussion; and A Prayer to St. with interim director of music Paolo Bordignon John the Baptist (978-0-19-352783-6, and accompanying the all-professional St. Bar- £2.95), by Cecilia McDowall, for SATB tholomew’s Choir and the volunteer St. Bart’s and organ. For information: Singers for the church’s liturgies and concerts. www.oup.com/sheetmusic. Gerdes is a fi rst-year master’s degree student of Martin Jean at the Yale Institute of Sacred Music, New Haven, Connecticut. She graduated from the Curtis Institute of Music, Philadelphia, Pennsylvania, in 2019 and previously served as The Mendelssohn Sonatas: A Cycle of organ scholar at Saint Mark’s Church, Philadel- Eighteen Poetic Movements Clara Gerdes phia. For information: www.claragerdes.com/. Q

available). The recording features Hans Davidsson performing on the 1806 Schiörlin organ in Gammalkil, Sweden. For information: www.gothic-catalog.com.

Organbuilders The service department of Buzard Pipe Organ Builders, Champaign, Illinois, has completed several projects in recent months. For Concordia Uni- versity Chicago, River Forest, Illinois, the choir room organ, built in 1957 by Schlicker, was removed, cleaned, If All the Trees in the Forest Could Sing repaired, and reinstalled. Other organ cleaning projects include: Slotsforlaget (Castle Publishing) 1979 Phelps organ in Grace Lutheran Performers and honoree at Duquesne University event: Jacob Temple, Nancy Wat- announces a new book, If All the Trees in Church, Paris, Illinois; 1872 Johnson son, Regina Gabriel, Ann Labounsky, Andrew Scanlon, and Kenneth Danchik (photo the Forest Could Sing, a portrait of the & Son Opus 386, now in St. Josephat courtesy: Duquesne University) organ in Jaegersborg Church. One of the Catholic Church, Chicago, Illinois; highlights of the Danish Organ Reform 1960s Wicks organ in Vermont Street Ann Labounsky was honored by Duquesne University, Pittsburgh, Pennsylvania, Movement, the Marcussen organ in United Methodist Church, Quincy, on August 30, celebrating her fi fty years of teaching at the Mary Pappert School of the parish of Jaegersborg is marking its Illinois; and 1952 Reuter Opus 1092 in Music. Initially joining the Duquesne faculty part-time in 1969, Labounsky began 75-year jubilee. Titular organist Mads St. Paul Lutheran Church, Strasburg, teaching full-time in 1972 and is credited with building up one of the nation’s largest Damlund, with co-writers, traces the Illinois. For Wesbein United Method- degree programs in organ and sacred music. In addition to designing the curriculum, history of this organ, the people who ist Church, Saybrook, Illinois, Buzard Labounsky expanded the sacred music collections in Duquesne’s Gumberg Library designed and built it, as well as the has restored the tubular-pneumatic and recently oversaw the rebuilding of the School of Music pipe organs and the impact it made in Denmark and abroad. action for the Pedal division of the installation of a new three-manual Jaeckel organ in the university chapel. Included are articles about recordings by church’s 1905 Henry Pilcher’s Sons Opus For the event, a concert was performed on this organ by fi ve alumni, representing Karl Richter and Finn Viderø, and how 605. For information: the fi ve decades of Labounsky’s teaching. The concert was followed by a gala recep- the instrument was built during World https://buzardorgans.com. tion during which memories were shared by Labounsky’s students and family, and War II. The 207-page book, with many a citation letter from the American Guild of Organists President Michael Bedford illustrations and an accompanying com- was presented. Labounsky’s legacy of teaching continues to be informed by the sev- pact disc, is in Danish, with summaries eral areas she has prioritized in her work: improvisation, the school of sacred music in English. A review of the book is forth- represented by the Sainte-Clotilde composers (Franck, Tournemire, and Langlais), coming. For information: Gregorian chant, and lifelong learning, especially via the AGO certifi cation exams. www.slotsforlaget.dk. For information: www.duq.edu.

Recordings the last large organ completed under the ranks. The original three-manual con- supervision of Walter Holtkamp, Sr. The sole will be rebuilt for four manuals church, designed by modernist architect using the original shell. There are two Marcel Breuer and built of concrete, seats new full-length 32′ stops. The 32′ Open 2,000 and offers fi ve seconds of reverbera- Bass was built on campus by monastic tion. Holtkamp originally submitted a pro- and lay workers in the Abbey wood- posal for a considerably larger organ, and working shop. this was used to provide the impetus for Beginning in September 2020 a full the enlargement now being undertaken. year of dedicatory programs and events is The instrument will feature four planned. For information: manuals and 81 stops, with over 110 www.saintjohnsabbey.org. Q

St. Peter’s Catholic Church, Washing- ton, DC, Noack organ (photo credit: Don Boroughs) Quality Pipe Organ Ripples, featuring Clarion Noack Organ Company, Inc., Building and Service Crystal Records announces a Opus 162, recently completed in St. new CD: Ripples, featuring Clarion Peter’s Catholic Church, Capitol Hill, since 1969 (CD961, $16.95), with Melody Turn- Washington, D.C., will be dedicated in quist-Steed, organ, and Keith Benja- recital by Philippe Lefevbre, organ- min, trumpet. The trumpet-organ duo ist of Notre-Dame Cathedral, Paris, Clarion performs works by Anthony on November 14. The three-manual, Plog, Samuel Adler, Stacy Garrop, mechanical-action instrument has 47 James Mobberley, and Adam Schoen- stops and two enclosed divisions. For berg. All works were commissioned for information: www.noackorgan.com. this recording. For information: www.crystalrecords.com. Pasi Organbuilders, Inc., Roy, Washington, is rebuilding and enlarging Loft Recordings announces a new the organ in the church of St. John’s CD: The Mendelssohn Sonatas: A Cycle Abbey and University, Collegeville, bedientorgan.com | 402.420.7662 | Lincoln, Nebraska of Eighteen Poetic Movements (LRCD- Minnesota. The 1961 Holtkamp organ 1166, $18.98, individual track downloads of three manuals, 64 ranks, is said to be

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 9 Reviews

Choral Music a Cornet, then a Swell 4′ fl ute against comforting setting of words that call for attracted to his organ works. Cooman I’m pleased to bring to the readers this Great 8′ and 4′ foundations, then soft trust in and hope for eternal life with describes this toccata as “an ebullient group of inspirational choral selections, 8′ and 4′ Swell foundations. A slow sec- Christ. The piece is well within the grasp burst of energy, with some of the spirit as it is good to consider that people come tion in the middle of the work contrasts of most church choirs, as much of the of Åberg’s own extensive cycle of organ to our various houses of worship to be nicely with the allegro of the fi rst and last choral writing is homophonic. The organ toccatas.” Like the Toccata in A, it is fast lifted from the heavily burdened to the sections. The choir sings in four parts, score is also accessible. Duration: six and driving! heavenly. In this age of declining church sometimes in parallel octaves. There are minutes, ten seconds. The three fl ourishes are more stately membership, musicians and clergy need interesting harmonic shifts that highlight and ceremonial. The tempo markings to work closely together to keep our the drama of the text, especially at the I Will Lift Up Mine Eyes, Jake Runes- are more in the “Allegro” range than the congregants coming back for music that end, on the text, “whom shall I fear?” tad. SATB with divisi, a cappella, “Presto” of the toccatas. Flourish in C feeds the soul, as these selections do. Duration: four minutes, thirty seconds. Boosey & Hawkes, 48020864, $1.90. has two sixteenth-note motives that are The text is based on Psalm 121, and repeated in different parts, separated by Amazing Grace, arr. Mack Wilberg. Creating God, Your Fingers Trace, the choral writing is closely inspired by an imitative middle section, before end- Oxford Sacred Music, SATB and Vernon Griffi ths, arr. John Fergu- the text. The piece has been recorded ing with the opening material. organ, 9780193375178, $7.01. son, text by Jeffrey Rowthorn. SATB, by wonderful choirs such as Patrick Flourish in D is perhaps the stateliest This arrangement is by the current organ, opt. assembly, St. Olaf Choral Quigley’s Seraphic Fire. There is great of the three with its delicious and unex- director of the Mormon Tabernacle Series, Augsburg Fortress, 978-1- integrity to this choral setting. The stra- pected harmonic changes. It makes one Choir. Wilberg’s arrangement is available 5064-5670-6, $1.95. tegic use of dissonant chords provides want to linger over every nuance as one fully orchestrated, and here Oxford has a Rowthorn’s text features a thoughtful for poignant effect. If you have a more might linger over the topping on an ice reduction for organ-only accompaniment refrain, “In-dwelling God, your gospel advanced choir, they will love this! Dura- cream sundae. that is very effective, particularly if you claims one family with a billion names; tion: four minutes, ten seconds. Flourish in G is marked maestoso and have an organ that is capable of imitating let ev’ry life be touched by grace until begins with large, long, slow chords. bagpipes, possible if you can use a com- we praise you face to face.” The regis- And here is a new hymn collection for After a page, the chords are replaced bination of reeds. It begins with men in tration calls for soft fl utes and strings. your consideration: by a slightly softer, rapid sixteenth-note unison, expands to men/women in two- Ferguson’s writing is in two parts, often section that will make the player work part harmony, incorporates some Aaron with parallel octaves, making the work of Breath of Christ: Psalms, Hymns, and out the fi ngering with more diligence. Copland-like harmonies in the middle easy to medium diffi culty. Some mixed Spiritual Songs; Hymn Texts by Alan The music ends with the opening chords section accompaniment, and gradually meter is incorporated along with use of Hommerding. World Library Publi- from the fi rst four measures. expands to eight-part voices at the end. hemiola; the tune Dunedin is featured. cations, 006433, $20.00. I recommend this volume highly. It is This anthem was recently sung at our Themes are general praise, unity, and Mr. Hommerding’s fi rst hymn collec- just the item to be used often on many Basilica of the Sacred Heart by a visit- peace. There is a separate pedal part and tion was published seventeen years ago. occasions. My copy has not seen the fi l- ing choir from Lutheran Summer Music the organ accompaniment is not diffi cult. These texts are for occasions throughout ing cabinet yet! camp, directed by Nancy Menk from St. Duration: two minutes, 42 seconds. the year. As Anthony Ruff states in the —Jay Zoller Mary’s College, and it made a stirring forward, this hymn writer is an artist Newcastle, Maine impression on all who were privileged Come, Thou Fount of Every Blessing, “who shines beauty on a church—and a to hear it. The duration is six minutes, arr. Mack Wilberg. Oxford Univer- world—in need of healing, justice, and thirty seconds. sity Press, 5701776, $3.85. truth.” After reading these texts, over New Recordings This anthem begins with writing for fi fty total, it reminded me of why we Gaston Litaize, Musique pour Orgue, Now Hear the Glad Tidings, by J. S. three-part women’s voices, followed by need hymn writers who can speak to cur- Jeremy Filsell, organist, plays the Bach, text and arr. by Hal Hopson. an organ interlude, after which the choir rent situations in our church and world Aeolian-Skinner organ of Church Unison and keyboard, Augsburg moves abruptly from E major to G major. through the lens of faith. A few of the of the Epiphany, Washington, D.C. Choral Library, 978-1-5064-5680-5, The organ part is reduced from a fully hymns are set to well-known tunes, but Raven OAR-147, $15.98. Available $1.80. orchestrated version for the Mormon most are set to new tunes by a variety of from: www.ravencd.com. The music for this selection comes Tabernacle Choir. By the fi nal verse, the living composers. Several hymn texts are Gaston Litaize (1909–1991), French from Bach’s Christmas Oratorio. The tempo is broadened to maestoso and the acrostics, where each line begins with a organist and composer, remains little text is in English and can be sung by a sopranos soar up to a high C. letter that spells out a word related to the known even among organists. Like his soloist or by unison choir. It is well suited This is an effective arrangement of theme of the text, i.e., the fi rst letters of well-known contemporary Jean Langlais, for the Advent season, and the music the beloved tune, Nettleton, if you every line spell “Alleluia” for the Easter Litaize was a blind organist who studied fi ts the text and melody very nicely, a have the sopranos who can hit the high festal acrostic. The musical settings are in Paris at the Institut National des great piece to teach overall musicality Cs confi dently and accurately. The organ amazingly varied. Jeunes Aveugles (the National Institute and phrasing. The range is very singable part is of only moderate diffi culty. Well Churches that have a WLP or OneLi- for the Young Blind). Here he took organ by mezzo-sopranos or baritones, which worth looking at, the anthem is an excel- cense agreement can reproduce hymn lessons with Adolphe Marty, a student of is not always true of Bach’s music. It lent setting of this American turn-of- texts and the melody line for assemblies. César Franck. Following his studies at would also be a great way to introduce the-century tune. Duration: six minutes, It is delightful to be able to read the the institute, he matriculated into the a children’s choir to the choral music of twelve seconds. inspiration behind the composition of Paris Conservatory; it was here that he this composer. Duration: two minutes, each hymn text. By occasionally incor- began intensive study of composition twelve seconds. In My Father’s House, by Philip porating newer hymns, we remind our with Henri Büsser. Performers have Stopford. SATB and organ with opt. young people that hymn writing and neglected his organ compositions, which You, God, Are My Light, by Scott orchestra, MorningStar Music, cho- composition is still a vital, worthy art. are substantial. His intensely modern Perkins, text adapted from Psalm 27 ral score 50-9845, $2.50; full score —Karen Schneider sounding Prélude et danse fugée (1964) by the composer. SATB and organ, 50-9845A, $70.00; orchestral parts South Bend, Indiana appears frequently on concert programs, Augsburg Fortress 978-1-5064- 50-9845B, $70.00. but little else appears to be performed 5696-6, $2.25. The piece was commissioned for the with any regularity. The organ part is imaginative, colorful, ninetieth anniversary of Saint Petronille New Organ Music Jeremy Filsell, recently appointed and helps to illustrate the text. The use of Catholic Church, Glen Ellyn, Illinois. Toccatas and Flourishes, by Carson organist/choirmaster at Saint Thomas pedal is limited. It is written in the style A middle section can be sung by either Cooman. Zimbel Press, Subito Music Church, Fifth Avenue, New York City, of a triumphant English anthem. The all sopranos or a soloist. The text was Corporation, 2018, #80101418, has helped bring many of the com- basic registration is an 8′ fl ute against inspired by John 14. This is a peaceful, $16.95. Available from: poser’s neglected works to light in this www.subitomusic.com. new release from Raven, recorded This collection, which is not intended on Aeolian-Skinner Opus 1485 at the to be played together as a suite, consists Church of the Epiphany in Washington, MANDER ORGANS of two toccatas and three fl ourishes. I D.C. Throughout this recording, one believe all organists know what a toc- hears Litaize’s neo-Classical style, with cata is, but a fl ourish? I suspected that its obvious formal structure and skillful New Mechanical Action Organs I knew, but still went to my Harvard contrapuntal writing, combined with Dictionary of Music to be sure: “(1) a his unique harmonic palette, and the trumpet call or fanfare; (2) a decorative technical virtuosity learned from Marcel passage of a somewhat showy character, Dupré, his professor at the Conservatory. frequently one added by the performer.” The disc opens with the energetic and These pieces are all that, and they make joyful “Final” from the Grand Messe wonderful postludes; in addition, one or pour les temps (1948), which demon- more could be included in a recital to strates Litaize’s interest in modality. fi ne effect. Throughout the disc, Filsell intersperses The Toccata in A (minor) is ener- eight pieces from the Vingt-quatre pré- ³ St. Peter’s Square - London E 2 7AF - England getic and is written with a driving ludes liturgiques, composed for harmo- Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 triple-meter rhythm. The Toccata in C nium or organ without pedals. Written Continuo Organs [e] [email protected] was of special interest to me as it was in the 1950s, these works display the www.mander-organs.com dedicated to Thomas Åberg on his composer’s imagination, sensitivity, and fortieth anniversary as an organist and musicality in their amazing variety of composer. I have played and reviewed style. The twelfth prelude from the set Imaginative Reconstructions much of Åberg’s music and have been ³ page 24

10 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM On Teaching By Gavin Black By Gavin Black

The Art of the Fugue, part 6 Overall structure of that they created is probably the correct than a fi fth—to be meaningful. This is I recently had a concert performance The Art of the Fugue order. But this would be at best just an only a juxtaposition if those two move- anxiety dream. This one was specifi cally I now turn to some thoughts about assumption, and there is a signifi cant ments are indeed next to each other. about The Art of the Fugue, and it fol- the overall structure of The Art of the amount of scholarship to call it into There are a number of questions that lowed a common pattern: I was aware I Fugue. There are two salient facts I question. A further complication is that arise out of this complicated picture. If I was to perform the piece, and I sat down would like to discuss. The fi rst is that the published edition contains elements see a convincing overall structure in this at the organ, but when I looked at the one of the movements is incomplete— that almost everyone agrees are not piece with a particular movement order, score, I realized that I had never seen the the one that most of us take to be the really part of The Art of the Fugue at all, does that mean that this is likely to be music before. I started to panic, but also fi nal movement. Second, that there at least not part of the integral structure the “correct” order, the order that the to try to scheme: could I get away with is some uncertainty as to the order in of the work as a whole. For instance, composer had in mind? (I will answer sight-reading this? How slow could I play which Bach intended the movements to there are alternate versions of two of this one: no.) Or am I simply imposing it without giving away what was going be played. There has been a lot of seri- the movements and a chorale prelude, that sense of structure because I am on? Could I leave out the hardest bits? I ous, thorough, and fascinating scholar- the latter manifestly added to the end accustomed to that order and fondly remember looking around hoping to see ship about both of these matters, each of the publication as a kind of com- want to believe the piece has a mean- something happening that would force of which has a different set of interac- pensation for its incompleteness and a ingful overarching shape? (Maybe.) Is it the concert to be abruptly canceled. The tions with performance. Regarding the memorial to the composer. I have never possible that if we really knew for sure music on the page was not actually The fi nal movement, there is the question of encountered or even heard rumored what order Bach had in mind we would Art of the Fugue. It was dense, chordal, whether to play it as it has come down any performance of literally every note see that order gave to the work an even and chromatic. The typeface looked like to us, breaking off abruptly, or to alter in that original edition in the order in more compelling overall shape than we something French from the late nine- it in some way, either by completing it which those notes are found there. So experience now? teenth century. But within the dream I or by ending it at an earlier point than what were these early editors up to, Musical entities that are not just accepted that this was indeed the work the break-off. As a set of choices this is and what did or didn’t they understand clearly one unit have a variety of shapes. that I was supposed to be playing. I had probably more about philosophy than about the composer’s intentions? To stick with Bach for the moment, The just somehow neglected to learn it. about scholarship or research. Schol- You will probably not be surprised to Well-Tempered Clavier is one thing (a I have this kind of dream once or arship, research, and analysis can, for read that we cannot answer that ques- collection of completely separate pieces, twice a year, but I am pretty sure that those who wish to perform a completed tion. As I said, there is a lot of good but ones constructed along similar lines these dreams usually involve playing at version of the piece, elucidate different scholarship on the matter, but that to one another); a suite or partita is someone else’s behest, in chamber music possibilities for that completion. There scholarship is often in disagreement. something else (a piece clearly intended or in a church service, not solo perfor- is also, however, the question of whether Every argument rests on assumptions, to have an overall shape, but made up of mance. My Art of the Fugue project is to play it at all. This is a matter that and while many of those assumptions movements that are in different forms something that is being carried out only has to be addressed by a combination seem sound, none of them seem rock- from one another, each of which could at my own behest. My decision to do it of scholarship and philosophy. It used solid certain. stand as a piece in itself); The Goldberg is a choice to focus on something that is to be fairly common for performers As a performer I must come up with Variations is something completely dif- specifi cally important to me and that I or scholars to entertain the possibility an order. I notice, reading my 1985 ferent yet a piece made up of clearly am utterly convinced I can only do well that this movement was actually never program notes, that I then completely separate movements, but also with if I am very committed to doing it the meant to be part of this work. I believe accepted the order that I had grown a clear unifying principal among the way I want it to be done. this is a rarely held view nowadays, up with. This is the order that Helmut movements. Das Orgelbüchlein falls So why the dream? My only thought and indeed the musical connections Walcha used in his recording, and I into the same category as the WTC. so far is that I am trying to remind myself between this movement and the rest of used the same order. This is almost How about Clavierübung III? Unlike that I should really learn the thing! the work are convincingly strong. To be the same as the order used by the early all of the above, it gets part of its unifi ed There are always traps in any project, fair, though, there are one or two quite twentieth-century scholar Wolfgang or structured feeling externally, through and maybe the trap with this one is that recent recordings of the work that omit Graeser, who is credited with redis- the associations that we have with the my sense of “ownership” over this work, the long, unfi nished fugue. covering The Art of the Fugue, and hymns on which the pieces are based. It my awareness that I have been studying Anyone who sets out to perform The whose edition was used as the basis for is also given a circular structure by the it and interacting with it for nearly fi fty Art of the Fugue has perforce to end the fi rst known public performance of prelude at the beginning and the fugue years, my experience of being comfort- up making a decision about an order in the work, which took place in 1927. As at the end. able with it at a conceptual level will which to play the pieces. And, speaking best I remember, I did not particularly Which of all of these would seem very disguise how hard it is to play and lead of recording, I have just completed a know at the time there were issues different if the order of the component me into complacency about the business quick and random survey of a dozen or about movement order, since much of parts were changed? It would probably of learning the notes. Maybe that is what so CDs of the work, and no two record- the scholarship on the matter has been depend on the specifi cs of the changes. the dream was about, or maybe not. ings present the movements in the same carried out since then. For example, if in The Goldberg Varia- Yet, any interpretation of a dream that order! This includes performances I found considerable structural logic tions, the return to the opening “Aria” reminds me to work as hard as I can to on organ, harpsichord, piano, and by in the shape of the piece with this order were taken away from the end and become as certain of the notes as pos- chamber ensembles, such as saxophone of movements. For example, I consid- placed somewhere in the middle, that sible is worth paying attention to! ensembles, consorts of viols, and so on. ered the placement of the group of four would feel like a drastic change, proba- These are mostly recent recordings, canons, with their two-voice and there- bly a change for the worse. If the impos- Connections subsequent to the burgeoning of Art of fore relatively light texture right after ing “Variation 16” were moved away The connection between the sense the Fugue scholarship that we have seen the dense and complex Contrapunctus from the position that it occupies in the of understanding, inner commitment, over the last few decades. XI, to be aesthetically and structurally middle of the work that would probably ownership, and the nitty-gritty practi- (Further regarding recording: nowa- signifi cant. However, the canons as a seem odd and weaken the overall shape cal learning of a piece is a complicated days it is easy to set up a recording of the group are not placed after Contrapunc- of the piece. Moving other movements one. At one level, there is the fact that, piece with each movement in a separate tus XI in either original source, and around might make considerably less for almost everyone, focus and concen- fi le, and with playing order to be deter- they are differently placed in the two difference. In Clavierübung III, if the tration are easier and more successful mined by the listener. This could be as a sources. Other performers fi nd logic in closing fugue were moved into second working on something we love than on set order or as a random “shuffl e.” So I spreading them out around the other position right after the prelude, leaving something that we do not care about, or should say that any performance of The mostly four-voice fugal contrapuncti. the work to end with the four duets, the at least not very much. This is why I want Art of the Fugue presupposes a choice This uses the lighter texture to defi ne structure of the whole would seem radi- students who endeavor to become more by the performer about movement groupings in the successive fugal pieces. cally different. If the four duets were accomplished players to work on music order. Only a live performance does so Some performers place them after the distributed throughout the piece rather they care about. The translation of time of necessity.) long unfi nished fugue, displacing it than placed in a group at the end that and effort into growth as a player is most There are two underlying causes of as the ending, and instead ending the would seem like a real change as well. effi cient this way. Students do not know uncertainty about movement order. The work using the lighter textures to create In all of these cases we have reason to what music is out there as well as I do fi rst is there are two primary sources for a relaxed sort of coda. believe that we know what order Bach or another teacher does. The process of the piece: a manuscript of most of the I also found logic in the gradual intended. With The Art of the Fugue we helping them to explore things that they movements in Bach’s own hand from the introduction of the B-A-C-H motif, approach the same sorts of issues from do not know interacts in complicated mid-1740s, and the edition published successively more open and clear in a less anchored place. ways with the goal of working on music in 1751 by Bach’s heirs. These sources Contrapuncti IV, VIII, XI, and XVIII. I will continue this discussion next they love. have different numbers of movements Likewise, I fi nd logic in the immediacy month, attempting to tie it in as closely Yet, I am wondering about something and are presented in different order. of the motion from the fl ourish ending as possible to some of the specifi c com- deeper. If one feels a deep bond with the The second source of uncertainty is Contrapunctus XVI—the four-voice positional details of The Art of the Fugue music one is working on, what dangers we do not know how much input J. S. mirror fugue—to the opening subject and, in turn, to performance as such. Q does that invite? I believe there is a risk Bach himself had in the preparation of of Contrapunctus XVIII of which it is of assuming that the bond with a piece the printed edition. Therefore we do a very close pre-echo. This happens To be continued. or a composer or a repertoire is in itself not know that he had signed off on the only if the appropriate section of Con- enough to make something come across order represented there. trapunctus XVI is the last item before Gavin Black, director of the Princeton to listeners. If I feel something while I For example, it is possible for a Contrapunctus XVIII. I also found the Early Keyboard Center, Princeton, New am playing and listening, am I interpret- performer to assume that, since the juxtaposition of Contrapunctus VIII— Jersey, is preparing performances on ing the music a certain way because of people who fi nished the preparation the fi rst one whose subject opens with Bach’s The Art of the Fugue on both my love of the music? Is this hiding the of the 1751 edition were close to J. S. an interval smaller than a fourth—and harpsichord and organ for the next two necessity of doing something interpre- Bach and worked with him directly on Contrapunctus IX—the fi rst one whose concert seasons. He can be reached by tively from me? at least much of the project, the order subject opens with an interval greater email at [email protected].

