THE DIAPASON JANUARY, 2006
North Decatur Presbyterian Church, Decatur, Georgia Cover feature on page 25 October 2006 The Choir of St. George’s Chapel, Windsor Castle Timothy Byram-Wigfield, director
Honoring HM Queen Elizabeth II in the year of her 80th birthday. St. George’s Chapel, within the precincts of Windsor Castle, is the scene of many royal occasions during the course of a year, including recently the Service of Blessing for the wedding of HRH The Prince of Wales and Camilla, Duchess of Cornwall. The choir of men and boys has been in existence since 1348 and maintains a school for the choristers.
March 2007 The Choir of Eton College Ralph Allwood, director
Just across the Thames from Windsor Castle sits England’s most famous “public school,” founded by King Henry VI in 1440. This choir of men and boys has captivated American audiences on four previous tours since 1995.
“A staggeringly good choir, beautifully balanced, alert, intelligent, well-tuned, passionate, and sensitive.” (The Times, London)
“Excellent by all standards...sheer perfection.” (St. Louis Post-Dispatch)
“A special choral concert...purely heavenly sounds.” (Green Bay Press-Gazette, Wisconsin)
Chanson six-voice male a cappella vocal ensemble
“Simply splendid...It was a moment to cherish.” (The Courier-Journal, Louisville)
“In the upper echelon of today’s male ensembles.” (Robert Sieving, president, American Choral Directors Association of Minnesota)
“Gifted young men who sing with elegant ensemble, sincere expression, and sensitive musicianship.” (René Clausen, director, The Concordia Choir)
“One of the best groups I have ever heard.” (Donald W. Crouch, Associated Male Choruses of America)
“Bravo! Chanson surpassed our expectations.... a terrific evening.” (Karen Tindall, Fort Walton Beach FL, presenter)
concertartists.com [email protected] • towerhill-recordings.com toll-free (888) 999-0644 US/Canada • phone (860) 560-7800 • fax (860) 560-7788 1 Gold Street #R, Hartford CT 06103-2914 King; February 16, Voces Nordicae; 22, Margaret Kemper; February 26, 2/18, Missa Gaia; March 5, Ahreum James Brown; March 29 and April 5, THE DIAPASON Han; 3/12, Weil Sawyer; 3/19, Paul David Schrader (Dupré: Le Chemin de A Scranton Gillette Publication Murray; 3/26, Paul Reese; 3/29, Bach- la Croix); May 21, Thomas Wikman. Ninety-seventh Year: No. 1, Whole No. 1154 JANUARY, 2006 Works with Anthony Newman; 3/31, For information: 312/944-1083 x19; Established in 1909 ISSN 0012-2378 Chapel Choir of Winchester College.
No portion of the contents of this issue may be reproduced in any form without the specific written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the pur- St. Chrysostom’s Church, Chicago, Holy Trinity Lutheran Church, pose of course reserve reading at the rate of one copy for every fifteen students. Such copies may be reused for continues the series of recitals celebrat- Lancaster, Pennsylvania, continues its other courses or for the same course offered subsequently. ing its new organ by C.B. Fisk: January music series: January 29, Roger Kurtz;
Here & There
St. Peter’s Episcopal Church, Heschke. For information: 732/545- Morristown, New Jersey, continues its 6262;
JANUARY, 2006 3 E February 19, Valerie Lefever; March Brevard-Davidson River Presby- Bowling Green, OH 43403-0290; 19, Nathan Laube. For information: terian Church, Brevard, North Caroli- 419/372-2192; 717/397-2734; na, continues its music series: February
Manuel Rosales, Stefan Stuerzer, Paul Jacobs, Kevin Gilchrist, Caspar von Glat- The second biennial Carlene Nei- ter-Götz hart International Organ Competi- tion will be held on April 29 at The Vil- The inaugural concert of the new 39- Widor, Brahms, Weaver and Duruflé. lage Presbyterian Church, Prairie Vil- stop Glatter-Götz/Rosales organ at The organ case was designed by Gra- lage, Kansas. Competitors must be Augustana Lutheran Church, West St. ham Tristram, Edinburgh, Scotland, under the age of 30 as of January 15, Paul, was held on November 4. Over with acoustical modifications of the 2006. The deadline for entries is Janu- 800 people heard organist Paul Jacobs’ sanctuary by Dana Kirkegaard, Chicago. ary 15: send to Nancy Stankiewicz, 8907 program of music by Bach, Vierne, Foster Lane, Overland Park, KS 66212;
4 THE DIAPASON phone 913/642-8642. AGO chapter at their September performances include Seattle, Chicago, Three finalists will be selected by meeting. Pictured are James Threlkeld, Lincoln, Iowa City, Columbus (Ohio), March 1 from the first 25 applications host; Dean Stephen Mager, AAGO, and Lausanne, Switzerland. He is repre- submitted, and will compete on April 29. ChM; and Paul Vasile, organist for the sented by Karen McFarlane Artists. First prize is $2500; second prize $1500; guild service. third prize $750. Rules, applications, and information about the competition can be found at