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 11 Harpsichord Notes

Giving thanks from A to Z As I near my eighty-fi rst birthday on Mabel Zehner of Ashland College, thirty November 13, I have been thinking miles away. Her kind tutelage prepared the young student for admission to Oberlin nostalgically about the palindromic sym- Conservatory and its large organ depart- metry of 18 and 81 and wondering how ment. For two years I worked with a strict, I could write something of interest using authoritarian teacher, Leo Holden, who those numbers. Searching through many required me to develop a solid technique that would serve quite well. I sang in the composer biographies, I found only 180-voice choir of First Church in Oberlin one major fi gure who was born in 1881 (Congregational), conducted by Oberlin’s (Béla Bartók) and another who died in director of choral activities, Robert Foun- that year (Jacques-Nicolas Lemmens), tain. I learned much from Oberlin’s distin- guished faculty, especially from virtuoso so I decided instead to give thanks to theory teacher Robert Melcher and from so many friends, mentors, and helpful Oberlin graduate and visiting professor of teachers who have made both the per- music history, Janet Knapp. And, after two sonal and professional experiences not years “with Holden,” I requested a change of teachers and fi nally joined the studio of only possible, but most often awesome Fenner Douglass, whose knowledge of his- and exciting. Immediately, although in torical styles and repertoire and advocacy reversed alphabetical order, the fi rst two of mechanical-action organs meshed more are women of great talent and extraor- nearly with my own interests. dinary teaching abilities who began the template: my fi rst outstanding organ Another hallmark of my life seems to teacher, Mabel Zehner, and the person be the good fortune of being at the right who kindled my love for the harpsichord, place at the right time: perhaps that was Isolde Ahlgrimm. why I was so anxious to make my debut In the prelude chapter to my 2006 that I surprised both mother and father book Letters from Salzburg, I wrote by arriving six weeks ahead of schedule the story of my childhood insistence on (born on a Sunday morning, I often studying piano while my Presbyterian wonder what my dad’s sermon must have minister father was serving as pastor of been like that day!). Calvin Hampton a small church in Corsica, Pennsylvania. and I were the youngest members of It took the hiring of a neighbor girl the organ department’s 1956 incoming to give me several lessons before my freshman class, and I also wondered parents gave in and enrolled me in the if we were so compatible because, had Isolde Ahlgrimm at the keyboard piano studio of Erma Bowdish in nearby I waited until the later date, we would Brookville. In the chapter I continued: probably have been born on the same on to early German and early French mu- and we had less practice time and fewer day, December 31. sic. Since I have always wanted to study facilities for practicing, but the won- A reed organ at church, a clarinet at harpsichord [since fi rst hearing Wanda school, a move to Crestline in central At any rate eighty-eight members of Landowska’s fi rst vinyl recordings that I derful things we learned about music Ohio where the church had an 1890s Jesse the music department were informed was permitted to borrow from the Crest- and life completely changed the entire Woodbury pipe organ; a change from clari- at the end of that fi rst Oberlin year that line Public Library, generously allowed by trajectory of many of our future activi- net to oboe, continuing piano lessons with we would all be studying for our entire my dear friend and supporter, the town ties. And the sheer joy of making music my high school music teacher Lucille Pen- librarian Marie Welshon, another major nington—all this dovetailed with a high junior year at the Salzburg Mozarteum. helper in my musical development] . . . I in rooms where our beloved composers school career that included a switch to the No third-year music classes would be think it a real privilege to have such a good had spent time—Oberlin, at least in the oboe, participation in orchestra, concert offered at the Conservatory during the teacher here. She has just been hired, lives late 1950s, could not quite measure up in and marching bands as well as choir, many 1958–1959 academic year. And so it in Vienna, and comes here three days a that department. student government positions, three years week. She has quite a reputation in Eu- as class president, and graduation in 1956 was that letter number 17 from Austria rope, I understand. For my senior year back on campus I as the class valedictorian. Much of the aca- informed my parents: had the honor of being selected as the demic success was due to the superb fac- A citizen of the world “roomer” in the house of Intellectual ulty of Crestline High School. I learned so 18 November 1958 The Salzburg year was a tremendous History Professor Frederick Artz. And much from two maiden ladies, Elizabeth This morning I fi rst met Frau Isolde O’Leary (penmanship and English compo- Ahlgrimm, a person who will be, I think, success for most of us. But, as I have it was particularly a good fi t because sition) and Faye Griebling (Latin), the lat- quite important in my musical life [an un- come to realize, successes do not always I could get to my church organ job by ter going so far as to agree to tutor another derstatement if ever there was one!]. Frau please every faction. Despite a student climbing over the hedge to First Church student and me in a two-person third-year Ahlgrimm is my new harpsichord teacher, approval rating of more than 90% dur- and its early twentieth-century Skinner class, which helped to broaden our foreign and here, as with Mr. Douglass last sum- language experience since the school did mer, I have a teacher in whom I can fully ing the six years of Oberlin’s “Salzburg pipe organ. Yes, I had been offered the not offer any contemporary European lin- believe and whose musical ideas I can fully Program” the faculty in Ohio was not job of organist for Robert Fountain. guistic study. respect. She is absolutely fabulous! . . . I so happy with the student results, and Little did I know how much this would During that fi nal year in high school, had my fi rst lesson from 4 till 5:30 this af- at last in possession of a driver’s license, ternoon, and we are beginning with some after six seasons they voted to end the infl uence my fi rst two teaching positions! it became possible for this young musi- very early English music and through this program. True, we were probably not But more of that later. cian to study organ with an expert teacher, will study English ornamentation, then go as disciplined in our memorizations, Most immediately to this saga I received a phone call from Professor Douglass one fall morning at church, “Would you like to audition for Eugene Selhorst from the Eastman School of ATLANTA CHAPTER, AGO Music, an institution that was about to launch a doctoral program in church ANNOUNCES music?” Of course, I said yes, especially since my father had made it clear that, after their generous support for my The Taylor Organ Oberlin years I would have to fi nance the rest of my education myself. Long story made short, I, along with two other Ober- Competition lin students, received the full tuition and stipend grants fi nanced by the United States government to help develop new Saturday, April 17, 2021 academic programs. Shortly after look- OPEN TO INDIVIDUALS BORN AFTER JUNE 1, 1998 ing at a New York City possibility, Union Theological Seminary’s well-known sacred music degrees, and learning that st $10,000 nd scholarships were tiny and not easy to and a solo come by, my next three years might not 1prize2 prize $5,000 only be paid for, but there it could be that recital in Atlanta money would not be a problem. And so it was that after a glorious, if frantic, senior year on the Ohio campus Application deadline October 15, 2020 I joined the wonderful ambiance of the For complete details including repertoire, Eastman School, which offered an addi- tional waiver of tuition fees since I was please see www.taylororgancompetition.com the graduate assistant for the head of the new Master of Music/Doctor of Musical Arts church music program, M. Alfred www.agoatlanta.org Bichsel, a Missouri Synod Lutheran pastor, choral conductor, and linguist of

12 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM By Larry Palmer exceptional intellect and extreme kind- during the Oberlin days when I asked convocation. Would you be able to take tour and Oberlin’s Robert Fountain had ness. So followed my single year to the Calvin Hampton to compose something over the rehearsal later this afternoon?” only the highest compliments. And it was Master of Music with a thesis recital of for a broadcast service). Since one of my That was the prelude to some of the hap- with this group of stalwart singers and works by Sweelinck, and, at Dr. Bichsel’s topics in graduate study was Gregorian piest times of my teaching career. beautiful human beings that we joined suggestion, the project that became my chant I had developed a program based The choir was second only to the bas- Duke Ellington’s sacred music program calling card to so many venues for recitals on the Kyrie fons Bonitatis and was hav- ketball team for the school, and, to fi nish in the Tidewater city of Portsmouth— and lectures: the fi rst-ever book-length ing trouble fi nding a contemporary work. my story, at the end of that fi rst rehearsal one of the highest of high points in my biography of the German composer The very young fi rst-year student Neely I said to the choristers, “Take your music lifetime of joy in making music. Hugo Distler, a study even mentioned Bruce endeared himself to me when he with you and come back tomorrow with It was during the 1960s decade that in William Austin’s Norton History tome tapped me on the shoulder and asked it memorized.” They were good, but I submitted my fi rst offering to The Music in the 20th Century, even before where Dr. Bitchell’s offi ce might be since undisciplined, and to make a longer story Diapason—a short biography of Hugo my work was published by Concordia he would like to audition for the Sacred short, they hit the ball out of its lower Distler. And thus it was in 1969 that Publishing House. Music Choir. When I stopped laughing bounds and apparently made a hit with Editor Frank Cunkle, who succeeded With extra resources galore, I was I told him to be sure to say Bichsel, not the audience. Brooks never gave the the magazine’s founder, turned over the able to keep my promise to my parents Bitchell. Neely became a dear friend and choir back to its former conductor and harpsichord column to me. Q and take them to “my” Europe for their after he left Eastman to return to Tus- I had fi ve exciting years of touring with wedding anniversary, particularly since I caloosa for further study, he surprised them and of planning wonderful events To be continued. needed to do onsite research about my the music rack of my Sperrhake with the including opportunities for them to sing thesis subject and even got to interview fi rst example of a newly composed harp- at Oberlin, Wagner College, Westmin- Comments and questions are wel- the composer’s widow Waltraut Distler. sichord work specifi cally for me, his Nine ster Choir College, churches in Wash- come. Address them to lpalmer@smu. Back in Germany I was able to go to Variations on an Original Theme—still a ington D.C., etc. In my fi nal year at NSC edu or 10125 Cromwell Drive, Dallas, Lübeck to visit the Distler Archive, and gem that I love to play. we took the Penderecki Stabat Mater on Texas 75229. my parents were able to meet, in Passau, Organ study with David Craighead the builder of my fi rst harpsichord— was also a great joy and, even though Kurt Sperrhake, whose small two-man- I had only a Hammond organ to play ORGAN SYSTEMS ual harpsichord arrived during my senior at the nearby Lutheran Church of the SOLID STATE year at Oberlin (via the St. Lawrence Incarnate Word (a new edifi ce awaiting Seaway) and was promptly ensconced in its already ordered Walter Holtkamp the side gallery of First Church during pipe organ), but even with the electronic that year (where it was much easier to instrument I was able to give the fi rst get to than its snug, just-barely-movable Rochester performances of Distler’s A perch in my third fl oor small room at 20 Little Advent Music and Benjamin Brit- Sibley Place in Rochester). (I still shud- ten’s Rejoice in the Lamb. I was honored der when I remember my uncle, who when offered an extension of my con- helped move the larger major things to tract when it came time for graduation the “north land” and who nearly got his and a full-time job. neck caught between the wall and a rail- But the salary was not a living wage, ing as he aided us in moving it to the lofty and I was tired of the Arctic winters, height.) Needless to say, it did not leave so when I was offered a chance to fi ll a that room until three years (and two sabbatical leave vacancy at the African- degrees) later—and several of my most American St. Paul’s College in Law- diffi cult experiences turned out to be the renceville, Virginia, I accepted it happily. occasional private harpsichord recital Those years of the earliest (and some- that could accommodate twenty people times violent) Civil Rights events and the 1970 (if they would stand up and not breathe murders of so many great fi gures marked too deeply). a most eventful time in our history. I was 1980 Especially memorable was just such very happy to be organist and choral a program that occurred when Isolde director, although once again that meant Ahlgrimm was brought to Eastman for an electronic organ, but the friendships other concerts and masterclasses. The and the sheer joy of making beautiful music history department was fi lled with music with my young singers continues my friends, both faculty and students, to provide many happy memories. and when they asked me whom to bring And St. Paul’s was not that far from 1990 for Baroque music I was delighted to Norfolk, where I had heard that there suggest my wonderful Austrian teacher, might be an opening at Norfolk State who was, that year, spending time at College, the African-American state Oberlin as visiting professor. As she was school in the city that also had Old 2000 wont to do, Ahlgrimm played the com- Dominion College for the paler folk. MultiSystem II plete Well-Tempered Clavier preludes And there it was that on my fi rst day at and fugues—but the most diffi cult thing the college I received a call from Lyman The world’s for me was trying not to snub anyone Beecher Brooks, the college president. most advanced who wanted to attend the program, Dr. Brooks was a very good administrator but—it was a very tight and fairly long and, as the newest member of the faculty and intuitive evening. But what playing . . . (having been hired to teach organ and pipe organ It was at Eastman that I was able to start an early music program), I could not control system commission my second organ piece (the turn down his request: “The conductor of 2010 fi rst one had been a short offertory for the choir has wrenched his back and is my summer church job in Canton, Ohio, not able to rehearse them for the opening

Confident pedal work comes with practice and the right shoes on the pedals 2020

x Men’s & Women’s Organ Shoes with suede soles and heels x Whole & Half Sizes in 3 Widths x Quick & Easy Returns 5600 General Washington Dr., OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET Now representing Espressivo Suite B21, Alexandria, VA 22312 44 Montague City Rd Email: [email protected] in the USA, Canada, and UK t: +1 (703) 933 0024 e: [email protected] Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 13 In the wind...

Doo-dads case started getting tall, we could see In the late 1970s and early 1980s I that it was not going to center under lived in a four-bedroom house in the the peak of the vaulted ceiling. We used rolling farmland outside Oberlin, Ohio. hydraulics to move the entire organ with I had just graduated from Oberlin, was case, windchests, reservoirs, keyboards, working for the local organbuilder John and actions, budging it to the right about Leek, and was director of music for a an inch-and-a-half. (Don’t tell anyone.) big Presbyterian Church in Cleveland. When we were done with the wheel The house was part of an eighty-acre bearings, we started the D-9 (the starter farm, and like most similar properties motor is a forty-horsepower diesel in the area, the fi elds were rented by motor), climbed on board, he backed it Caterpillar D-9 (reprinted with permission a farmer who worked a total of about out of the barn, and let me drive it around from Caterpillar, Inc.) 1,500 acres in the neighborhood. It was in a circle in the big gravel apron. I had typical to rotate corn and soybeans year another experience running heavy equip- What is that next to the house jack? by year, because their effect on the soil ment when the farmer who rented our An ultrasonic cleaner, a little tub with a is complementary. Around the house, fi elds was harvesting corn, and I got to metal basket and a dial on the front. I use there were three or four outbuildings run the combine for a couple rows. Glad I it to clean brass parts like reed tongues including a large barn that I remember didn’t have to parallel park it. and shallots, cabinet hinges, escutcheons as being in better condition than the (look it up), and the fancy little brass The Pottery (photo credit: John Bishop) house. The house had a natural gas well, A man and his tools doo-dads that organbuilders like to use pretty unusual for many people, but As more than forty years have passed for trim pieces, specialized controls, and Goof Off™ comes in spray bottles, common there in those days. After all, since my heavy-equipment-operator the like. Parson’s Sudsy Ammonia™ is a aerosol cans, and squeeze bottles, dif- now we know it as fracking country. days, I have downsized to a small private great solvent. Fill up the little tub, fi ll the ferent dispensers for different situations. Our neighbors Tony and Claire-Marie workshop which is the three-car garage basket with your parts, and Bob’s your It is a terrifi c solvent for Duck Tape™ across the street had a similar property attached to our house. I have a table saw, uncle. Oh, and anytime you have metal residue, or any kind of adhesive. The with a neat house, an enormous barn, drill press, and band saw left from my jewelry that needs cleaning . . . . last time I used it on a service call, I was and fi elds that were rented by a farmer. big shop days, and shelves and drawers There is a big stainless-steel double removing old chewing gum from under They were friends of the Leeks from full of countless hand tools and odds- boiler, the thing you ladle soup from in a the keyboards of a distinguished organ. church and lovely, considerate people. and-ends. I have a terrifi c woodworker’s cafeteria line. It’s on the shelf next to the C’mon, people. And that is what I used Tony ran an excavating business and used workbench, the maple job with built in glue pot. Hide glue comes in dry fl akes to remove that nasty tar from the fender his barn to store and maintain his huge vises and bench dogs, and I have a sturdy or crystals. You mix it with water and of the car. Works on stubborn windshield pieces of heavy equipment. Occasionally, well-lit, double-length workbench where heat it in the glue pot. You keep adding bugs, too. Tony invited me to help him with a repair I do most of my work. Wendy and I are more water or more glue as you work to 3M 77 Spray Adhesive™ is terrifi c for project. I do not think he really needed thinking about enlarging the laundry keep the consistency the way you want gluing felt and leather together to make my help but knew that I would be inter- room (sometimes called the mud room) it. You can also put cloves of garlic in a valves or for covering pallets. Spray that ested, so I would spend a Saturday with that shares a wall with my shop, a wall cheesecloth bag and let it soak in the stuff on both surfaces, and according to him doing things like changing the wheel covered with shelves. We were stand- hot glue—it’s supposed to keep the glue the instructions on the can, “make bond bearings on his Caterpillar D-9 bulldozer. ing there tossing ideas around, and she from getting moldy, and it makes it smell while adhesive is aggressively tacky.” The That machine was over twenty-fi ve commented that I might just get rid of a little better. When you are working can bears the warning, feet long, fi fteen-feet wide, and weighed all that stuff. Quickly and defensively, I with that glue, you need to have a hot, Extremely fl ammable. Vapors may cause over 100,000 pounds. You don’t just jack pointed out the house jacks. wet rag nearby to clean off excess. I can fl ash fi re. Vapors may cause eye, skin, nose, it up, pull out a tire iron, loosen the lug Why does an organbuilder need house fi ll the double boiler and use the thermo- and throat irritation and may affect the nuts, and pull the wheel off. He had a jacks? When releathering a reservoir, stat to keep the water just exactly as hot central nervous system causing dizziness, homemade hydraulic jack made from you get to the step where the pairs of as I can stand putting my hands in, so I headaches, and nausea. Intentional misuse by deliberately concentrating and inhaling parts taken from old construction equip- ribs are glued to the top frame and the always have a good hot, wet rag. Oh, and the contents may be harmful or fatal. ment. The hydraulic pump came off an whole assembly is glued to the body. when we have a cookout, I can clean it excavator and was driven by the power- You cut and glue on the eight leather or up and serve chowder from it. At least the valves do not come unglued. take-off of a farm tractor. The lug nuts rubber cloth belts and let the glue set There is a beat-up old steam iron. For When Wendy fi nished that beautiful were three inches in diameter (his sets of overnight. In the morning, you have to the same reason I use hot water to clean woven tapestry and wondered about socket and open-end wrenches went up open the reservoir by lifting the top, as if up while gluing, applying heat is a big fi xing it to a piece of fabric for framing, to fi ve inches), and he used a backhoe and it were fi lling with wind. All that freshly help when ungluing something. Crank that’s what I used. I feel fi ne. a hoisting strap to lift the wheel off the set glue and nice stiff material has to up that old iron and heat up the rubber- My two favorite general cleaning agents machine. I was a young apprentice, the be convinced that this is a good idea, cloth strips on an old reservoir, and voilà, are Murphy’s Oil Soap™ and Simple proud owner of a new set of Marples™ and the reservoir is on your workbench, off it comes, smelling like burned rub- Green™. Both are biodegradable, and chisels (I still have them and use them so you are lifting it to chest level. That ber. You can put heavy paper between both are really effective. Both can be used regularly), and I had never seen such an is a perfect use for a small house jack. the iron and the rubber to keep it from full strength or diluted in water. Murphy’s ingenious caper. Because of my career in I prop the jack up on blocks and pump sticking, but it is hard to avoid gumming is terrifi c for cleaning old woodwork, Sim- organbuilding, I have had a lifelong fas- the hydraulic handle. You can also use up the iron with melted rubber, so when ple Green™ cleans just about anything. I cination with tools and, as Tony realized, a house jack lying sideways to budge an it cools, I hold the iron on my belt sander have two spray bottles for each, one diluted I would always be interested in seeing organ an inch or two to the right. to clean it off. This maximizes the awful by 50%, the other full strength. You can something new to do with tools. But more to the point, remember when smells you can extract from old rubber also pour a bit in a bucket of water. And Watching Tony make that heavy work our daughter Meg wanted to convert the cloth. You should not take this iron into they both smell great. And there is some look easy by using the right tools infl u- little shed out back to a pottery studio and the house and use it on white linen. of each under the kitchen sink. enced my work with organs. It was not we realized that one of the posts had rot- There is a household benefi t, however. There must be thirty heavy plastic long after that time that I was helping ted? Remember how her husband Yorgos When it fi nally stops working, I will steal cases. Get rid of half of them? to install a large three-manual tracker and I jacked up the corner of the shed and the iron from the bedroom closet and • A set of dado blades I use to make organ in a high organ loft. We centered sunk a new post into the ground? That’s buy a new one for pressing clothes. the table saw cut wider. I used them to the fl oor frame properly, but when the why I need a house jack. A popular meme says that you only make that bookshelf. need two tools, WD-40™ and Duck • A propane torch that is good for Tape™. If it’s supposed to move but light metal work. That is how I bent that doesn’t, use WD-40™. If it isn’t supposed piece of iron to hang the birdfeeder on Saving organs throughout to move but does, use Duct Tape™. As the deck. a professional organbuilder, I fi nd that • A tap and die set that cuts threads America....affordably! pretty sophomoric. But Wendy wanted to on metal wire or rods (outies) or inside know why I need so many spray bottles. holes (innies) from one-eighth to one- WD-40™ is great stuff, and it smells bet- half, in coarse and fi ne threads. ter than burned rubber. But it is oily, so • A set of ratchet socket wrenches, you might want to use silicone for some both English and metric, with quarter- applications. That is what I used on the inch, three-eighths, and half-inch drives sliding doors in the living room the other with extensions. The last time I used day. If you have WD-40™, why do you that, I was tightening all the hardware need Marvel Mystery Oil™? Simple. I on your loom because you said it had love the pepperminty smell of it. gotten wobbly. 0LOQDU2UJDQ &RPSDQ\

/DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV 1-800-621-2624 /LNHQHZ$XVWLQDFWLRQV 6ROLG-VWDWHV\VWHPV ([FHOOHQW7UXPSHW(Q&KDPDGHV foleybaker.com --GHQQLV#PLOQDURUJDQFRP ZZZPLOQDURUJDQFRP

14 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM By John Bishop

rackboards, dozens of them from a half- inch to three inches. That cabinet serves me well and is big enough for the available space, but I admit to having tool-chest-envy when I walk through the big stores and see the jobs as big as a bus that have charging stations for power tools and mobile phones, refrigera- tors, and mirrors. What a great idea. You can tell which mechanic has a mirror in his toolbox because his hair is always combed. Plastic cases (photo credit: John Bishop) Bottles, cans, and jars (photo credit: John It is easy enough to explain all these Bishop) tools and supplies, especially when I can • Many sets of drill bits. argue their domestic usefulness. How * One goes from one-eighth to half- valves for infl ating things. That is how I does anyone get by without an ultrasonic inch, graduated by sixty-fourths. blew up the soccer ball. And remember cleaner? But I also have boxes by the * One has about a hundred bits when friends from New York were wor- dozen with cryptic markings. “Schlicker There is a cabinet full of fl owerpots graduated by the numbers and letters of ried about their tire pressure? There is Console Parts” is full of the little toggles and gardening supplies and tools. There the American Wire Gauge (AWG). the gauge and valve; that set stops on pistons, salvaged when I is a cabinet full of stockpots and lobster • Say you are using bronze wire that’s • staple and pop rivet guns, staples installed a solid-state combination action pots, overfl ow from the kitchen. There .064′′ as an axle in tracker keyboard and pop rivets; in a Schlicker console. Anyone needs is a bag of life jackets, ready for winter action parts. You want the wire to be • arch punches for cutting round some, I’ve got them. “Austin Coils” are the storage. There are a half-dozen boxes tight in the hole in the part that moves, pieces of leather and felt, or for cutting “electro” part of the Austin electro-pneu- full of spare parts for a sailboat, an out- and barely loose in the mounting hole. round holes in leather and felt. My set matic note motors. Anyone needs some, board motor, a couple anchors, and lots Use the .059′′ bit (#53) for the tight hole, goes from one-eighth to three-inches; I’ve got them. “Skinner Toggle Springs,” of nautical line. You never know when and the .067′′ bit (#51) for the loose hole. • rotary bits for routers, cutting plugs, “Misc. Peterson,” “Large Slide Tuners,” you’re going to need a piece of line. Or * One is metric from two to twenty deburring holes; “Spare Ivories,” “Reed Organ Reeds,” an air horn. Or Schlicker combination millimeters, graduated by tenths. • multi-spur bits—the big dangerous anyone needs some, I’ve got them. parts. It would be aggressively tacky to * One is Forstner bits from a quar- looking ones for drilling the holes in It’s not just an organ shop. think that I would get rid of them. Q ter to two inches, graduated by eighths, especially useful because they drill fl at- bottomed holes, and since they are not guided by a central pin, you can drill overlapping holes. DISCOVEDISCOVER R * One is “airplane” bits from one- eighth to three-quarters, graduated in eighths, especially useful every few years 21st CENTURY because they are eighteen-inches long. I 21st CENTURY don’t need them very often, but when I ORGAN BUILDING do, nothing else will work. * One is spade bits from three- ORGANIN NORTH BUILDI AMERICA NG eighth to two-inches, best for making very sloppy holes in soft materials, and for spraining your wrist. I do not use those very often. IN NORTHORTH AAMERICAMER * Okay, okay. I have two of the AWG sets, and two of the sixty-fourths sets. There are a few bits missing from each, and one of the drawers over there has replacements bits for every size. • Digital calipers that read in fractions or thousandths of an inch, or hundredths of a millimeter. That is how I know that ′′ piece of bronze wire was .064 . BUILDER MEMBERS: SUPPLIER MEMBERS: • Another big set of socket wrenches that does not include metric sizes. That Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. is the one we carry on the boat. I forgot Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources to put it on board this summer. Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products • Caddies with assorted screw sizes Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems that I bring to installation sites, so I Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation never have just the size I am looking for. Casavant Frères Patrick J. Murphy & Associates • You get idea. The next time, I will Dobson Pipe Organ Builders Parsons Pipe Organ Builders write about why there are eight tool- Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. boxes full of tools. Sometimes they are C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. all in the car at once. Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders That huge rolling steel cabinet with A. Thompson-Allen drawers that looks like it belongs in a Garland Pipe Organs, Inc. gas station? In my previous shop, all my hand tools hung on purpose-made racks. There is not enough wall space for that here, so I bought this. In the drawers, from top to bottom: APOBA provides a simple way for you to take • hinged tools like pliers and wire advantage of the expertise of the top people in cutters. I used this big Channel Lock™ wrench last week to fi x the drain for the WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of outdoor shower; several generations who have preceded them. • open-end wrenches; • measuring tools like squares, scribes, miter gauges, calipers, microm- Call today for APOBA’s Pipe Organ eters, folding rulers, steel rulers; 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV • cutting tools like dovetail saws, Exact™ knives and blades, scissors, rotary knives and blades (for cutting leather and felt), small carving tools, 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ razor blades, and the three beautiful our short video at: US leather knives that John Leek brought ZZZDSREDFRPYLGHR 800-473-5270 me from Holland in 1976; DSREDFRP • screwdrivers; • that set of Marples™ chisels; • pneumatic accessories like blow guns, detachable couplings, and assorted

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 15 French composers

Aloÿs Claussmann Organist and Composer (1850–1926) A re-estimation

By Steven Young

n October 1926, just a month before his Claussmann studied at the Petit Sémi- Ideath, Aloÿs Claussmann chatted with naire de La Chapelle-sous-Rougemont. an old friend, Claude Nievre, a writer Between 1868 and 1870, he studied with for La Montagne, a newspaper whose organ virtuoso Eugène Gigout at l’École offi ce was directly below the apartment Niedermeyer in Paris, during which time where Claussmann lay dying. Nievre had he was awarded the premier prix in both written an article titled “Un grand tal- piano and organ. ent méconnu, Claussmann, musicien et Interrupting his studies, Claussmann compositeur” (An underestimated talent, returned to Uffholz to perform his Claussmann, musician and composer).1 military service in the Franco-Prussian Among other things, Nievre made the War in 1870 and 1871. When Alsace was point that Claussmann’s many years of lost to Germany at the end of the war, service to his community of Clermont- Claussmann opted to retain his French Ferrand should be rewarded by naming citizenship. He returned to Paris to com- him to the Legion d’honneur, the highest plete his studies, where he distinguished civilian award given by the country to cel- himself as both performer and composer, ebrate accomplishments given in service earning the grand prix de composition in to one’s country. Claussmann had spent 1872 from l’École Niedermeyer. fi fty years selfl essly serving the musical In 1873, the position of maître de Aloÿs Claussmann at the console of the organ at the cathedral of Clermont-Ferrand and religious community of Clermont- Chapelle at the cathedral of Clermont- Ferrand with little or no thought to Ferrand became available. Claussmann program featured Edmond Lemaigre, In 1909, Claussmann was appointed promoting his own career as performer, applied and was offered the position. He then titular organist of the cathedral, director of L’École municipal de Musique, teacher, or composer. Sadly, the award accepted it, and remained in Clermont- and Alexander Guilmant, renowned and he remained its director until 1918 was never granted to Claussmann, Ferrand for the entirety of his career, organist. Claussmann participated as when he suffered from a serious health despite the efforts of all his friends and possibly to his professional detriment. well, conducting two motets, includ- crisis that disabled him for nearly three colleagues. However, his tireless efforts Nonetheless, according to one writer, ing a Salve Regina of his own, newly months, at which point he was named bore many wonderful fruits in terms of Claussmann wasted no time in establish- composed for the event, and perform- honorary director, and Louis Gémont quality students, artistic performances, ing himself as a fi rst-rate musician.2 ing two organ works, one by François assumed directorship.7 The formation of and respected compositions. In 1877, shortly after his appoint- Benoist and another new work, also this school was fraught with diffi culties. A native of the Alsace region of ment, the cathedral acquired a written by Claussmann, Offertoire.3 Prior to its founding, there were two France, born in Uffholz on July 5, 1850, new organ with three manuals and Claussmann’s musical work was not competing institutes, the Petit Conser- Claussmann began piano lessons at forty-eight ranks of pipes, built by limited to his position at the cathedral. In vatoire, headed by Jean Soulacroup, and age 11 with his uncle, a local musician the Merklin fi rm, one of the most 1881, Claussmann established the short- the École de musique, directed by Louis and teacher. Following those lessons, respected in France. The dedication lived Société Philharmonique. Though Gémont, both of whom were considered enjoying only a brief existence, this may for the position of director of the École have been the fi rst orchestra to provide nationale de musique. After several years written critical program notes for its con- of contentious battles about the school, certs, attesting to Claussmann’s scholarly and once it was decided to move ahead inclinations.4 Shortly thereafter, in 1886, with the formation of a national music he assumed position as organist titulaire, school that would align itself with the following Edmond Lemaigre’s relocation Conservatoire nationale in Paris, a closed to Paris. It was at this tribune that Clauss- door meeting took place, and Claussmann mann remained until his death in 1926. was named as director to the pleasure of During his tenure he composed many community members, and the dis- the majority of his works for the organ pleasure of others, including the mayor (approximately 350 pieces), nearly a of the city.8 Claussmann accepted, but hundred for the piano, a fair number of wrote, with apparent jocularity, that if the songs, and a few other works for chamber conservatory were to open as planned, the ensembles and orchestra.5 Claussmann’s undertaking would be substantial, and it next big success was the premiere per- would force him to cut his annual vacation formance of his commissioned drame very short. He did exactly that, and served lyrique, Pierre, l’Eremite, composed to with distinction for many years. commemorate the 800th anniversary of Little is known of Claussmann’s per- the First Crusade (the text of the work sonal life; there are few letters and no was by the Abbé Raynaud). Written in personal papers. In 1877, he married 1892, the work awaited its premiere for Marguerite Barthélémy, and they had three years. According to the reports, it a daughter, Madeleine, in 1878. It is was a resounding success, performed at presumed that his wife predeceased least two times (May 15 and 17, 1895). him, based on the eulogies given at his The reviewer, while admitting that one funeral.9 According to Joseph Desay- could not analyze such a large work on mard, writer and critic, who was his one hearing, admired its beauty in both pupil and friend, Claussmann possessed “superb musicianship, masterly technique and savvy programming … Archer’s composition and performance.6 The per- a gentle spirit, keen intellect, good sense sweeping assurance and stamina enable you to hear the music behind the virtuosity.” formance featured an orchestra of sixty, of humor, and youthful attitude.10 He — GRAMOPHONE (JAN 2018) — a chorus of 200, and soloists, all led by rode his bike to work every day, and until Claussmann. It must have been quite the the fi nal few years of his life, he appears MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com tour de force! to have possessed good health.

16 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Example 2a: Claussmann, Allegro symphonique, op. 33, no. 2

Example 2b: César Franck, Pièce heroïque

assessment.16 (One assumes that the Easter Dawn and Grand Choeur for reviewer had heard other Claussmann organ and his Magnifi cat for choir. pieces.) Several of the pieces from Among other comments on Clauss- opus 26 were dedicated to American mann’s works, Pierre Balme linked him organists, including Clarence Eddy and to a progressive aesthetic: William C. Carl, both former students of In his day, Claussmann had diffi culty Alexandre Guilmant. (It is possible that with being a ‘pioneer,’ even in spite of the Guilmant helped make the connection example of his co-disciple Fauré, who re- by recommending the works to Carl. mained all through to the end of his time, Guilmant participated in the dedication as innovative as younger composers. But Example 1: Claussmann, Entrée in D Minor, op. 66, no. 1 why not have others reported rather how of the organ at the Clermont-Ferrand much he (Claussmann) was, in his prime, cathedral in 1887 where he would have so profoundly ahead of the taste and knowl- Unfortunately, little is known about While steeped in the style of the heard Claussmann’s music. It is also edge of audiences and even music profes- the critical reception of his work, at Romantic era, the organ music often possible that Gigout recommended his sionals? Twenty years ago, he was not afraid 17 of modifying his composing technique ac- least in France. The local newspaper of displays surprising originality. From the music to Carl. ) The fi rst volume of opus cording to the latest developments of the Clermont-Ferrand rarely commented earliest opera, Claussmann combines 16 was reviewed favorably by Everett impressionist school.20 on musical events. However, the Société both French and German styles, which Truette in The Organ, 1893, who wrote, nationale included his Sonate pour vio- may be the result of his earliest infl u- “Three extremely interesting pieces . . . Connecting Claussmann to the lon et piano on a concert in May 1906, ences in Uffholtz, an area of France which are written somewhat in the style Impressionist school seems to be a and the composition and performance that refl ected a great deal of Germanic of reveries, and contain many passages stretch, though examples of augmented received an extensive review reprinted infl uence due to its shared border with of striking originality.”18 (It was of this triads and unexpected harmonic con- in the Revue pratique de Liturgie et de Germany. For example, opus 16 is Fantaisie in C Minor that Gigout wrote nections are evident, as is the use of Musique sacrée. The reviewer praised entitled Orgelstücke rather than Pièces his praise of Claussmann.19) It is likely non-functional harmony, as witnessed in Claussmann’s melodic gift, his interest- pour orgue. In the music, one often because of the work of Carl and Truette, the frequent use of the raised fourth and ing harmonies, and his well-crafted fi nds well-crafted melodies, a staple who published some of this music in The fi fth scale degrees, creating the sensation forms.11 This seems to be the generally of the French tradition, fused with the Organ and other collections, that Clauss- of whole-tone harmony. If this is what held view of Claussmann as a composer. intricate counterpoint that is intrinsic to mann’s music achieved some measure of Balme refers to, then it is possible to put Claussmann’s vast output of organ German composition, making Clauss- popularity in America. Early twentieth- Claussmann in that category. However, works includes music for any number mann’s organ music unique for its time.14 century newspaper accounts indicate Claussmann’s music is thoroughly steeped of occasions. The two large collections, Claussmann’s fusion of the aforemen- that several of Claussmann’s works were in the chromatic harmony of the period, Cent pieces pour orgue ou harmonium, tioned styles is evidenced in Scherzo in performed quite regularly, especially and he often makes unexpected harmonic opus 34, and Cent pieces pour grand G Major, opus 33, no. 4. While making orgue, opus 66, encompass smaller use of a rather extended model of the works designed for liturgical usage, such scherzo and trio form—ABA′CA′, which as Entrées, Communions, and Sorties.12 resembles more of a Rondo—the typical Undoubtedly he used these pieces French scherzo would not make use of himself over his fi fty-year career at the the extensive counterpoint found in the cathedral.13 Even in these smaller works, fugal exposition that comprises the B Claussmann demonstrates substantial section (in B minor). The fourth section, contrapuntal skill. The Entrée in D which itself is a small three-part form in Minor, which opens opus 66, is only 63 the key of E-fl at major, has a very lyrical measures long, yet it displays Clauss- melody for the outer parts and, again, the mann’s fascination with counterpoint composer briefl y employs some imitative and with Franck, as the theme appears polyphony in the middle portion. twice, in related keys, and then, upon Though Claussmann’s music is infl u- returning to the tonic, is subjected to enced by the style of César Franck, as canonic treatment throughout (Exam- evidenced in the Allegro symphonique, ple 1). The ninth piece in this set pro- opus 33, no. 2, whose opening recalls vides further evidence of Claussmann’s Franck’s Pièce heroïque (Example 2), meticulous craftsmanship. While only 29 Claussmann often moves into unusual measures long, it has a tripartite form in areas of tonality through his inspired which the return of the opening A sec- use of chromaticism, following on and tion receives a new accompaniment with expanding the chromatic harmonic the melody moved to the left hand. In language of Franck. One even fi nds an terms of larger organ works, Claussmann example of progressive harmonic move- penned two sonatas, a Suite pour orgue, ment in some of Claussmann’s works, and several Livraisons containing vary- such as Pastorale, opus 26, no. 3, which ing numbers of pieces likely intended begins in E major and ends in A minor, for concert use. These include fantaisias, delivering an unexpected conclusion.15 pastorales, marches, toccatas, and many In the United States, as early as 1892, others. In these works one sees Clauss- one fi nds references to performances of mann’s wide-ranging inventiveness with Claussmann’s music. A concert review their well-developed themes and solidly in the Indianapolis Journal accorded crafted counterpoint. the Scherzo in A Minor a favorable