Douglas Cleveland has been Elizabeth Andrews is the author of appointed visiting professor of organ for Muscle Management for Musicians; the present academic year at the Uni- Scarecrow Press, 304 pp., $35 paper. versity of Washington in Seattle. Carole The book provides comprehensive Terry, professor of organ, is on sabbati- information for scientists and musicians, cal leave during this time. Cleveland aiming to fill the gap between musicians continues as director of music at Ply- and the therapists who treat them. It mouth Congregational Church in Seat- describes and illustrates the basic anato- tle. From 1999 to 2004 he was assistant Douglas Cleveland my of more than 70 muscles and clari- professor of organ at Northwestern Uni- fies their use in playing specific musical versity in Evanston, where he was Music and Indiana University. Cleve- instruments. Corrective massage points, James Threlkeld, Dean Stephen Mager, awarded the Searle Fellowship for land has performed in 48 of the United holding points and appropriate nutrition and Paul Vasile Teaching Excellence. He won first prize States as well as in Canada, France, are identified, as are the many postural in both the 1994 AGO National Young England, Germany, Sweden, Russia, and emotional causes of the muscular The 2002 Harrison & Harrison II/28 Artists Competition in Dallas and the Australia, and Japan. He was a featured problems musicians encounter. For organ at Hope United Church of Christ 1993 Ft. Wayne Competition. He holds performer at the 1998 AGO national information: 800/462-6420; was demonstrated to the St. Louis degrees from the Eastman School of convention in Denver. This season his
Tong-Soon Kwak David K. Lamb Maija Lehtonen Jack D. Miller Larry Palmer Organist Organist/Oratorio Accompanist Organist/Pianist/ Organist/Workshop Leader Harpsichordist/Organist Professor of Organ Director of Music/Organist Recording Artist Organist Professor of Harpsichord and Organ College of Music First United Methodist Church Senior Lecturer, Organ Faculty St. Mark’s United Methodist Church Meadows School of the Arts Yonsei University Columbus, Indiana Oulu Polytechnic Director, Chanteuses Southern Methodist University Artistic Director Organ and Violin Treble Vocal Ensemble Dallas, Texas Torch International Organ Academy with Manfred Grasbeck Organist, Brador Brass, Quintet Seoul, Korea Helsinki, Finland Sacramento, California
Gregory Peterson Stephen Roberts Clair Rozier Vicki J. Schaeffer Lisa Scrivani-Tidd Organist Organist/Harpsichordist/Lecturer Organist/Workshop Leader Organist/Lecturer/ Organist/Lecturer Organist and Minister of Music Instructor of Organ Director of Music Choral Conductor Assistant Professor of Music The Old South Church Western CT State University St. David’s Episcopal Church Music Faculty SUNY at Jefferson Boston, Massachusetts Director of Music Wayne, Pennsylvania Casady School Watertown, New York St. Peter Church Organist University Organist Danbury, Connecticut St. Paul's Lutheran Church St. Lawrence University Oklahoma City, Oklahoma Canton, New York Also: Colin Andrews Cristina Garcia Banegas Scott Bennett Maurice Clerc Joan DeVee Dixon Olivier Eisenmann Janette Fishell Jeremy David Tarrant Heinrich Walther Jane Watts Duo Majoya Faythe Freese Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Michael Gailit Organist and Choirmaster Recording Artist Exclusive Recording Artist Recording Artists The Cathedral Church of St. Paul Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Michael Kaminski Detroit, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music Kevin Komisaruk Faculties, Church Music Schools Organist of the Bach Choir University of Alberta Angela Kraft Cross Heidelberg and Rottenburg London, England The King’s University College William Kuhlman Germany Edmonton, Alberta, Canada Bach Babes
ConcertArtistCooperative.com Beth Zucchino Organist/ Harpsichordist/Pianist Beth Zucchino, Director Founder, Director, 7710 Lynch Road, Sebastopol, CA 95472 and Former Associate Concert Artist Cooperative PH: 707-824-5611 FX: 707-824-0956 Sebastopol, California [email protected]
JANUARY, 2006 5 director and director of fine arts. Mrs. Chenault is the assistant upper school choral director and directs the middle school choral program. Their choirs have won numerous choral competi- tions, and the All Saints’ Choir has been featured at many music conventions. The Chenaults have commissioned, published and recorded over 40 works for organ duet. They are managed by Phillip Truckenbrod Concert Artists.