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 17 French composers

Example 3: Claussmann, Au Crépusucle connections, such as moving between C Many of Claussmann’s works have major and F-sharp major for the middle been recently republished, some with section of the Fantaisie in C Minor, opus needed editorial emendations, as the 10. These unexpected relationships may printed editions contain numerous errors also be seen in the transitional passages (especially clef change indications).23 As of Au Crépusucle from opus 33, where there appear to be no extant manuscripts, the dominant seventh chord of the tonic it is diffi cult to know Claussmann’s inten- G-fl at resolves to a D major sonority, tions. Both B-note Musikverlag and which is then repeated whole step below, FitzJohn Publishing have reproduced obscuring any sense of the tonic (Exam- many of his works. IMSLP (www.imslp. ple 3). If this fl uidity of key relationships org) has a reasonable collection available, is considered “impressionistic” by the and France’s Bibliothèque Nationale writer, then the term applies. Gallica site had started to digitize many Overall, Claussmann retains a consis- other works. tent style throughout his other music; Whether Claussmann would have one fi nds equally challenging tonal rela- enjoyed the success his contemporaries tionships in most pieces. Additionally, his did had he remained in Paris is a ques- treatment of form does not necessarily tion that can never be answered. He conform to expectations of his era, but a made his choice, apparently without clear structure is always evident and logi- regrets, and enjoyed the respect of the The organ case of the cathedral of Clermont-Ferrand, France (photo credit: Rumenian; cal. One might apply musicologist Carlo community he served for nearly fi fty licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license) Caballero’s argument about Fauré, who years. The music of this underestimated he claims maintained the consistency talent attests to the mastery of his craft conventions of the American Guild of (Bibliothêque Nationale, Paris, W-48). of style throughout his works, which and the fertility of his imagination, and Organists, the Organ Historical Society, 8. Jean-Louis Jam, “Aux origins d’une Fauré believes was “a crucial property deserves to be re-examined and given a and the American Choral Directors succursale provinciale du Conservatoire de 21 Paris,” Bulletin historique et artistique de of any music that is truly original,” place in the concert repertoire. Q Association. He research interests focus l’Auvergne, vol. XCIX (1998), pp. 127–156. and apply that to Claussmann as well. on late nineteenth- and early twentieth- An excellent and somewhat entertaining Hervé Desarbre would agree, accord- Steven Young is a professor of music century French organist/composers, and chronicle of the events. 9. Le Moniteur, November 11, 1926, p. 2. ing to the liner notes to his recording of at Bridgewater State University, Bridge- he has written several feature articles 10. Joseph Desaymard, “Le Mort de Clauss- selected organ works, as he claims that water, Massachusetts, where he teaches and reviews for The Diapason. He also mann,” L’Avenir, Nov. 9, 1926, p. 2. Claussmann’s style did not change much courses in music theory and directs the wrote the liner notes for Christine Kamp’s 11. Alexandre Georges on “Aloys Clauss- over the years.22 Claussmann retained University’s choral ensembles. He is series of recordings of the organ works mann,” Revue pratique de liturgie at de la musique sacrée, nos. 103–104 (1926), p. 169. remarkable consistency in his technical also organist at St. Martin’s Episcopal of Louis Vierne on the Festivo label. 12. These sets appear to be based upon style and tonal language beginning with Church, Providence, Rhode Island. Young has recorded several of the works Franck’s L’Organiste, but Claussmann’s piec- the major organ works from opus 10 and Young has presented papers and per- of Boston organist/composer Henry M. es are more technically advanced. continuing through the late opera. formances for regional and national Dunham on the AFKA label. 13. In one edition of Le Courrier Musical, opus 64 was listed among the pieces that an organist should play. Notes 14. While the fugue was certainly not an 1. Claude Nievre, La Montagne, October uncommon form in French organ music of 12, 1926, p. 2. this period, it was used relatively infrequently. 2. Th. Mourgue, “Profi l d’artistes: M. Franck composed one fugue for the organ; he Claussmann,” Le Moniteur, June 29, 1892, p. 2. relied on canon and melodic juxtapositioning “. . .il vient s’etabilir chez nous où on ne tarde as his preferred contrapuntal devices. In ex- pas à reconnaitra en lui un musician de pre- amining the Widor organ symphonies, with miere ordre.” their numerous and varied movements, one 3. J. Merklin, Le cathédrale de Clermont- fi nds only two fugues, and those appear in the Ferrand et ses orgues, Lyon: Impr. de A.-L. earliest of the symphonies. Perrin et Marinet (1878), p. 28. As with oth- 15. This work is dedicated to R. Huntington ers, Offertoire served as a common title for Woodman, an American organist who studied works; Claussmann wrote several. with César Franck in 1888. 4. Joseph Desaymard, Avenir du Plateau 16. Indianapolis Journal, March 11, 1894, Central, November 8, 1926, writing Clauss- p. 8, featured a review of an organ recital by mann’s obituary (No page citation as this W. H. Donley. I believe this refers to the comes from the Bibliothèque de la Patrimoine Scherzo in B Minor from the Deuxième livre of Clermont-Ferrand collection MS 1654). de la première collection, opus 10. Present research has yet to fi nd concert an- 17. Gigout wrote glowingly of Claussmann’s nouncements or programs presented. In 1885, work and was pleased to be the dedicatee of another community orchestra was formed one of his pieces. See Mourgue, op. cit. which enjoyed much success, directed by Jean 18. Everett E. Truette, The Organ, vol. 1, Soulacroup. no. 4 (August 1892), p. 95, reviewing the Fan- 5. Cataloguing the works of Claussmann tasia in C Minor, First Meditation in B Major, has presented a challenge. Pierre Desay- and Andante in D Major. mard made an attempt at this in the 1980s 19. See Morgue, op. cit. but seems to have missed some pieces. Four 20. Pierre Balme, “Aloÿs Claussmann,” of the works from opus 33 do not appear in L’Auvergne littéraire, artistique, et historique, any listing of his, possibly because they were January 1926 (vol. 85), p. 15–17. published by the English fi rm J. Laudy and 21. Peter Cirka, A profound identity: evi- Co. See Desaymard, Bibliographie des oeu- dence of homogeneity in Gabriel Fauré’s thir- vres d’Aloys Claussman, Bulletin historique teen piano Nocturnes. Unpublished DMA pa- et scientifi que de l’Auvergne, vol. 1.90, pp. per, Boston University, p. 9, and p. 26 (2015). 305–321 (1981). 22. Hervé Desarbre, Aloys Claussmann Or- 6. Le Moniteur, May 16, 1895, p. 2, and gan Works, Disque Mandala MAN 4927, 1997. May 18, 1895, p. 2. According to Louis Gé- 23. An example of the need for good ed- mont, the work was performed again in 1925 iting appears in the Sérénade for Cello and www.ruffatti.com (Le Moniteur, November 11, 1926, p. 2). Piano, opus 49. The cello part and the piano 7. In a letter to Paul Dukas, Claussmann score have completely different notes and thought that he was close to death at that time keys in places.

18 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM British organ history

A history of the Temple Church organs

By Roger Sayer

he Temple Church, London, built Smith wrote to the two Inns of Court to Tby the Knights Templar in the late request that he be allowed to build his twelfth century, is set in the heart of the instrument in the church, rather than in Inner and Middle Temple Inns of Court Middle and Inner Halls, as planned. His Roger Sayer at the Temple Church organ (photo credit: Chris Christodoulou) between Fleet Street and Embankment. request was granted but, shortly after, 2 The building itself comprises two distinct Harris obtained the same permission, of a hydraulic engine to power the 2⁄3′ Twelfth sections: the Round Church—a replica and each organ was built on the north bellows. Hopkins’s successor, Walford 2′ Fifteenth 1 III Full Mixture of the Church of the Holy Sepulchre and south sides of the church. Both Davies, oversaw the organ’s renovation V Sharp Mixture in Jerusalem, which, according to tradi- builders went to enormous expense to by Frederic Rothwell in 1910, where a 8′ Large Trumpet tion, was built over two of Christianity’s showcase their instruments, pushing the substantial amount of new pipework was 8′ Small Trumpet holiest places: Calvary and the empty organ further than any other instrument added to the original Bernhard Smith 4′ Clarion tomb—and a rectangular church, built before (Smith’s organ was the fi rst three- instrument, and the console received SWELL (56 notes, enclosed) half a century later, which now acts as manual instrument in the country) and a complete rebuild to accommodate 16′ Bourdon the chancel and sanctuary. employing highly accomplished organ- Rothwell’s stop-key control system.3 8′ Open Diapason Throughout its history, the church has ists to demonstrate their capabilities. This organ survived just thirty-one years. 8′ Rohr Gedact 8′ Violin been home to outstanding music and The competition drew to a close in On May 10, 1941, an incendiary bomb 8′ Salicional musicians including organists John Stan- 1688, and rumor has it that Smith and fell on the Round Church during an air 8′ Voix Celestes ley, Henry Walford Davies, and George Harris both sabotaged each other’s raid. The fi re spread from the Round to 4′ Principal Thalben-Ball. Indeed, Thalben-Ball instruments the night before the Inns’ the chancel, completely destroying the 4′ Rohr Flute 4′ Gambette was the fi rst English pianist to perform fi nal decision, including tampering with organ and gutting the church, with the II Twelfth and Fifteenth Rachmaninov’s Third Piano Concerto, the reed stops and cutting the supply result that it would be thirteen years IV Mixture and famously recorded Mendelssohn’s from the bellows to the organ. Lord before another instrument took its place. 16′ Double Bassoon beautiful Hear My Prayer with treble Chief Justice Jeffreys made the fi nal 8′ Horn 8′ Oboe Ernest Lough in 1927, launching the decision in favor of Bernhard Smith, and 1896 Schulze, and Norman and ′ 4 8Vox Humana church and its choir to worldwide fame. the organ was installed in the summer of Beard organ 4′ Clarion More recently, the church and its organ 1688 for the sum of £1,000, an extraor- Tremulant have been used to record the score for dinary fi gure for a relatively small organ. GREAT (56 notes) 16′ Double Open Diapason CHOIR (56 notes) the 2014 science fi ction fi lm, Interstel- It was tuned to meantone temperament 8′ Large Open Diapason 16′ Lieblich Bourdon lar. The current organ is a four-manual and featured a 6′ “Sadt of mettle,” 8′ Small Open Diapason 8′ Violin Diapason Harrison & Harrison instrument, origi- thought to be a type of gemshorn and the 8′ Stopped Diapason 8′ Lieblich Gedact ′ nally built in 1924 as a ballroom organ only example of the stop in the world. A 8Hohl Flute 8′ Spitz Flute 8′ Viol di Gamba 8′ Dulciana for Glen Tanar Castle in Scotland and number of pipes from this organ survive 4′ Principal 4′ Gemshorn installed in the church in 1954. Records in displays in the choir vestry and at the 4′ Octave 4′ Lieblich Flote show, however, that there has been an bottom of the organ loft staircase. 4′ Nason Flute 4′ Flauto Traverso organ at the church since at least 1307. The Glen Tanar Harrison is just one of 1685 “Father” Smith a number of fi ne instruments to have (61 notes on manuals)2 Scattered leaves ... from our Sketchbook graced the north wall of the chancel. CHAIR Unusually for the time, the 1307 Gedackt wainescott 12 record of the Temple Church organ is Hohlfl ute of mettle 6 quite detailed. It appears in an inven- A Sadt of mettle 6 tory made by the Sheriffs of London and Spitts fl ute of mettle 3 Violl and Violin 12 states that “In the Great Church [are] Voice humaine of mettle 12 two pairs of organs and in the quire a book for the organs and two cushions GREAT for the chanters chairs.” Ordinarily, Prestand 12 Hohlfl ute wood & mettle 12 twelfth- to fourteenth-century church Principall of mettle 6 accounts only record the presence of an Quinta of mettle 4 organ, with the result that little is known Super Octavo 3 about its construction beyond what can Cornett of mettle 2 Sesquialtera of mettle 3 be gathered from contemporary art in Gedackt of wainescott 6 manuscript illuminations and stained Mixture of mettle 3 glass. The instruments at Temple were Trumpette of mettle 12 most likely positive organs: small, one- ECCHOS [sic] manual instruments with two to three Gedackt of wood 6 stops (usually fl utes at 8′, 4′, and 2′), with Sup. Octavo of mettle 3 bellows operated either by the organist Gedackt of wood 12 (from c1) himself or by a bellows boy. Flute of mettle 6 (from c1) Cornett of mettle III ranks (from c1) The next reference to a major organ Sesquialtera III ranks at Temple occurs in 1683 when the Trumpett 12 (from c1) treasurers of both Inner and Middle Temple commissioned a new organ from Under the direction of E. J. Hopkins, Bernhard Smith and Renatus Harris, at organist at Temple Church from 1843 to Schoenstein & Co. the time the two leading English organ 1897, the organ underwent a number of builders. On discovering that he was in changes, including the addition of thir- Established in San Francisco š 1877 fact competing for the commission and teen stops by Edmund Schulze between www.schoenstein.com ❧ (707) 747-5858 had not already obtained the contract, 1857 and 1862, and the introduction

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 19 British organ history

The Temple Church, London

4′ Violine travelled to Scotland to give recitals and III Mixture ′ had admired the instrument for its power 8Corno di Bassetto and wonderful blend of sounds, and SOLO (56 notes) intended the organ to retain these quali- 8′ Flute Harmonique ties in its new home on the north wall of The Temple Church interior (photo credit: Chris Christodoulou) 4′ Flute Octaviante the church. Due to the vast difference in 2′ Piccolo Harmonique acoustic—the ballroom at Glen Tanar is a 8′ Small Open Diapason 4′ Flauto Traverso 8′ Tuba Mirabilis (heavy wind) ′ ′ magnifi cent but rather squat space with a 8′ Geigen (Gt 2nd Division) 2Harmonic Piccolo 8Clarinette ′ III Dulciana Mixture (15–19–22) 4′ Orchestral Oboe wooden ceiling decorated with hundreds 8Hohl Flute 8′ Stopped Diapason (Gt 2nd Division) 16′ Cor Anglais (extra octave of pipes of antlers—a number of pipes needed ′ at top) PEDAL (30 notes) 4Octave revoicing to better suit the church. 4′ Principal (Gt 2nd Division) 8′ Clarinet 32′ Sub Bass ′ ′ The installation was completed in 4′ Wald Flute (Gt 2nd Division) 8Tuba 16 Major Bass (wood) 2 ′ 16′ Open Bass (metal) 1954, and services began again after 2 ⁄3 Octave Quint (Gt 2nd Division) 2′ Super Octave SOLO (61 notes, enclosed) 16′ Violone (wood) ′ ′ the chancel’s rededication shortly 2′ Fifteenth (Gt 2nd Division) 16 Contra Viola 16 Stopped Bass (wood) 3 ′ 2 afterwards. (The Round Church was 1⁄5′ Seventeenth (Gt 2nd Division) 8Viole d’Orchestre 10 ⁄3′ Quint (wood) ′ ′ rededicated in 1958.) Since then, the IV Mixture (19–22–26–29) 8Viole Céleste (tuned sharp) 8Principal (metal) 8′ Harmonic Flute 8′ Violoncello (wood) organ has received expert attention from III Mixture (12–19–22, Gt 2nd ′ ′ Division) 4Concert Flute 4Tenor Solo (metal) Harrison & Harrison, from removing ′ 8′ Orchestral Hautboy 2′ Treble Solo (metal) 8Tromba ′ the shutters on the Pedal reeds and Solo 4′ Octave Tromba Tremulant 16 Trombone (metal) 16′ Orchestral Trumpet (extra octave of tuba, to modernizing the action in 1976, pipes at top) to installing a modern piston system in SWELL (61 notes, enclosed) ′ 16′ Quintatön 8Horn Couplers 8′ Tuba (not affected by octave 2000. The organ underwent a complete 8′ Open Diapason Great to Pedal overhaul between 2012 and 2013. Most ′ couplers) Swell to Pedal 8Stopped Diapason of the instrument was dismantled and 8′ Echo Salicional Choir to Pedal ′ PEDAL (32 notes) Solo to Pedal taken to the Harrison & Harrison work- 8Vox Angelica (from FF) 32′ Double Open Wood 4′ Principal ′ Pedal Octave shop in Durham, and it now accompa- ′ 32 Sub Bourdon Swell to Great 2Fifteenth 16′ Open Wood nies services and concerts throughout V Mixture (12–19–22–26–29) ′ Solo to Great ′ 16 Open Diapason Choir Sub Octave to Great the year. Despite many alterations, the 8Oboe 16′ Geigen organ has retained its Romantic power Tremulant 16′ Bourdon Swell to Choir ′ and color, and perfectly complements 16 Double Trumpet 16′ Violone ′ ′ The Glen Tanar Harrison & Harrison the vibrant and expressive sound of the 8Trumpet 16 Dulciana 4′ Clarion 8′ Octave Wood organ arrived by rail from Scotland in Temple Church Choir. Q 8′ Flute 1953. It had been built for the ballroom CHOIR (61 notes, enclosed) 4′ Octave Flute in 1927—its inaugural recital was given by 2013 Harrison & Harrison organ5 16′ Contra Dulciana 32′ Double Ophicleide 8′ Claribel Flute 16′ Ophicleide Marcel Dupré—but after years of neglect, 8′ Lieblich Gedeckt 16′ Orchestral Trumpet GREAT (61 notes) ′ was gifted by Lord Glentanar to George 16′ Double Geigen 8Dulciana 16′ Bassoon Thalben-Ball, organist at Temple from 16′ Bourdon (Gt 2nd Division) 4′ Salicet 8′ Posaune 1923–1982. Thalben-Ball had frequently 8′ Large Open Diapason

Church of Saint Jude the Apostle Wauwatosa, Wisconsin Three manuals – forty ranks

A RTISTRY – R ELIABILITY – A DAPTABILITY

20 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Couplers Great to Pedal Swell to Pedal Choir to Pedal Solo to Pedal Swell to Great Choir to Great Solo to Great Choir Suboctave Choir Unison Off Choir Octave Swell to Choir Solo to Choir Great 2nd Division on Choir Great Reeds on Choir Swell Sub Octave Swell Unison Off Swell Octave Choir on Swell Solo to Swell Solo Sub Octave Solo Unison Off Solo Octave Great Reeds on Solo Accessories Detail of the organ casework 8 General pistons 8 Great pistons 8 Swell pistons (thumb and toe) opening the 2018 Summer Organ Festival 8 Choir pistons at Westminster Abbey. Sayer’s work as 8 Solo pistons organist extends into the fi lm world, with 8 Pedal pistons his most recent performance as organ solo- General Cancel 2 Coupler pistons ist for Hans Zimmer’s Oscar nominated Sequencer, operating general pistons score for the motion picture Interstellar. Great to Pedal reversible (thumb and toe) His latest recording, The Grand Organ Swell to Pedal reversible of Temple Church (Orchid Classics), Choir to Pedal reversible Solo to Pedal reversible showcases the Harrison & Harrison Swell to Great reversible (thumb and toe) Organ at Temple Church in London, UK. Choir to Great reversible Solo to Great reversible Organists of the Temple Church: Swell to Choir reversible Solo to Choir reversible Francis Pigott 1688–1704 Swell to Solo reversible John Pigott 1704–1737 (from 1729 for 32′ Ophicleide reversible Middle Temple only) Combination couplers Great to Pedal pistons From 1729 to 1814, the Inner Temple: Pedal to Great pistons Obadiah Shuttleworth 1729–1734 Pedal to Swell pistons Generals on Swell foot pistons John Stanley 1734–1786 Robert John Samuel Stevens 1786–1810 256 general and 16 divisional memories George Price 1810–1814 Balanced Choir expression shoe Balanced Swell expression shoe Balanced Solo expression shoe From 1729 to 1814, the Middle Temple: Notes John Pigott 1729–1737 1. www.templechurch.com/music/the- organ/the-battle-of-the-organs/. James Vincent 1737–1749 2. http://www.npor.org.uk/NPORView. John Jones 1749–1796 html?RI=C00923. Emily Dowding 1796–1814 3. www.templechurch.com/music/the-or- gan/the-rothwell-harrison-organs/. From 1814, both Inner and Middle 4. http://www.npor.org.uk/NPORView. html?RI=N17808. Temple: 5. http://www.npor.org.uk/NPORView. George Price 1814–1826 html?RI=E02047. George Warne 1826–1843 Dr. Edward John Hopkins 1843–1897 Roger Sayer, a former organ student at Sir Henry Walford Davies 1897–1923 The façade of the Temple Church organ St Paul’s Cathedral, was prizewinner at Sir George Thalben-Ball 1923–1982 the 1989 St Albans International Organ Dr. John Birch 1982–1997 Competition and won all the organ prizes Stephen Layton 1997–2006 at the Royal College of Music. His recent James Vivian 2006–2013 and upcoming highlights include recitals Roger Sayer 2014–present in Italy, Germany, Holland, and Denmark,

a tour of Australia, a live recital at Temple Source: https://en.wikipedia.org/wiki/ Church broadcast on BBC Radio 3, and Temple_Church

THEHE DIAPASONIA SO iss accepa epঞ nngg ssubmissionsu missi s oof arঞ cle-lengthc leng eessayssaays uunnঞ l JJanuaryanua 331,1 22020,02 fforor itsts inauguralaug al GruensteinGrruu nst n AAwardar , honoringon i SiegfriedS gfrriied EE. GGruenstein,ru ns in, ffoundingndi g eeditoriitttoor ooff thee jjournal,o rn , fforor Proud builders of the pipe organ kit publicaub icaঞ onon inn thetthhe MMayaayy 2202002200 issue.sue. TheTh aawardwa d rrecognizesoogg ize tthehe scholarlycho r

workwork oof a yyoungou g aauthoru ho wwhoho hhasa follow us on notno rrereachedeach d hherer oorr hhis 3355tht birthdayrrtthday facebook! aass of JJanuarya ary 331,1, 2020.02 Photo courtesy of Eric Harrison

ForFFooorr completempllee ddetails,eetttaails visitsiitt wwwwww.thediapason.comww..tthedediaia son.c.c m 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t 800 625-7473 [email protected] oor seeee thehe Septemberep mb r 2201919 issue,su ppagea e 33. Visit our website at www.letourneauorgans.com

AnnetteAnn - stock.adobe.comststock.a e comm

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 21 Cover feature

The First Church, UCC, division also assists our 5-octave bell Nashua, New Hampshire choir, through a tonal reference closer to Austin Organs, Inc., Hartford, their placement in the church. Connecticut, Opus 1406 Austin concentrated on securing Aus- tin (or similar) pipework from the origi- From the Minister of Music and nal era, and where vintage pipes could Consultant not be sourced, Austin provided new When I was appointed Minister of pipework made to patterns Austin used Music in 2008, the organ was to be on in the 1920s. As a result, we have a thrill- the docket for a long-anticipated resto- ing instrument with a 21st-century eye ration early in my tenure. Upon learn- towards its 1926 heritage—an impres- ing about the vision for this instrument sive, warm sound over six divisions, and that was started under Dr. Robin Dinda, one of the most fl exible accompanying FAGO, in the early 1990s, two things instruments in Northern New England. were clear: the Young Memorial Con- Four celestes (three string and one sole built by Austin in 1996 prepared fl ute) add wonderful warmth. Original the organ for signifi cant expansion, and color stops like the Vox Humana and a new fl oating Solo division was to be vintage Harp (and classic fan tremu- part of this vision. lants) deliver sounds of yesteryear. Over the years, attempts were made The organ features complete string, to undo tonal changes from the 1970s fl ute, and diapason ensembles, with and 1980s (primarily light upperwork reeds (some independent and some in the Great), which sacrifi ced some of unit treatments), and has retained the the instrument’s most beautiful original original two full-length 16′ reeds under softer stops. At some point in the past two expression! The versatility of the instru- decades, the original enclosed Great 8′ ment is astounding, especially when one Gemshorn (once stored inside the organ utilizes sub/super-coupling and unisons casework) disappeared, as well as the off. The return of 23 ranks of extension original 8′ Harmonic Tuba. A signifi cant, octaves (73 notes) provides a thrilling but somewhat misguided change to the shimmer that can compete with the best entire Great division in the early 2000s of Boston’s local craze with Skinner and continued to take the instrument away Aeolian-Skinner. from its original symphonic roots. The Two of the organ’s returned softest “return” to these 1926 roots ultimately stops, the Swell 8′ Echo Salicional, became the basis for our church’s $2.3 (1930 Midmer-Losh) and the Enclosed million Capital Campaign for Ministry, Great 8′ Gemshorn (1925 Austin) Music, and Mission in 2014. have added sensitive softer dynam- This vision would be to restore the ics, which now allow the instrument organ to its 1926 tonal specifi cation and to offer every variation from ppp to nomenclature and add new upperwork, ffff. Masterful tonal fi nishing led by scaled and voiced in typical 1920s Aus- Daniel Kingman, Austin’s senior voicer tin character. The original tonal design and associate tonal director, truly kept had no mixtures or mutations and only everything warm, lush, and never shrill. one 2′ stop (in the Swell). The existing Full organ never “screams.” Additions stewardship of our 1996 three-manual to the instrument include the three- console guided us in adding the pre- rank Solo Vox Seraphique (15th, 17th, pared fl oating Solo division, with an eye 19th), a 1924-vintage harmonics stop toward more liturgical function rather that is designed to pair with the Major than tonal tradition. In effect, we now Gamba and Celeste to create a unique have a III/47 versatile main instrument, shimmer and color combination; this The First Church, UCC, Nashua, New Hampshire (photo credit: Len Levasseur) with a 13-rank Solo (with two composite is a rare effect found in perhaps only a stops) bringing the total rank count to very small handful of instruments. The Swell respectively) allows a fl exibility extension of the case and grillework for 60—an instrument easily suited for four large-scaled Mounted Cornet IV in the unparalleled for an organ of this size. the new Solo division truly looks like it manuals, but keeping former steward- Solo is designed to pair with the Solo’s The mechanics are truly an engineering has always been in the sanctuary. The ship and sightline considerations in Doppelfl ute, and also pairs with the new marvel, and every ounce of possibility resulting instrument thrills congrega- check for a three-manual console, with linen-lead pattern, leather-lipped Grand was brought out of this instrument’s re- tion, recitalists, and audiences alike. many options. Diapason on the Open Great. This near- design, thanks to collaboration with the By offering a minimum of seven pub- The Solo was designed with double- Stentorphone color alone fi lls the room Austin staff. lic programs featuring the Anderson sided nave and chancel sets of swell with a sound long forgotten (and greatly I am privileged to sit at this console Memorial Organ annually on our First shades. This allows use of the Solo divi- misunderstood) in the days of American every week and was truly honored to Music Concert Series, the organ’s voice sion not only as a powerful solo voice Classic and Neo-Baroque revival. serve as the principal consultant for this is widely heard in this region and has (or part of the greater organ ensemble) Complex “borrows” of stops, either important and historic work. Thanks are garnered much regional attention, in but also adds the possibility of accom- as new divisional extensions, or in the due in particular to Charles Morris who print and on television—as the most panying a choir from that area of the Pedal, add amazing variations to regis- acted as the church’s representative. signifi cant organ project in the state of sanctuary with closed shades and Pedal tration. Cross-coupling of the Enclosed The team at Austin was accommodating New Hampshire in a decade. It is an stop additions. Consequently, the new Great and Choir (to the Choir and of nearly anything asked of them. The honor to be at the helm of this historic

Austin Organs, Opus 1406, 1926/2015

GREAT ORGAN SWELL ORGAN CHOIR ORGAN SOLO ORGAN (* = enclosed Great) 16′ Bourdon 73 pipes 16′ Quintade (ext) 12 pipes 8′ Doppelfl ute 73 pipes 16′ Major Diapason 73 pipes 8′ Open Diapason 73 pipes 8′ Geigen Principal 73 pipes 8′ Major Gamba 73 pipes 8′ Grand Diapason 73 pipes 8′ Rohr Flute 73 pipes 8′ Concert Flute 73 pipes 8′ Gamba Celeste 73 pipes 8′ Principal Diapason 73 pipes 8′ Viole D’Orchestre 73 pipes 8′ Flute Celeste (TC) 61 pipes 4′ Flute Ouverte 73 pipes 8′ Small Diapason (ext) 12 pipes 8′ Viole Celeste (TC) 61 pipes 8′ Dulciana 73 pipes 4′ Gambette (ext) 12 pipes 8′ Flauto Major (Ped 16′ Dia) 41 pipes 8′ Echo Salicional 73 pipes 8′ Unda Maris (TC) 61 pipes 4′ Gambette Celeste (ext) 12 pipes 8′ Violoncello * 73 pipes 4′ Fugara 73 pipes 8′ Quintadena 73 pipes III Vox Seraphique (15-17-19) 183 pipes 8′ Gemshorn * 73 pipes 4′ Flauto Traverso 73 pipes 4′ Geigen Octave (ext) IV Mounted Cornet (TC) 8′ Bourdon * 73 pipes 4′ Violina (ext) 4′ Flute D’Amour 73 pipes (8-12-15-17) 196 pipes 2 8′ Flute Celeste (Ch) 2⁄3′ Nasard 61 pipes 2′ Piccolo 61 pipes 8′ Cor Anglais 73 pipes 1 8′ Unda Maris (Ch) 2′ Flageolet 61 pipes 1⁄3′ Larigot 61 pipes 8′ Tuba Mirabilis 73 pipes 3 4′ Octave 73 pipes 1⁄5′ Tierce 61 pipes 16′ Tuba (Gt) Tremulant 4′ Principal * 73 pipes III Mixture (15-19-22) 183 pipes 8′ Harmonic Tuba (Gt) Nave Shades Off 4′ Harmonic Flute * 73 pipes 16′ Contra Posaune 73 pipes 8′ Clarinet 73 pipes Chancel Shades Off 2 2⁄3′ Twelfth 61 pipes 8′ Tuba Mirabilis (Solo) 4′ Tuba Clarion (Gt) 2′ Fifteenth 61 pipes 8′ Cornopean 73 pipes Harp (Austin) 61 bars IV Fourniture (19-22-26-29) 244 pipes 8′ Oboe 73 pipes Chimes (Gt) 16′ Tuba * (ext) 12 pipes 8′ Vox Humana 61 pipes Tremulant 8′ Harmonic Tuba * 61 pipes Tremulant 8′ Bassoon 73 pipes 4′ Clarion * (ext) 12 pipes Harp (Ch) Chimes 25 tubes Tremulant *

22 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Inside the Austin airbox (photo credit: Michael Fazio)

this organ. One interesting element in Armed with this history, we surveyed the contract stated that: the condition of this venerable instru- ment in Nashua. The organ had been a The Austin Organ Company hereby victim of several attempts at “tonal mod- guarantees tonal satisfaction to Mrs. Frank ernization” over the years. Diapasons Anderson, donor; Earl F. Nauss, minister; had been removed and replaced with and Maurice Hoffman, organist; and agrees lighter-scaled pipework; a rather large to exchange any and all pipes which do not satisfy and to continue to do so until results mixture was added to the Great; and the satisfactory to the committee named have Tuba was removed and replaced with a been attained. poorly recycled supply-house Trumpet. Also, the enclosed divisions had several Perusing the fi les, no pipes appeared stops removed, altered, or replaced to have been returned by order of the entirely with random pipework. Many committee; a happy circumstance that hours of discussion were spent attempt- must have caused sighs of great relief ing to recreate, or frankly create a new in Hartford! tonal specifi cation that would echo the The organ was initially scaled rather vision for this instrument, as if a time heroically on wind pressure of seven machine had transported us back to inches water column. The Great Principal 1926, but with greater resources avail- Diapason was 40 scale (nearly 6¾ inches able, such as were reserved for larger diameter at bottom C). There was an instruments as mentioned above. accompanying “Small Diapason” of 46 The result of fraternal collaboration scale, which is a scale that would be typi- between Joseph Olefi rowicz and the cal of instruments built in the late 1960s Austin staff was to create a tonal design The console (photo credit: Len Levasseur) to 1970s. A revision in March of 1926 that could have been lifted from Aus- shows that the Principal Diapason bass tin’s archives. The overall limit of the ministry, now with an instrument that By today’s standards, this timeframe was changed to 43 scale and the Small “new” specifi cation was perhaps a bit will continue to praise God for genera- would be unheard of, since a 3-manual, Diapason to 49 scale. This would be more exhaustive, but the result is an extremely tions to come. Soli Deo Gloria. 42-stop instrument would surely in keeping with other similar instruments versatile instrument with amazing tonal —Joseph R. Olefi rowicz, CAGO require a minimum of 16 to 24 months. of the time in typical rooms. In today’s variety and possibilities. Minister of Music In 1925, however, the company was in thinking, the 43 scale/17th ratio is typi- In our grand scheme, a signifi cant Principal Organ Consultant the epoch of its greatest production, cal of German Normalmensur, while the addition was the inclusion of a new Solo shipping nearly two organs per week. 49-scale Diapason (with a narrow mouth) division. There was space allowed on From the Builder This contract was signed on behalf of is typical of a Violin Diapason and would the 1996 console, and we were offered On our preliminary visit to the church, Austin by Elisha Fowler of Boston, for- be a bit more incisive. Likewise, the Swell the possibility of utilizing a pass-through we were introduced to an instrument merly of the Hutchings Company, but Diapason bass was changed from 40 scale storage area located on the far right of built by Austin some 90 years previous since 1919 served as New England (and to 43. This provided the power and color the organ case. To transform this space that was barely an echo of what had later Midwest) sales representative for in the manual range, without excessive into an organ chamber would require been installed. The contract was signed Austin. Also a seasoned tonal designer, heaviness in the pedal; it also consumed the construction of some new casework on December 19, 1925, with promised Mr. Fowler likely had strong infl uence less windchest real estate. with additional tone openings. The exist- completion by September 1, 1926. in drawing up the tonal specifi cation for The tonal palette of this instrument was ing organ has some unique carving that certainly typical for the era and boasted resembles vines within its openings. We a plethora of fundamental stops; absent scanned images of this casework and were mixtures or mutations. Similar created a CAD fi le that was turned into The First Church, UCC, Nashua, New Hampshire organs of the period—for example, Opus magnifi cent scaled panels identical to the 1409 at St. John’s Episcopal Church in original. The Solo was voiced to speak on PEDAL ORGAN EXPRESSION PEDALS Bridgeport, Connecticut, an instrument 10 inches wind pressure, typical of the 32′ Diapason (Resultant) Choir/Enclosed Great of 75 stops—boasted upperwork and era, which required the installation of an ′ 32 Bourdon (Resultant) Swell a full set of independent mutations in additional blower. To accommodate this 32′ Lieblich Gedeckt (Resultant, Sw) Solo 16′ Open Diapason 32 pipes Register Crescendo the Swell, including a Nazard, Flautina, requirement, we pulled a vintage Spen- 16′ Violone (Gt) Tierce, Septieme, and Twenty Second. cer blower from our inventory and sent 16′ Bourdon 32 pipes CONTROLS (An interesting side note, this organ it back to the factory for refurbishment ′ 16 Flute Bass (ext, Solo) 12 pipes 999-levels of memory appears to be the fi rst instance found of and a new motor equipped with a vari- 16′ Quintaten (Ch) Bridal signal (HCTB) 16′ Lieblich (Sw) Clock an Austin with double expression—a box able frequency drive controller. 8′ Octave (Gt) Continuo within a box—in the Swell department.) Upon completing the design phase, 8′ Major Flute (Solo) “Go-to” function Mixtures were found in several instru- reality struck a severe chord when the ′ ′ 8 Gross Flute (ext 16 Diap) 12 pipes Manual Transfer ments of the period, but usually confi ned actual challenge of building this instru- 8′ Flauto Dolce (ext 16′ Bdn) 12 pipes Piston sequencer 4′ Super Octave (Gt) Playback to the Swell Organ. A notable exception ment necessitated sourcing the required 4′ Flute (Sw) Transposer is Austin Opus 1416, for the Sesquicen- pipes to achieve the desired result. In 32′ Grand Cornet (Resultant) Ventil (mixtures) tennial Exposition, built in 1926. At 162 some cases, it was as simple as making (or ′ 16 Tuba (Gt) Ventil (reeds) ranks—it was for many generations the fi nding) an octave or a few pipes to restore 16′ Posaune (Sw) 8′ Tuba Mirabilis (Solo) Builder’s website: http://austinorgans.com largest pipe organ built by Austin under scaling; many of the 73-note extension 8′ Harmonic Tuba (Gt) Church’s website: tfcucc.org a single contract. Each of the principal octaves had been lost to time, but happily 4′ Clarion (Gt) divisions has multiple ranks of mixtures; we were able to source replacements for Chimes (Gt) Cover photo credit: Len Levasseur and of course, reed choruses, fl ute cho- all of those lost from vintage inventory. Pedal to Pedal 4 ruses, strings, mutations, etc. In other cases we required complete

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 23 Cover feature Reviews

³ page 10 responsible for obtaining the organ for is noteworthy for its quiet and expres- the university. There are four manuals, sive lyricism. two of which are short compass, but Two selections from Litaize’s fi rst the pedal is rudimentary, consisting published collection (1938), Douze only of 8′ and 4′ fl utes and a transmis- pièces, are featured: the fi endishly dif- sion of the Grand-Orgue 16′ Bourdon. fi cult “Variations sur un Noël angevin” It is a very fi ne-sounding instrument and the exuberant “Final.” Among the in a good acoustic environment, but later works are the aforementioned its eighteenth-century French design Prélude et danse fugée, the “Final” makes it a less than ideal instrument from Messe pour Toussaint (1964), and for performing Johann Sebastian Bach’s three late works: Arches (1987), Épiph- organ music. This is particularly the anie (1984), and Reges Tharsis (1991). case as the balance between the reeds Litaize softened his tone with his late and fl ues is quite different from a North works, following the music of the 1960s German instrument. where he experimented with a more dis- Suzuki takes the great Prelude and sonant harmonic vocabulary. Fugue in G Major at a very fast pace. The booklet accompanying this com- The manual parts of the prelude come pact disc provides an informative over- out clearly on the principals, but in the view of Gaston Litaize’s life and career, fugue the French Trompette on the as well as the performer’s biography and Grand-Orgue, which is also coupled to a history of the organs of the Church of the Pedal (there being no pedal reeds the Epiphany in Washington. Unfortu- and no 16′ reeds at all on this organ), The Great division Flauto Major and Small Diapason (photo credit: Michael Fazio) nately, there is no commentary on any rather overwhelms the fl ues. The fl utes of the pieces chosen for this disc. The sound very pretty in the Chorale Prelude Why do we consider this ability to be Aeolian-Skinner organ offers as close “Liebster Jesu, wir sind hier,” BWV 730, important? to a French sound as one could hope one of a pair of chorale preludes on The pipe organ in church today must for from an American instrument. The this hymn that Bach composed in the bridge the gap between traditional solo performance by Filsell does not disap- early eighteenth century. This piece is organ literature, liturgical accompani- point. It is what one comes to expect taken at a much more relaxed pace, and ment, choral support, and yet have from this highly regarded virtuoso—sen- effective use is made of the Tremblant the ability to perform contemporary sitive, musical, and technically superb. Doux. I particularly liked Suzuki’s per- accompaniment and literature. One can Litaize could not have hoped for a better formance of the Vivaldi/Bach Concerto only imagine where the next trend might advocate for his music. This disc makes in D Minor. Again the fl utes sound very lead! The tone of the instrument must a delightful addition to the organ music lovely in the fi rst and third movements, be pleasing—but not that alone—for the of twentieth-century France and helps while the principal chorus is very clear instrument must be capable of fulfi lling complete the picture of the music that in the short second, Grave movement. its role in the liturgy. In summation: the came from this exceptional tradition. At the beginning of the fourth move- organ must be extremely versatile and —Steven Young ment the Montre sounds warm and able to be play almost any literature, Bridgewater, Massachusetts round, while in the solo section Suzuki and the organ’s tonality also has to be makes effective use of a fl ute with the outstanding in its conceptualization, Masaaki Suzuki plays Bach Organ Nazard and Tremblant. The principal voicing, and disposition. Works on the Garnier Organ of Kobe chorus comes across well again in the We feel that the Austin organ is built Shoin. BIS Records, AB compact fi nal movement, and the unequal tem- of the most solid construction to support disc, BIS-2241, €15. Available from: perament seems particularly well suited Solo division (photo credit: Michael Fazio) the extra demands placed on a sym- www.bis.se. to this composition. phonic organ. Our design (the famed Volume 2: Prelude and Fugue in Following the Concerto in D Minor, stops; many were procured from Austin’s Austin Universal Airchest System) G Major, BWV 541; Chorale Prelude the Chorale Partita on “Sei gegrüßet, inventory. Some stops were new manu- assures the church of steady wind, ease “Liebster Jesu, wir sind hier,” BWV Jesu gütig” gives many opportunities factured pipes made to vintage Austin of maintenance, and maximum utiliza- 730; Concerto in D Minor (after Viv- for Suzuki to explore the solo colors patterns. An example is the 8′ Bassoon tion of available space. We strive to build aldi), BWV 596; Chorale Partita on “Sei of the organ. Suzuki’s interpretation of in the Great. While perhaps not typical the most comfortable organ consoles gegrüßet, Jesu gütig,” BWV 768; Con- the ornamentation is outstanding. The of the time, there was a desire and need with the fi nest control systems available. certo in C Major (after Vivaldi), BWV reeds sadly again overpower the fl ues in for a lighter chorus reed in the exposed The sound of an Austin organ plenum 594; Chorale Prelude on “Liebster Jesu, the last variation. We then hear a second division. This particular pattern was (tonal ensemble) is unique. To achieve wir sind hier,” BWV 731; Prelude and Vivaldi/Bach concerto, the Concerto in originally used in Opus 1010 (c. 1921 in our desired level of warmth and simul- Fugue in C Major, BWV 547. C Major. Suzuki’s playing here reminds the Eastman Theatre, Rochester New taneous transparency requires not only Masaaki Suzuki (b. 1954) has prob- me particularly of the way his former York) and also in Opus 1109 (1922, at our specifi c style of voicing, but very ably accomplished more than anyone in teacher Ton Koopman plays. Suzuki the Cincinnati Music Hall). The original close attention to pipe scaling, regula- Japan to champion the music of Johann then plays the second of the pair of patterns were located in our archive and tion, and of great importance, explicit Sebastian Bach. After studying organ chorale preludes on “Liebster Jesu, wir used for this instrument. Likewise, vin- confi dence in our Austin Universal and composition at the Tokyo National sind hier,” BWV 731. Again he takes the tage patterns likely used for the original Airchest System. University of Fine Arts and Music he chorale prelude at a relaxed pace and his pipes in 1926 were used for the replace- Celebrating 125 years of pipe organ moved to the Netherlands where he interpretation is full of warmth and feel- ment Tuba in the Great. Conversely, we building experience, and our dedicated studied with Ton Koopman, Piet Kee, ing. The compact disc concludes with chose a vintage E. M. Skinner pattern for staff comprising one of the oldest pipe and Klaas Bolt. After a period of teach- Bach’s Prelude and Fugue in C Major, the Solo Tuba—for variety of dynamic organ factories in the country; we are ing in Germany he returned to Japan in BWV 547. The playing of the prelude is and color. The Solo English Horn was ready to build one of the fi nest instru- 1983, where he began teaching at the brilliant and joyous. The fugue begins sourced from vintage inventory, a 1924 ments possible, and then provide ongo- Shoin Women’s University in his home- well on a mezzo forte combination and Austin instrument. ing support and service. town of Kobe. In 1990 he founded Bach builds up to a pleasant tutti. We feel that this instrument embod- —Michael Fazio Collegium Japan, a Baroque chorus and It is unfortunate, as I have men- ies not only the 1920s tonal concepts, President & Tonal Director orchestra. Under Suzuki’s direction Bach tioned, that Suzuki chose to make these as detailed herein, but Austin’s design Austin Organs, Inc. Collegium Japan recorded the complete recordings on a classical French style paradigm—a concept we refer to as cantatas of J. S. Bach. instrument, particularly one with such Symphonic-Liturgical Tonal Design Austin team members involved with Suzuki has now turned his attention a minimal pedal division. It is not as It is arguable that the most advanced Opus 1406 renovation: to Bach’s organ music and has begun though there are not several good North form of musical expression we celebrate Raymond Albright another extensive series of recordings, German style organs in Japan. I should today is the symphony orchestra. It is a Michael Chiradia of which this is the second. (The fi rst have thought the Taylor & Boody organ comprehensive and versatile entity. Evi- Bruce Coderre inevitably commences with the Toccata in St. Margaret’s School, Tokyo, Op. 30 of dence of this fact is provided by reviewing Colin Coderre and Fugue in D Minor, BWV 565, which 1998, three manuals and 62 ranks, which any concert program. On any given eve- Jacob Dowgewicz may or may not be by Bach himself!) is tuned to the Kellner “Bach” tempera- ning, one can encounter a most sublime Michael Hart Masaaki Suzuki is currently visiting pro- ment, would have been particularly suit- movement from Ravel; just a moment Curt Hawkes fessor at Kobe Shoin Women’s Univer- able. Nevertheless, Suzuki’s playing is later, the terrifi c thunder crash of a pow- Victor Hoyt sity and principal guest conductor of the excellent, and he clearly learned a great erful Wagnerian overture! These varia- Dan Kingman Yale Schola Cantorum. The recordings deal from his mentor Ton Koopman, tions in repertoire, dynamic, and emotion Rafael Ramos are made on the organ in the Chapel of whose traditions he has carried to Japan. are all delivered by the same performers David Secour Kobe Shoin Women’s University, built I wish Suzuki well in helping to popular- and the same instruments. In much the Stewart Skates + in Burgundy, France, by Marc Garnier ize the organ works of Bach in Japan, as same way, a well-designed tonal palette Richard Taylor in 1981 to 1983. It is built in classical he has done so conspicuously well with in an organ capable of supporting these Tony Valdez French historical style and tuned to the cantatas. timbres and styles gives an organist the Anne Wysocki an unequal temperament developed in —John L. Speller ability to perform with similar fl exibility. Mike Fazio Japan by Tatsushi Hirashima, who was Port Huron, Michigan

24 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Rachel Laurin; Woolsey Hall, Yale Uni- Park Ridge Presbyterian Church This calendar runs from the 15th of the month versity, New Haven, CT 7:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline St. Andrew Chorale & Orchestra and Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for NEW YORK New York City Children’s Chorus; Madison Bloomingdale, IL Feb. issue). All events are assumed to be organ Avenue Presbyterian, New York, NY 3 pm recitals unless otherwise indicated and are grouped Canterbury Choral Society, Bach, Christ- within each date north-south and east-west. •=AGO mas Oratorio; Church of the Heavenly chapter event, • •=RCCO centre event, +=new organ Rest, New York, NY 4 pm dedication, ++= OHS event. Isabelle Demers & Bradley Hunter Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Welch; First Presbyterian, Lancaster, PA specifi es artist name, date, location, and hour in 2 pm Director of Music writing. Multiple listings should be in chronological Aaron Tan; Shadyside Presbyterian, St. Andrew’s by the Sea, Pittsburgh, PA 3 pm order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN Duke Chapel Choir, Evensong Singers, Hyannis Port THE DIAPASON regrets that it cannot assume Vespers Ensemble & Chamber Orchestra; MILWAUKEE responsibility for the accuracy of calendar entries. Duke University Chapel, Durham, NC 4 pm Haydn, Little Organ Mass; Christ Episco- pal, Bradenton, FL 11 am UNITED STATES Todd Wilson; Independent Presbyterian, East of the Mississippi Birmingham, AL 4 pm Dean W. Billmeyer Nicholas Schmelter; Trinity Episcopal, 15 NOVEMBER Bay City, MI 4 pm University of Minnesota Yale Schola Cantorum; Battell Chapel, Yale University, New Haven, CT 7:30 pm 25 NOVEMBER Minneapolis 55455 • [email protected] Hey-Liberis Duo (Michael Hey, organ, Michael Unger, with cello; Trinity Epis- & Christiana Liberis, violin); First United copal, Covington, KY 7 pm Methodist, Saratoga Springs, NY 7:30 pm Benjamin Sheen; St. Paul’s Episcopal, 27 NOVEMBER Wilmington, NC 7:30 pm Thanksgiving Evensong; Emmanuel Byron L. Blackmore Jeremy David Tarrant; Cathedral Church Episcopal, Chester Parish, Chestertown, GAVIN BLACK of St. Paul, Detroit, MI 7:30 pm MD 6 pm Princeton Early Keyboard Center Crown of Life Lutheran Church Nathan Laube; First Presbyterian, Jack- Robert Myers; Trinity Lutheran, Cleve- son, MS 7:30 pm land, OH 12:15 pm 732/599-0392 Sun City West, Arizona Olivier Latry; Signoret-Brulatour House, Bruce Bengtson; Luther Memorial www.pekc.org 623/214-4903 New Orleans, LA 6:30 pm Church, Madison, WI 12 noon

16 NOVEMBER 28 NOVEMBER James Kennerley; Merrill Auditorium, Karen Beaumont; Milwaukee Catholic Portland, ME 7:30 pm Home, Milwaukee, WI 2 pm THOMAS BROWN Carson Cooman 17 NOVEMBER 29 NOVEMBER UNIVERSITY Ken Cowan; Church of the Transfi gura- Advent Lessons & Carols; Church of the PRESBYTERIAN CHURCH Composer and Concert Organist tion, Orleans, MA 3:30 pm Transfi guration, Orleans, MA 4:30 pm CHAPEL HILL, NORTH CAROLINA Harvard University Stephen Hamilton; St. Michael’s Epis- ThomasBrownMusic.com www.carsoncooman.com copal, New York, NY 3 pm 30 NOVEMBER Brian McCarthy; Cadet Chapel, West Advent Lessons & Carols; Church of the Point, NY 2:30 pm Transfi guration, Orleans, MA 4:30 pm Thomas Gaynor; First Lutheran, Carl- Ray Cornils; Methuen Memorial Music isle, PA 3 pm Hall, Methuen, MA 7 pm Your professional card Joshua Stafford; St. Mark’s Episcopal, DELBERT DISSELHORST Philadelphia, PA 4 pm 1 DECEMBER could appear here! Diane Meredith Belcher; St. Stephen’s Ray Cornils; Methuen Memorial Music Professor Emeritus Pro-Cathedral, Wilkes-Barre, PA 4 pm Hall, Methuen, MA 3 pm Contact: [email protected] Peter Richard Conte, organ, & Andrew Lessons & Carols; Vassar College, University of Iowa–Iowa City or 608/634-6253 Ennis, fl ügelhorn/organ; St. Matthew Lu- Poughkeepsie, NY 7 pm theran, Hanover, PA 4 pm Duke Bach Ensemble; Duke University Olivier Latry; St. Ann’s Church, Wash- Chapel, Durham, NC 5:15 pm ington, DC 3 pm Advent Procession; Cathedral Church of Jillian Gardner; Washington National St. Paul, Detroit, MI 4 pm STEVEN EGLER Cathedral, Washington, DC 5:15 pm JOHN FENSTERMAKER Advent Procession; St. James Episcopal Central Michigan University Aaron Tan; First Presbyterian, Rich- Cathedral, Chicago, IL 6:30 pm mond, VA 7:30 pm School of Music TRINITY-BY-THE-COVE Josiah Hamill; Duke University Chapel, 3 DECEMBER Mt. Pleasant, MI 48859 Durham, NC 5:15 pm The Chenault Duo; Northrop Audito- [email protected] NAPLES, FLORIDA + Isabelle Demers; Dunwoody United rium, Minneapolis, MN 7:30 pm Methodist, Dunwoody, GA 4 pm Vaughan Williams, Mass in G Minor; 4 DECEMBER First Congregational, Columbus, OH 4 pm Norberto Amanda Mole Candlelight Vespers; Shadyside Presby- ; Independent Presbyte- terian, Pittsburgh, PA 7 pm rian, Birmingham, AL 4 pm Silviya Mateva Naomi Rowley; Loyola University, Chi- ; Advent Lutheran, Mel- Susan Goodson Guinaldo cago, IL 3 pm bourne, FL 12 noon Lessons & Carols; Saint Michael & All Emanuel United Church of Christ His Music Angels Episcopal, Sanibel Island, FL 6 pm 19 NOVEMBER Manchester, Michigan See—Listen—Buy Olivier Latry; College of the Holy Cross, Nicholas Schmelter; St. Paul’s Episco- www.GuinaldoPublications.com Worcester, MA 7:30 pm pal, Flint, MI 1 pm Clara Gerdes & Richard Gress; Wool- Andrew Schaeffer; Luther Memorial, sey Hall, Yale University, New Haven, CT Madison, WI 12 noon 5 pm A Professional Card in Jazz Vespers; Duke University Chapel, 5 DECEMBER STEPHEN HAMILTON Durham, NC 7:30 pm Students of Rice University; St. Paul’s The Diapason Chapel, Trinity Church Wall Street, New recitalist–clinician–educator 20 NOVEMBER York, NY 1 pm For rates and digital specifi cations, Cathedral Choir; Cathedral of St. John Choral works of Charpentier; Church of contact Jerome Butera www.stephenjonhamilton.com the Divine, New York, NY 7:30 pm St. Luke in the Fields, New York, NY 8 pm 847/391-1045; [email protected] Linda Kempke; Trinity Lutheran, Cleve- Julane Rodgers, harpsichord; Christ land, OH 12:15 pm Episcopal, Bradenton, FL 12:15 pm Marijim Thoene; First Presbyterian, Ann Arbor, MI 4 pm 6 DECEMBER Chanticleer; St. Ignatius Loyola Catholic 21 NOVEMBER Church, New York, NY 8 pm David Herman Erik Wm. Suter; St. Paul’s Chapel, Trin- Handel, Messiah; Duke University Cha- ity Church Wall Street, New York, NY 1 pm pel, Durham, NC 7:30 pm Trustees Distinguished Professor Emeritus of Music and University Organist Stephen Buzard; Bower Chapel, Moor- ings Park, Naples, FL 7:30 pm 7 DECEMBER The University of Delaware Q [email protected] Choral Evensong; Cathedral Church of Yale Camerata; Battell Chapel, Yale Uni- the Advent, Birmingham, AL 5:30 pm versity, New Haven, CT 7:30 pm Aaron Tan; Central Michigan University, Barnard-Columbia Chorus, Handel, Mount Pleasant, MI 11 am masterclass, Messiah; Church of the Ascension, New 7:30 pm recital York, NY 8 pm Gail Archer Alan Morrison, Ursinus College Choir, 22 NOVEMBER Handel, Messiah; Ursinus College, organist Nicole Simental; St. Paul Catholic Ca- Collegeville, PA 7:30 pm www.gailarcher.com thedral, Pittsburgh, PA 7:30 pm Handel, Messiah; Duke University Cha- Lorraine Brugh, Ph.D. Craig Cramer; Westminster Presbyte- pel, Durham, NC 2 pm Professor of Music rian, Charlottesville, VA 7:30 pm Karen Beaumont, with cello; First Uni- Vassar College Nicholas Schmelter; First Presbyterian, tarian Society, Milwaukee, WI 2 pm Barnard College, Columbia University University Organist Caro, MI 12 noon [email protected] Valparaiso, Ind. Nathan Laube; Fourth Presbyterian, 8 DECEMBER (212) 854-5096 Chicago, IL 7:30 pm Handel, Messiah, sing-along; Battell valpo.edu Chapel, Yale University, New Haven, CT Promotion 219.464.5084 24 NOVEMBER 1:30 pm SOZO Media Ken Cowan; First Parish Church, Con- CONCORA, Handel, Messiah; St. [email protected] [email protected] cord, MA 3 pm James’s Episcopal, West Hartford, CT 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Chanticleer; St. Ignatius Loyola Catholic Britten, A Ceremony of Carols; St. Thomas New York, NY Syracuse, NY 13203-2816 Church, New York, NY 4 pm Church Fifth Avenue, New York, NY 7:30 pm Handel, Messiah; Cadet Chapel, West Oratorio Society of New York, Handel, (315) 471-8451 www.andrewhenderson.net Point, NY 3:30 pm Messiah; Carnegie Hall, New York, NY 8 pm Alan Morrison, Ursinus College Choir, TENET, Bach, Christmas Oratorio; St. Handel, Messiah; Ursinus College, Vincent Ferrer Catholic Church, New York, Collegeville, PA 2:30 pm NY 8 pm Lessons & Carols; Shadyside Presbyte- Christmas Lessons & Carols; Cathedral Richard Barrick Hoskins Brian Jones rian, Pittsburgh, PA 3 pm Church of the Advent, Birmingham, AL Director of Music & Organist Lessons & Carols; Emmanuel Episcopal 5:30 pm Director of Music Emeritus Church, Chester Parish, Chestertown, MD Lessons & Carols; St. James Episcopal St. Chrysostom's Church 4 pm Cathedral, Chicago, IL 6:30 pm Chicago TRINITY CHURCH Handel, Messiah; Duke University Cha- [email protected] BOSTON pel, Durham, NC 3 pm 20 DECEMBER Christmas concert; Peachtree Road Blue Heron; First Church Congregation- United Methodist, Atlanta, GA 5:30 pm al, Cambridge, MA 7:30 pm Advent Lessons & Carols; Christ Episco- The Salvatones; St. Malachy’s Catholic pal, Bradenton, FL 11 am Church, New York, NY 7 pm KIM R. KASLING JAMES KIBBIE Advent Lessons & Carols; St. Paul’s Georgia Boy Choir; Peachtree Road D.M.A. The University of Michigan Episcopal, Delray Beach, FL 3 pm United Methodist, Atlanta, GA 7 pm Sarasota Young Voices; Christ Episco- St. John’s University Ann Arbor, MI 48109-2085 pal, Bradenton, FL 5 pm 21 DECEMBER 734-764-1591 FAX: 734-763-5097 Michael Burkhardt, hymn festival; Ad- Blue Heron; First Church Congregation- Collegeville, MN 56321 email: [email protected] vent Lutheran, Melbourne, FL 3 pm al, Cambridge, MA 2:30 & 7:30 pm Advent Lessons & Carols; Cathedral Georgia Boy Choir; Peachtree Road Church of the Advent, Birmingham, AL 9 United Methodist, Atlanta, GA 7 pm & 11 am Lessons & Carols; Cathedral Church of David K. Lamb, D.Mus. St. Paul, Detroit, MI 5 pm Karen Schneider Kirner 10 DECEMBER Director of Music Carolyn Craig; Woolsey Hall, Yale Uni- 22 DECEMBER Director, Notre Dame Handbell Choir versity, New Haven, CT 5:45 pm Trinity United Methodist Church Christmas concert; St. Ignatius Loyola Assistant Director, Notre Dame Folk Choir Handel, Messiah; St. Thomas Church Catholic Church, New York, NY 3 pm New Albany, Indiana Fifth Avenue, New York, NY 7:30 pm University of Notre Dame Advent Lessons & Carols; St. John’s 812/944-2229 Episcopal, Hagerstown, MD 10:15 am 11 DECEMBER Meg Cutting & Grant Wareham; Mar- 23 DECEMBER quand Chapel, Yale University, New Ha- James Kennerley; Merrill Auditorium, ven, CT 7:30 pm Portland, ME 7:30 pm Candlelight Vespers; Shadyside Presby- terian, Pittsburgh, PA 7 pm Musica Sacra, Handel, Messiah; Carn- A.S.C.A.P. egie Hall, New York, NY 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS Betty Jo Couch; Advent Lutheran, Mel- bourne, FL 12 noon 26 DECEMBER 345 SADDLE LAKE DRIVE Joseph Kucharski; Cathedral of St. John ROSWELL-ATLANTA, GEORGIA 30076 Victoria Shields; St. Paul’s Chapel, Trin- (770) 594-0949 the Evangelist, Milwaukee, WI 12:15 pm John Chappell Stowe; Luther Memorial, ity Church Wall Street, New York, NY 1 pm Madison, WI 12 noon 31 DECEMBER 12 DECEMBER Concert for Peace; Cathedral of St. John Janet Yieh; St. Paul’s Chapel, Trinity the Divine, New York, NY 7 pm Marilyn Mason Church Wall Street, New York, NY 1 pm Handel, Messiah; St. Thomas Church UNITED STATES June 29, 1925–April 4, 2019 Fifth Avenue, New York, NY 7:30 pm West of the Mississippi Richard Benedum; Christ Episcopal, Bradenton, FL 12:15 pm Requiescat in pace 15 NOVEMBER 13 DECEMBER Shin-Young Lee; Catalina United Meth- Yale Voxtet; Marquand Chapel, Yale Uni- odist, Tucson, AZ 7 pm versity, New Haven, CT 7:30 pm Mark Brombaugh; Christ Episcopal, Ta- A two-inch Professional Card in The Diapason Ken Cowan, Lessons & Carols; Princ- coma, WA 12:10 pm eton University Chapel, Princeton, NJ 8 pm For information on rates and specifi cations, contact Jerome Butera: Alan Morrison, with Spivey Hall Chil- 16 NOVEMBER dren’s Choir; Spivey Hall, Morrow, GA • Craig Cramer; Subiaco Abbey, Subia- [email protected] 608/634-6253 7:30 pm co, AR 10 am Cathedral Ringers Handbell Ensemble; Cathedral Church of the Advent, Birming- 17 NOVEMBER ham, AL 12:30 pm Chelsea Chen; First Presbyterian, Roch- Charles Miller; Cathedral Church of St. ester, MN 4 pm Paul, Detroit, MI 12:10 pm Second Church Chorale & Chamber Or- chestra; Second Presbyterian, St. Louis, PHILIP CROZIER LARRY PALMER 14 DECEMBER MO 4 pm Christmas concert; Cathedral of St. John Alan Morrison; First Christian, Jefferson CONCERT ORGANIST Harpsichord – Organ the Divine, New York, NY 7 pm City, MO 4 pm Ken Cowan, Lessons & Carols; Prince- Shin-Young Lee, Bradley Hunter ACCOMPANIST ton University Chapel, Princeton, NJ 3 & Welch & Philippe Lefebvre; Meyerson Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 8 pm Symphony Center, Dallas, TX 2:30 pm Alan Morrison, with Spivey Hall Chil- Gail Archer; Woodburn United Method- Montreal, H3V 1A5, P. Quebec dren’s Choir; Spivey Hall, Morrow, GA 3 pm ist, Woodburn, OR 3 pm SMU, Dallas, Texas Raúl Prieto Ramírez; California Poly- Canada 15 DECEMBER technic State University, San Luis Obispo, (514) 739-8696 Recitals — Lectures — Consultancies Lessons & Carols; St. John’s Episcopal, CA 3 pm West Hartford, CT 3 pm [email protected] Christmas concert; St. Ignatius Loyola 19 NOVEMBER [email protected] + 214.350-3628 Catholic Church, New York, NY 3 pm Shin-Young Lee; Arborlawn United The Salvatones; St. Malachy’s Catholic Methodist, Fort Worth, TX 7 pm Church, New York, NY 3 pm Christmas concert; Madison Avenue 22 NOVEMBER Presbyterian, New York, NY 4 pm Jens Korndörfer; Augustana University Pittsburgh Camerata; Shadyside Presby- Chapel, Sioux Falls, SD 7 pm terian, Pittsburgh, PA 3 pm Lessons & Carols; St. Paul’s Episcopal, 23 NOVEMBER Greenville, NC 5 pm Jens Korndörfer, masterclass; Augusta- Through December 31, Alan Morrison, with Spivey Hall Chil- na University Chapel, Sioux Falls, SD 9 am dren’s Choir; Spivey Hall, Morrow, GA 3 pm new subscribers and gift Carols by Candlelight; Peachtree Road 24 NOVEMBER subscriptions can receive United Methodist, Atlanta, GA 5:30 pm Theo Wee; First Congregational UCC, Christmas Lessons & Carols; First Con- Northfi eld, MN 4 pm one free Raven CD for gregational, Columbus, OH 4 pm Nathan Laube; Wesley United Method- Agnieszka Kosmecka; Loyola Univer- ist, Muscatine, IA 4 pm a one-year subscription, sity, Chicago, IL 3 pm Gail Archer; First Congregational, Boul- der, CO 3 pm two free CDs for a 18 DECEMBER Michael Kleinschmidt; Gethsemane TENET, Bach, Christmas Oratorio; St. Lutheran, Seattle, WA 4 pm two-year subscription, Vincent Ferrer Catholic Church, New York, Jin Kyung Lim, with Amabilis Ensemble; NY 8 pm Cathedral of St. Mary of the Assumption, and three free CDs for Candlelight Vespers; Shadyside Presby- San Francisco, CA 4 pm a three-year subscription. terian, Pittsburgh, PA 7 pm Barbara Larson; Advent Lutheran, Mel- 1 DECEMBER bourne, FL 12 noon Advent Lessons & Carols; Grace Cathe- dral, San Francisco, CA 3 pm For details and to begin your new or gift subscription, 19 DECEMBER visit www.thediapason.com/subscribe. Karen Christianson; St. Paul’s Chapel, 7 DECEMBER Trinity Church Wall Street, New York, NY Christmas concert; Concordia University, 1 pm marzolino - stock.adobe.com Irvine, CA 3 pm & 7 pm

26 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 8 DECEMBER Aart Bergwerff, masterclass; Sint-Pe- Southminster Presbyterian Church Advent Vespers; Second Presbyterian, trus-en-Paulskerk, Oostende, Belgium 1 pm HORT ILLS St. Louis, MO 4 pm Jan Vermeire & Robert Hostyn; Sint- S H Arlington Heights, IL 60005 Emma Whitten; St. Mark’s Episcopal, Jozefkerk, Oostende, Belgium 2:15 pm Berkeley, CA 4 pm Marc Van Driessen; Heilig Hartkerk, Christmas concert; Concordia University, Oostende, Belgium 3:15 pm Irvine, CA 7 pm Marc Van Driessen; Sint-Janskerk, Oos- EREK ICKELS Lessons & Carols; St. Margaret’s Episco- tende, Belgium 4:15 pm Tiffany K. Ng, PhD D E. N , DMA pal, Palm Desert, CA 7 pm Aart Bergwerff, with Canto Ostinato; University Carillonist | New Music Performer Church of the Holy Comforter Sint-Petrus-en-Pauluskerk, Oostende, Bel- The University of Michigan, Ann Arbor 12 DECEMBER gium 7:30 pm Kenilworth, IL 60043 Southern California Brass Consortium; Pavlos Triantaris; Chingford Parish [email protected] St. Margaret’s Episcopal, Palm Desert, CA Church, Chingford, UK 2:30 pm soundcloud.com/carillonista (847) 251-6120 • [email protected] 7 pm 17 NOVEMBER 13 DECEMBER Baptist-Florian Marle-Ouvrard; Basi- Christmas concert; Concordia University, lika St. Gereon, Köln, Germany 5 pm ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. Irvine, CA 7:30 pm Elmar Lehnen, with trombone; Willibror- di-Dom, Wesel, Germany 6 pm Luther Memorial Church (ELCA) Organist – Teacher – Consultant 14 DECEMBER Duncan Middleton; Methodist Central Madison, Wisconsin Christmas concert; Grace Cathedral, Hall, London, UK 3 pm Sulphur Public Schools, Sulphur, OK San Francisco, CA 3 pm Witold Zaborny; St. Paul’s Cathedral, [email protected] United Disciples Christian Church, Richardson, TX Christmas concert; Concordia University, London, UK 4:45 pm Recitals — Hymn Festivals [email protected] Irvine, CA 3 pm & 7 pm James Gough; Westminster Abbey, Lon- don, UK 5:45 pm 15 DECEMBER Christmas concert; Grace Cathedral, 18 NOVEMBER JOHN SCHWANDT San Francisco, CA 3 pm Benjamin Chewter; Reading Town Hall, Reading, UK 1 pm STEPHEN SCHNURR 17 DECEMBER Saint Paul Catholic Church American Organ Institute Todd Wilson; Segerstrom Concert Hall, 20 NOVEMBER University of Oklahoma Costa Mesa, CA 7:30 pm Axel Flierl; Kreuzkirche, Dresden, Ger- Valparaiso, Indiana many 8 pm aoi.ou.edu 20 DECEMBER Christmas concert; Grace Cathedral, 21 NOVEMBER San Francisco, CA 7 pm Michael Villmow; Abteikirche, Brauwei- ler, Germany 8 pm ROBERT L. 21 DECEMBER Iris Rieg; St. Margaret Rothbury, Lon- Christmas concert; Grace Cathedral, don, UK 1:10 pm Mark Steinbach San Francisco, CA 3 pm SIMPSON 22 NOVEMBER Christ Church Cathedral Brown University 22 DECEMBER Olivier Latry; St. Basil’s Catholic Church, 1117 Texas Avenue Christmas concert; Grace Cathedral, Toronto, ON, Canada 9 am masterclass, Houston, Texas 77002 San Francisco, CA 3 pm 7:30 pm recital 23 NOVEMBER 24 DECEMBER ] Christmas Lessons & Carols; Grace Ca- Holger Gehring, with trumpet; Dom, Al- thedral, San Francisco, CA 4 pm tenberg, Germany 2 pm Joe Utterback Matthias Mück; Kathedrale St. Sebas- David Wagner 31 DECEMBER tian, Magdeburg, Germany 7:30 pm www.jazzmuze.com]] ] DMA Nathan Laube, with brass; First Plym- Cathy Lamb; Victoria Hall, Hanley, UK outh Congregational, Lincoln, NE 7 pm 12 noon 203 386 9992 www.davidwagnerorganist.com Paul Carr; Wesley Methodist, Chester, UK 12:45 pm INTERNATIONAL Eleni Keventsidou; St. Paul’s, Deptford, UK 1 pm 15 NOVEMBER Carole Gerasi; Cathedral, St. Albans, Ann Casier & Jean-Pierre Hautekiet; UK 5:30 pm Sint-Janskerk, Oostende, Belgium 8 pm Kevin Walters KARL WATSON Nicholas Freestone; Cathedral, Worces- 24 NOVEMBER FIRST PRESBYTERIAN CHURCH ter, UK 6:45 pm Andreas Meisner, with soprano; Dom, M.A., F.A.G.O. Altenberg, Germany 9 am Rye, New York WOODBRIDGE, NJ 16 NOVEMBER Andreas Meisner; Dom, Altenberg, Ger- Gregor Simon; Münster, Obermarchtal, many 2:30 pm Germany 5 pm Mozart, Requiem; Jesuitenkirche St. Mi- Maria Mokhova; Stadtpfarrkirche St. chael, München, Germany 4 pm Martin, Bamberg, Germany 5:30 pm Ioanna Solomonidou; Basilika St. Ge- Alan G Woolley PhD Evert Groen, Thomas Schermuly & reon, Köln, Germany 5 pm RONALD WYATT Bernhardt Brand-Hofmeister; Evange- Simon Johnson; Kirche St. Nikolaus, Musical Instrument Research Frankfurt a.M.-Bergen-Enkheim, Germany lische Oranier-Gedächtnis-Kirche, Wies- Edinburgh Trinity Church baden, Germany 7 pm 5 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253

1944 – Isabelle At Large . . . concert and session recordings N highlight one of today’s outstanding performer-teachers, A two-inch Professional Card in The Diapason Baylor University’s petite powerhouse, Isabelle Demers. O For information on rates and specifi cations, contact Jerome Butera: V 1945 - Widor, Thou Goest . . . despite that ruthless Biblical [email protected] 608/634-6253 reference, today we follow the lead of the great composer of 2 organ symphonies, Charles-Marie Widor. 1946 - American Pioneers . . . the art of the organ in our Artist Spotlights 0 FRXQWU\JRWDJRRGVWDUWZLWKWKHKHOSRIWKHVH¿QHIHOORZV Artist Spotlightspotlights 1 Artist Spotlights 9 1947 - Double Trouble? . . . only good things happen when two organists share a single console! are available on Your professional card The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 27 Calendar

Münster- und Kammerchor Überlingen; Thomas Schmitz; Jesuitenkirche St. Mi- 16 DECEMBER 25 DECEMBER Münster, Überlingen, Germany 5 pm chael, München, Germany 8 pm Advent concert; Dom, Altenberg, Ger- Andreas Meisner; Dom, Altenberg, Ger- Thomas Neuleben; Liebfrauenkirche, James Gough; St. Michael & All Angels, many 8 pm many 3:30 pm Hamm, Germany 6:30 pm Bedford Park, UK 12:30 pm Jean-Christophe Geiser; Cathedral, Antoine Tronquo; Sint-Jansgasthuis, 17 DECEMBER Lausanne, Switzerland 5 pm Veurne, Belgium 4 pm 7 DECEMBER Gareth Moore; Trinity Methodist, Doug- David Bednall & Paul Walton, Messi- Ansgar Schlei; Willibrordi-Dom, Wesel, 26 DECEMBER las, UK 3 pm Germany 12 noon aen, La Nativité; Cathedral, Bristol, UK 7 pm Jeremiah Stephenson; All Saints, Mar- Rolf Müller; Kiliansdom, Würzburg, Ger- Rolf Müller, with violin; Dom, Altenberg, garet Street, London, UK 3:30 pm many 4 pm 18 DECEMBER Germany 3:30 pm Benjamin Cunningham; Westminster Christoph Grohmann, with soprano; Advent concert; Dom, Altenberg, Ger- Abbey, London, UK 5:45 pm St. Pankratius-Kirche, Gütersloh, Ger- many 8 pm 27 DECEMBER many 5 pm Ulrike Heubeck & Ulrich Theißen, with 25 NOVEMBER 20 DECEMBER oboe and clarinet; Stadtpfarrkirche St. Mar- Stephen Farr; Christ Church, Spital- 8 DECEMBER tin, Bamberg, Germany 5:30 pm fi elds, London, UK 7:30 pm Matthias Muck, with Magdeburger Kna- Daniel Roth; Jesuitenkirche, Vienna, benchor; Kathedrale St. Sebastian, Mag- Austria 6:20 pm 29 DECEMBER deburg, Germany 4:30 pm 26 NOVEMBER Gospelchor Altenberg; Dom, Altenberg, Rolf Müller, with trumpet & Capella Simon Bland; St. George’s, Hanover Germany 2:30 pm Michael Grill; Erlöserkirche, München, Square, London, UK 1:10 pm Nova Altenberg; Dom, Altenberg, Germany Ruben Sturm; Dom, Rottenburg a.N., Germany 6 pm 3:30 pm Germany 5 pm 27 NOVEMBER Gabriele Degenhardt; Matthäuskirche, 21 DECEMBER 31 DECEMBER Johannes Trümpler; Kathedrale, Dres- Stuttgart, Germany 5 pm Bach, Christmas Oratorio, Cantatas 1–3; den, Germany 8 pm Dominik Axtmann, with recorder; Kath. Dom, Altenberg, Germany 2 pm Kirche St. Peter, Bruchsal, Germany 9 pm 10 DECEMBER Stefan Schmidt; Kiliansdom, Würzburg, 29 NOVEMBER Gerhard Löffler; Hauptkirche St. Jacobi, Michael Grill, with trumpet; Er- Bernhardt Brand-Hofmeister & Evert Hamburg, Germany 8 pm Germany 4 pm löserkirche, München, Germany 9 pm Groen; Evangelische Stadtkirche, Wan- Ansgar Schlei, works of Bach; Willibror- Manual Blessing, with brass; Maria- fried, Germany 7:30 pm 12 DECEMBER di-Dom, Wesel, Germany 6:30 pm kirche, Schramberg, Germany 9:30 pm Gerhard Löffler ; Hauptkirche St. Jacobi, Clive Grant; St. Nicholas, Newbury, UK Michael Utz Hamburg, Germany 8 pm , with trumpet; Abteikirche, 1:10 pm 22 DECEMBER Brauweiler, Germany 10 pm Roman Hauser 30 NOVEMBER ; Jesuitenkirche, Vienna, Rudolf Peter, with trombone; Au- 13 DECEMBER Austria 6:20 pm gustinerkirche, Landau, Germany 10 pm Christian Iwan; Kiliansdom, Würzburg, Michael Grill; Erlöserkirche, München, Bach, Christmas Oratorio, Cantatas 4–6; Matthias Muck; Kathedrale St. Sebas- Germany 4 pm Germany 6 pm Ghislaine Rees-Trapp; Bloomsbury Dom, Altenberg, Germany 2 pm tian, Magdeburg, Germany 10 pm Central Baptist, London, UK 4 pm 14 DECEMBER Christmas concert; Jesuitenkirche St. Mi- Frank Zimpel, with brass; Münster, Hansjörg Albrecht; Kiliansdom, Würz- chael, München, Germany 4 pm Überlingen, Germany 10 pm 1 DECEMBER Gerhard Löffler; Hauptkirche St. Jacobi, Peter Frisée burg, Germany 4 pm ; Jesuitenkirche, Vienna, 23 DECEMBER Hamburg, Germany 10:30 pm Austria 6:20 pm Hans Leitner; Dreifaltigkeits Kirche, Kol- Christmas carol sing; Dom, Altenberg, bermoor, Germany 4 pm Christoph Schoener; St. Michaelis, Jean-Christophe Geiser; Cathedral, Germany 2:30 pm Bach, Christmas Oratorio, Cantatas 1–3; Hamburg, Germany 7:30 pm Lausanne, Switzerland 10:30 pm Bernadetta Sunavska, with Kammer- Erlöserkirche, München, Germany 5 pm chor Sonat Vox; Abteikirche, Amorbach, Paul Dean, Messiaen, La Nativité; St. Germany 4 pm Michael’s, Highgate Village, UK 6 pm Johann Vexo; Kathedrale St. Sebastian, Andrew Nix; St. Albans Organ Theatre, Magdeburg, Germany 4:30 pm St. Albans, UK 7:30 pm Dominik Axtmann, with Bezirkskan- torei Bruchsal; Hofkirche, Bruchsal, Ger- 15 DECEMBER many 6 pm Roman Hauser, with orchestra; Jesuit- enkirche, Vienna, Austria 6:20 pm 3 DECEMBER Bach, Christmas Oratorio, Cantatas 1–3; Nicholas Freestone; St. Andrew’s Meth- Erlöserkirche, München, Germany 5 pm odist, Worcester, UK 7 pm Advent choral concert; Willibrordi-Dom, Wesel, Germany 6 pm 4 DECEMBER Andrea-Ulrike Schneller & Hans- Christmas concert; Kreuzkirche, Dres- Rudolf Krüger; Ev. Auferstehungskirche, den, Germany 8 pm Ludwigsburg, Germany 6 pm Andreas Liebig; Munster, Basel, Swit- 6 DECEMBER zerland 6 pm Michael Grill; Erlöserkirche, München, Neil Wright; Abbey, Farnborough, UK Germany 6 pm 3 pm

ORGAN BUILDERS Member Firm: The Associated Pipe Organ Builders of America CORNEL ZIMMER ORGAN BUILDERS RANDALL DYER & ASSOCIATES, INC. L. W. BLACKINTON FOURTH GENERATION BUILDER and ass ociates, inc. PIPE ORGANS OF QUALITY AND DISTINCTION BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 A NEW GENERATION IN 380 FRONT ST. ◆ EL CAJON, CA 92020 [email protected] www.rdyerorgans.com EXCEPTIONAL QUALITY CREATIVITY, AND INTEGRITY

731 CROSSPOINT DRIVE Pipe Organ Builders Since 1915 DENVER, NC 28037 PHONE: 704-483-4560 11561 Edmonston Rd. Beltsville, MD 20705 WWW.ZIMMERORGANS.COM [email protected] 800/952-PIPE

Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

28 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Recital Programs

PATRICK ALLEN, Evangelische Stadt- Prelude and Fugue in E, BWV 566, Bach; Sonata per Organo e guise di Banda Militare KWV 514, Von Gott will ich nicht lassen, KWV kirche St. Peter und Paul, Görlitz, Germany, Pas de quatre, Le Fée-Argent, Cendrillon et che Suona una Marcia, Gherardeschi. 546, Krebs; Cantilene (Sonata XI, op. 148), June 29: Präludium in D, BuxWV 139, Buxte- Fortuné, L’oiseau Bleu et La princess Florine, Evangelische Kirche, Armsheim, Ger- Rheinberger; Toccata in b (Dix Pièces), Gigout. hude; Largo (Xerxes), Handel; Toccata, Ada- Chaperon rouge et le loup, Apotheose (Sleep- many, June 30: Kyrie, Gott Vater in Ewigkeit, gio, and Fugue in C, BWV 564, Bach; Médi- ing Beauty), Tchaikovsky, transcr. Gardner; BWV 672, Christe, aller Welt Trost, BWV 673, MARY PAN, Fourth Presbyterian Church, tation, Prélude sur l’Introït de l’Épiphanie, op. Power of Life, Takle. Kyrie, Gott heiliger Geist, BWV 674, Allein Chicago, IL, May 31: Toccata in d, BWV 538, 13, Durufl é; Andante sostenuto (Symphonie First United Methodist Church, Huntsville, Gott in der Höh sei Ehr, BWV 677, Dies sind Bach; Adagio in E (Three Pieces), Bridge; Gothique, op. 70), Widor; Final (Première AL, June 13: Prelude and Fugue in E, BWV die heil’gen zehn Gebot, BWV 679, Vater un- Fugue sur le thème du Carillon des Heures de la Symphonie in d, op. 14), Vierne. 566, Bach; Inventions 1, 8, 10, Bach, transcr. ser im Himmelreich, BWV 683, Wir glauben Cathédrale de Soissons, op. 12, Durufl é; Bene- Reger; Fugue in g, Barnes; Fountain Reverie, all in einen Gott, BWV 681, Bach; Sonata de dictus (Zwolf Stücke, op. 59, no. 9), Phantasie ADAM CHLEBEK, St. Luke’s Episcopal Fletcher; Variations on a Theme of Paganini, organo o clave, Larrañaga; Gatilla de mano über den Choral Hallelujah! Gott zu loben, op. Church, Evanston, IL, June 2: Fanfare, Cook; Thalben-Ball; Pas de quatre, Le Fée-Argent, izquierda, Durón; [4] Versos de 6o tono sobre 52, no. 3, Reger. Cortège et Litanie, op. 19, no. 2, Dupré; Pre- Cendrillon et Fortuné, L’oiseau Bleu et La los Seculorum, Jimenez; Sonata de Clarines, lude and Fugue in D, BWV 532, Bach; Prélude, princess Florine, Chaperon rouge et le loup, Soler; Sonata per Organo–doppio concertata CHRISTA RAKICH, with fl utists Linda Fugue, et Variation (6 Pièces d’Orgue), op. 18, Apotheose (Sleeping Beauty), Tchaikovsky, con Trombe, Cattenacci; Siciliana (Sonata VI), Alexander & Leslie Stroud, Church of Christ Franck; Master Tallis’s Testament (Six Pieces transcr. Gardner; Passacaglia (Sonata VIII in e, Valerj; Pastorale, anonymous; Sonata per Or- at Dartmouth, Hanover, NH, May 19: Sonata for Organ), Howells; Litanies, JA 119, Alain. op. 132), Rheinberger. gano e guise di Banda Militare che Suona una in G, BWV 1039, Bach; Variations on Christe Marcia, Gherardeschi. Sanctorum, Dahl; Basilica Triptych for Flute KEN COWAN, St. Chrysostom’s Episco- CLARA GERDES, University of Con- and Organ, Woodman; Trois Pièces, Boulanger; pal Church, Chicago, IL, May 7: Chromatic necticut, Storrs, CT, May 1: Praeludium in e, HIJOO MOON, Evangelische Kirche, Passacaglia and Fugue in c, BWV 582, Bach. Fantasia and Fugue in d, BWV 903, Bach, Bruhns; Canonic Variations on Vom Himmel Wohnfeld, Germany, June 22: Tiento de 2o transcr. Reger; Canon in A-fl at, op. 56, no. hoch, BWV 769, Bach; Prelude and Fugue in Tono “Sobre la Letania de la Virgen,” Bruna; CHRISTA RAKICH, with Rhonda Rid- 4, Schumann; Humoresque, op. 77, Laurin; g, WoO 10, Brahms; Allegro (Symphony No. All’ Elevation, All’ Offertorio, Zipoli; Toc- er, cello, Methuen Memorial Music Hall, Passacaglia in c, BWV 582, Bach; Prelude 1, op. 25), Prokofi ev, transcr. Gerdes; Toccata, cata in e, Fuga in e, Pachelbel; Canzon in F, Methuen, MA, June 26: Passacaglia in d, and Fugue in C, op. 36, no. 3, Dupré; Valse Fugue, et Hymne sur Ave Maris Stella, Peeters. Scheidemann; Sonata en ré menor, Seixas; BuxWV 161, Buxtehude; Variations on Christe Mignonne, op. 142, no. 2, Karg-Elert; Suite, Toccata Quarta, Rossi; Ballo ongaro, Picchi; Sanctorum, Dahl; Chamber Sonata IV for Or- op. 5, Durufl é. THOMAS GOUWENS, Fourth Presbyte- Sonata con fl auti, Tasso; Sonata in G, Scar- gan and Cello, Woodman; Trois Pièces, Bou- St. Thomas Church, Fifth Avenue, New rian Church, Chicago, IL, June 14: Sonata de latti; Toccata, Ricercar, Frescobaldi; Toccata langer; Three Autumn Sketches after a Water- York, NY, May 18: Overture (Der Fliegende 1˚ tono, Lidon; Allegro, Carvalho; Veni creator in F, Reincken. color by Maria Willscher, Cooman; Sonata for Holländer), Wagner, transcr. Lemare; Pre- (Premier livre d’orgue), de Grigny; Choral Evangelische Kirche, Armsheim, Ger- Cello and Organ, de Jong. lude and Fugue in C, op. 36, no. 3, Dupré; varié sur le theme du Veni Creator, op. 4, Du- many, June 23: Praeludium in g, BuxWV Humoresque, op. 77, Laurin; Chromatic Fan- rufl é; Vêpres du commun des fêtes de la Sainte 163, Fugue in C, BuxWV 174, Buxtehude; SANDRO RUSSO, piano & organ, Scars- tasia and Fugue in d, BWV 903, Bach, transcr. Vierge, op. 18, Dupré; L’Ascension, Messiaen. Cantabile (Sonata X), Valeri; Toccata sep- dale Congregational Church UCC, Scarsdale, Reger; Danse Macabre, Saint-Saëns, transcr. tima (Apparatus musico-organisticus), Muf- NY, May 19, and Mission Dolores Basilica, San Cowan; Suite, op. 5, Durufl é. RICHARD GRAY, St. Philip’s Church, fat; Récit de Tierce en taille (Livre d’orgue), Francisco, CA, May 31: Sonata in b, S. 178, Charleston, SC, May 30: Festal Flourish, Ja- de Grigny; Ballo del granduca, Sweelinck; Fantasy and Fugue on Ad nos, ad salutarem DOMINIC FIACCO, Cathedral of the cob; Psalm Prelude—Psalm 40:1–3, Phillips; Air, Sarabande, Gavotte (Holberg Suite, op. undam, S. 259, Liszt. Immaculate Conception, Syracuse, New York, Prelude on Hyfrydol, Willan; Toccata, Adagio, 40), Grieg; Fugue in C, Pachelbel; O Lamm May 17: Final (Symphonie V), Vierne; Sonata and Fugue in C, BWV 564, Bach; Variations sur Gottes, unschuldig, BWV 1095, Du Frie- NICHOLAS SCHMELTER & Tyler Kivel, in G, BWV 530, Bach; Reverie, Bonnet; Pre- l’hymne Lucis Creator, JA 27, Alain; Adagio, Fi- defürst, Herr Jesu Christ, BWV 1102, Allein piano, First Presbyterian Church, Caro, MI, lude and Fugue in E-fl at, BWV 552, Bach; Fi- nal (Symphonie III in f-sharp, op. 28), Vierne. zu dir, Herr Jesu Christ, BWV 1100, Jesu, May 19: Vorspiel (Hänsel und Gretel), Hump- nal (Symphonie VI, op. 42), Widor; Flute Solo, meines Lebens Leben, BWV 1107, Bach. erdinck; Petite Suite, Debussy; Concerto No. 11 Arne; Prélude et fugue sur le nom d’Alain, op. CALVERT JOHNSON, Evagelische Kirche, in D, Hob. XVIII:11, Haydn; Nicht zu schnell, 7, Durufl é; Heart of Peace, Takle; Fantasy and Bönstadt, Germany, June 29: Overture (Sam- GEOFFREY MORGAN, Christchurch Pri- Mit innegem Ausdruck, Andantino (Sechs Stu- Fugue on BACH, op. 46, Reger. son), Handel; The 100 Psalm Tone, given out ory, Christchurch, UK, June 6: Grand Choeur dien in kanonischer Form, op. 56), Schumann, and with Interludes, Reading; Fantazia of foure Dialogué (6 Pièces d’orgue), Scherzo (10 transcr. Debussy; Variations on a Theme by Pa- JILLIAN GARDNER, St. John Presbyte- parts, Gibbons; Voluntary IV (Ten Voluntaries), Pièces d’orgue), Gigout; Ave Maris stella, Du- ganini, Lutoslawski. rian Church, New Albany, IN, May 4: Varia- Stanley; Deep River, Didn’t My Lord Deliver pré; Concerto in d, BWV 596, Vivaldi, transcr. tions de Concert, op. 1, Bonnet; Morning Daniel (24 Negro Melodies, op. 59), Coleridge- Bach; Andante (Sonata in E-fl at, op. 65), Park- THOMAS R. THOMAS, Bethesda-by-the- Mood, In the Hall of the Mountain King (Peer Taylor; Sonata de organo o clave, Larrañaga; er; March “Calling All Workers,” Coates. Sea Episcopal Church, Palm Beach, FL, May Gynt Suite No. 1, op. 46), Grieg, transcr. Le- Gatilla de mano izquierda, Durón; [4] Versos 5: Ciacona in e, Buxtehude; Melodia, Reger; mare, Conte; Andante sostenuto (Symphonie de 6o tono sobre los Seculorum, Jimenez; Sona- DEREK NICKELS, Christ Church, Michi- Overture, The Rejoicing, Bourée, Finale Gothique, op. 70), Widor; Force et agilité ta de Clarines, Soler; Sonata per Organo–dop- gan City, IN, June 5: Grand Choeur Dialogué, (Music for the Royal Fireworks), Handel; El- des Corps Glorieux, Joie et clarté des Corps pio concertata con Trombe, Cattenacci; Sicili- Gigout; Concerto in d, BWV 596, Vivaldi, egy, Thalben-Ball; Folk Tune, Whitlock; Fan- Glorieux (Les Corps Glorieux), Messiaen; ana (Sonata VI), Valerj; Pastorale, anonymous; transcr. Bach; Ach Herr mich armen Sünder, fare, Cook.

0LOQDU2UJDQ &RPSDQ\

1HZ,QVWUXPHQWV²8VHG3LSHV²5HVWRUDWLRQV • +LOO5RDG(DJOHYLOOH71 610-970-9817 pjmorgans.com ZZZPLOQDURUJDQFRP [email protected]

sound INSPIRATION Experience the new website DIAPASON Student Rate for THE DIAPASON! Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 29 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

The Reuter Organ Company has two full-time The Christmas music of Norberto Guinaldo. Auld Lang Syne is not just for New Year’s. It The Tracker—The Organ Historical Society quar- positions available, one for a fl ue voicer and Ten Fantasy Pieces on Spanish Carols, Vol. I is appropriate at a time of remembrance such terly journal includes news and articles about the one for a reed voicer. Preferred candidates will and II. Four Fantasy Pieces (American, Span- as Memorial Day or Independence Day. We offer organ and its history, organbuilders, exemplary have three years of experience, but we will train ish, French). The New Paltz Organ Book (“O pieces by Eugene Thayer (1876) and Herve organs, and regional surveys of instruments. Both qualifi ed applicants. Must be able to travel and Come, O Come, Emmanuel,” “People Look Wilkens (1890). michaelsmusicservice.com American and European organ topics are dis- work as a part of a team. Modern facility with East”). Bring a Torch, Jeanette, Isabella. In 704/567-1066 cussed, and most issues run 48 pages with many a pleasant work environment. Compensation Praise of St. Joseph. Celebrate the year: illustrations and photographs. Membership in the commensurate with experience, including an “December” (“I heard the bells”). See, listen, OHS includes a subscription to The Tracker. Visit attractive benefi t package. For more informa- buy. www.guinaldopublications.com. The Organ Historical Society e-shoppe is tak- the OHS Web site for subscription and member- tion visit: www.reuterorgan.com/employment. ing orders for a new DVD by Fugue State Films, ship information: www.organhistoricalsociety.org. html. Inquiries should be addressed to Jeff Noll, The English Organ, a three-part documentary World Library Publications: From the Piano Operations Supervisor: operations@reuterorgan. presented by Daniel Moult. In addition to three Bench to the Organ Bench, by Alan J. Hommerd- com or 785/843-2622. The new Nordic Journey series of CD record- ing. This complete method book offers a variety hours of documentary, almost eight hours of ings reveals premiere recordings of symphonic of exercises to increase pedal technique and music is presented on DVD or CD (in both stereo organ music—much of it still unpublished—from Wanted: Organists visiting Maui. Lahaina’s manual/pedal dexterity. Explore topics such as and surround). More than thirty organs have been Nordic composers, played by American organist Holy Innocents Episcopal Church invites visit- service playing/accompanying—when to lead, fi lmed and recorded, including Christ Church James Hicks on a variety of recently restored ing organists to play its Beckerath Positiv organ when to follow; playing pianistic accompani- Spitalfi elds, Truro Cathedral, Sydney Town Hall, at Sunday services. Built in 1972 by Rudolf von ments on the organ; introduction to improvisation St. George’s Hall Liverpool, St. Paul’s Cathedral Swedish organs. It’s a little bit like Widor, Reger Beckerath and then-apprentice Hans-Ulrich on the organ; basics of choral conducting from Melbourne, and King’s College. The set can be and Karg-Elert, but with a Nordic twist. Check it Erbslöh for Honolulu’s Lutheran Church, the 408- the console; and much more. 003057, $19.95, preordered for $98, and orders will ship directly out at www.proorgano.com and search for the pipe Shrankpositiv has a 54-note “split” manual, 800/566-6150, Wlpmusic.com. from the UK by Christmas. For information: term “Nordic Journey.” 30-note pedal, 11 stops, 8 ranks, and 6 registers. https://ohscatalog.org. Holy Innocents acquired the instrument in 1977 Ed Nowak, Chicago-area composer, arranger, and moved it to Maui where it has been played The fi rst of three complimentary scores to be Fruhauf Music Publications and church musician, announces his new web- by parish musicians such as Carol Monaghan offered by in the Pipe Organs of the Keweenaw by Anita site, featuring Nowak’s original choral works, and visiting artists including Angus Sinclair of course of 2019–2020 is a set of Seven Variations Campbell and Jan Dalquist, contains his- on a French Noël, written in the tradition of 18th- hymn concertatos, chamber and orchestral Canada and Dalibor Miklavcic of Slovenia. The tories, stoplists, and photos of some of century compositions for harmonium or orgue de instrument is extremely responsive and fi lls the the historic organs of the Keweenaw Pen- works, organ hymn accompaniments, organ choeur, but also drawing inspiration from César worship space beautifully. The parish community insula, the northernmost tip of Michigan’s and piano pieces, electronic music, and psalm Franck’s Prélude, Fugue et Variation. Consult is “exemplary in its hospitality to all visitors,” and Upper Peninsula. Organs include an 1899 settings. The website offers scores and recorded www.frumuspub.net’s home page Bulletin Board that especially includes visiting organists. For Barckhoff and an 1882 Felgemaker. The booklet examples that are easy to sample and can be for access to the PDF booklet fi le, and please information: 808/661-4202; holyimaui.org. ($8.00 per copy, which includes postage) is purchased in downloaded (PDF and MP3) or note that other previously issued complimentary available from the Isle Royale and Keweenaw printed form. Visit ednowakmusic.com. scores for organ solo, choir and organ, and for Parks Association, 49445 US Hwy 41, Hancock, PUBLICATIONS / RECORDINGS carillon continue to be listed and available from FMP’s Downloads page. Michigan 49930. For information: 800/678-6925. PIPE ORGANS FOR SALE Raven has released the fourth in a series of recordings by Jon Gillock of the organ works of Certified appraisals—Collections of organ Raven has published a 32-page catalog of CD 1954 Walcker, 2 manuals and pedal, 8 stops, Olivier Messiaen: Monodie, Diptyque, and Les books, recordings, and music, for divorce, recordings and DVD videos, mostly produced by tracker action. Great condition, excellent voicing, Corps Glorieux (OAR-984) played on the 2011 estate, gift, and tax purposes. Stephen L. Raven but with a few items produced by Fugue well maintained. Free standing oak case. Suit- Pascal Quoirin organ of 111 ranks at Church of Pinel, Appraiser. 629 Edison Drive, East Wind- State Films and others. The catalog is free able for home or chapel. $20,000 or best offer. the Ascension in New York. $15.98 postpaid in sor, NJ 08520-5205; phone: 609/448-8427; upon request to [email protected] or Contact: Julio Blanco-Eccleston: jublec18@ the US from RavenCD.com 804/355-6386. email: [email protected]. 804/355-6386. earthlink.net, 703/582-8308.

A gift subscription to The Diapason The perfect gift for + organist colleagues + teachers + organ builders + students + choir directors + clergy Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music fi eld. Know that your gift will be just right. For information, THE DIAPASON, P.O. Box 300, Lincolnshire, IL 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: 847/763-4933. Or visit th 2320 West 50 Street * Erie, PA 16505-0325 www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $43 one year USA; $35 one year digital; $20 one year student

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

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

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

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

30 Q THE DIAPASON Q NOVEMBER 2019 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SON for all your friends who love the organ, harpsichord, carillon, and church music. Your Historic George Stevens 13-rank tracker Pfeffer and Debierre organs. Circa 1860 Pfeffer Aeolian-Skinner, 1962. III/50. $45,000. For more gift will be remembered throughout the year. organ. Minor fi re damage, organ still playable eight-rank organ, available rebuilt and custom fi n- information, visit https://www.organclearing- (And don’t forget our special bargain for stu- when it was removed. In our warehouse since ished. Also 1884 choir organ by Louis Debierre. house.com/organs-for-sale#/2997-aeolianskin- dents at $20!) Visit www.thediapason.com 2005. All components except lowest Open Dia- Both are pictured on the Redman website: www. ner-new-york-city. and click on “subscribe.” pason pipe. The organ will be gifted to anyone redmanpipeorgans.com. committing to the restoration of it. All sketches, measurements and stoplist available. Informa- MISCELLANEOUS FOR SALE THE DIAPASON’S new website has an increased Patrick J. Murphy & Associates, Inc., Opus tion: www.LevsenOrg.com. All inquiries: Levse- capacity for new videos. Go to www.thediapa- #47 (2006). Three manuals, 61 stops, includes son.com and click on videos to see what you’ve [email protected] ′ 16′ OSI Metal Diapason (12 pipes), 34 scale 32 Bombarde. Reading, Pennsylvania. ′ missed! Visit www.thediapason.com often and $200,000, exclusive of OCH fees and relocation mitered to 12 on two chests with rackings; ′ keep up to date with all the news items. costs. Video recordings and layout plans are $1,700 OBO. 16 Trivo Trumpet, 5” scale, par- 26-rank Casavant pipe organ for sale. Orgues allel shallots, 5″ WP, 85 pipes, 1/2-length 16′ Létourneau is offering a 22-stop Casavant available upon request. Contact John Bishop, the Organ Clearing House, john@organclear- resonators; $2,000.00. Steve: 609/432-7876, Frères pipe organ (Opus 2295 from 1955) for THE DIAPASON E-Newsletters are e-mailed inghouse.com. [email protected]. sale. This electro-pneumatic instrument is cur- monthly to subscribers who sign up to rently in storage at the Létourneau shops and receive them. Don’t miss the latest news, is available for purchase in “as is” condition for 1916 Hook & Hastings, 2 manuals, 14 stops. SERVICES / SUPPLIES featured artists, and classifi ed ads—all with USD $45,000 with its original three-manual con- Includes Cornopean, 16′ Open Wood. E-P action. photos—some before they appear in print! sole. Likewise, Létourneau would be pleased to Beautiful period console. $20,000. Contact John Complete Pipe Organ Services from the Organ Visit www.TheDiapason.com and click on provide a proposal to rebuild this instrument, Bishop, the Organ Clearing House, john@organ- Clearing House: 450 vintage pipe organs avail- Subscribe to our newsletter. For assistance, contact Stephen Schnurr, 847/954-7989, taking into account any desired changes to the clearinghouse.com. able, renovation, tuning, consultation. Other [email protected]. stoplist as well as installation costs, voicing, services include transportation, cleaning and casework as required, and rebuilding the three- renovation of carvings, reredos, liturgical furnish- manual console with a new solid-state switch- Kimball Organ (3 manuals, 29 ranks, 1930), all enclosed, terrifi c Swell reeds, four 8-foot Diapa- ings. Call John Bishop at 617/688-9290. john@ ing system. The organ requires approximately sons, two sets of celestes (and you known those organclearinghouse.com. THE DIAPASON’s website (www.thediapason. 360 sq. ft. with 15′ ceilings. For more details, Kimball strings!). $70,000. The Organ Clearing com) features an ever-increasing number of visit www.letourneauorgans.com, email info@ House, 617/688-9290, john@organclearing- PDFs of vintage issues. Search the website letourneauorgans.com or call Andrew Forrest at house.com. Releathering all types of pipe organ actions now for selected issues, as most are avail- 450/774-2698. and mechanisms. Highest quality materi- able from 1944–1945, 1966–1993, and 2005 als and workmanship. Reasonable rates. to the present! Expressive and compact—3/27 Kilgen (1940). Columbia Organ Leathers 800/423-7003. Zoller home pipe organ (1985) for sale. One Two expressive divisions. 17 manual 8-foot www.columbiaorgan.com/col. manual and fl at pedalboard, cherry case with fl ues. Reeds include Tuba, Cornopean, Oboe, Postal regulations require that mail to THE doors, bench. Six stops divided at middle C: ′ Clarinet, Vox Humana. Harp. 16 Open Wood. DIAPASON include a suite number to assure ′ ′ ′ ″, ″, ″. 8 Stopped Diapason, 8 Krummhorn, 4 Flute; H: 237 W: 170 D: 189 Stopkey console. Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: ′ ′ ′ 2-2/3 Nazard, 2 Principal, 1-3/5 Tierce (no Original restorable condition. $30,000. Organ leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite pipes). $15,000 or best offer, buyer to remove, Clearing House, 617/688-9290, john@organ- Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. located Newcastle, Maine. 207/563-5679. clearinghouse.com. www.columbiaorgan.com.

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

Like THE DIAPASON on Facebook:

www.Facebook.com/ TheDiapason

3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single T January T February T March T April T May T June T July T August T September T October T November T December paragraph “want ad” style. First line only of each ad in bold face type. Category ______T Regular T Boldface Display classifi ed advertisements are set PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website T of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 32.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 40.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 28.00 ______($40 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

THE DIAPASON reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2019 Q 31 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* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Trinity College Cambridge United Kingdom (September 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole Notre-Dame Cathedral Paris (April 2020)

Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 98th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young