Elizabeth and Raymond Chenault
Pamela Ingram. During the morning services, the Chenaults were recognized Joe Utterback for their distinguished service as church Harold Chaney musicians, followed by a reception is available for $15 plus $3 postage attended by many parishioners, friends, from Jazzmuze, Inc., 732/747-5227; Harold Chaney is featured on a new family and former choristers. They were
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6 THE DIAPASON BERGHAUS.
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8 THE DIAPASON
designed along German classical lines. mance itself—a virtual, temporary Though technically the term applied only structure that thrills, moves, excites, or to that part of a baroque organ that was angers the listener, and that is gone as detached from the rest and behind the organist’s back, typically in the gallery of a soon as the sound dies away. What’s church, Holtkamp’s imitation was free- more, it might thrill one listener and standing, playable via electro-pneumatic anger another. And each listener is connections to the organ console, but its responding to each component—the clear-speaking high-pitched stops were playing, the music, and the instrument. intended to produce a brighter tonality Does this view of performing music give than the rest of the Skinner organ had. the player license to propose alterations The addition produced much comment to the instrument, or more to my point, among organists and other builders, and it was seen as another blow to Skinner’s now to replace the instrument with another? old-hat notions that an organ should try to There are of course many reasons imitate an orchestra. At an organists’ con- why an organ might be relocated. Some- vention, [Dorothy] Holden’s biography times a parish has closed, either because relates, Holtkamp saw Skinner standing its congregation has disbanded or alone, ignored now that he had gone out of merged with another. Sometimes an fashion, and thought, ‘Now, this is a per- institution gets a new organist whose fect shame! There stands one of the great- interests are different from those of pre- est figures in the art of organ-building, and Organ (relocated) built by Hellmuth all those sissies are afraid to go up to speak decessors. Sometimes, let’s face it, we Wolff, St. Paul’s Lutheran Church, to him, for fear they might lose face are replacing an instrument that was Durham, North Carolina (photo John Bishop) among their peers!’ As Holtkamp told the never any good to begin with. story to Robert Bates, an organist friend, It is interesting to watch trends. We Because I had been involved in he went up to Skinner and said, “Mr. Skin- have spent a huge amount of energy arranging the sale of the Wellesley ner, I am Walter Holtkamp from Cleve- relearning ancient skills, and developing Brombaugh organ, Ashland Avenue Casavant to St. Theresa’s Roman land, and I just want to thank you for all new appreciations of early styles. E. Baptist Church, Toledo, Ohio (photo Catholic Church in South Hadley, you have meant and done for the art of Power Biggs and his contemporaries John Brombaugh) organ-building through your splendid Massachusetts, I jumped into the con- career.” Apparently, “Cleveland” was all took us on virtual tours of older Euro- versation explaining that while the peo- that registered on Skinner, who was by pean organs (using the vinyl con- exchange started when the organbuild- ple of St. Andrew’s remained dedicated then hard of hearing, and rejoined, veyances of the day). We assimilated, ing firm Juget-Sinclair of Montreal to the concept of tracker action, they “Cleveland! Say, you know, I have one of imitated, and built on the sounds we announced an open house at which they felt they would benefit from having an my best organs out there in the Art Muse- heard then. That work gave us greater would exhibit the new organ they had instrument with more emphasis on fun- um, and some damn fool has come along ability to analyze and understand the built for St. Andrew’s Episcopal Church damental tone. I added that the Organ and just ruined it.”1 components of sound, allowing us new in Wellesley, Massachusetts. (Visit their Clearing House had relocated an instru- ways to appreciate other styles. If we website at http://www.cam.org/~sinc/.) ment built by Hellmuth Wolff (Opus 17, I finished my letter to John Brom- were devoted to the examples left by The e-mails started flying between 1976), installing it in St. Paul’s Lutheran baugh saying: “Poor Skinner’s organ Arp Schnitger in the eighteenth centu- organbuilders John Brombaugh, Hell- Church, Durham, North Carolina. It only lasted 11 years before Holtkamp ry, suddenly we could appreciate and muth Wolff, and Karl Wilhelm. John was a coincidence that St. Paul’s previ- got his hands on it. A Rückpositiv in understand anew what Ernest Skinner remembered that the first time he met ous instrument was a one-manual organ 1933—who knew?” That was a pretty was up to in 1920. Hellmuth and Karl was in Wellesley dur- built by John Brombaugh—and rather radical innovation for 1933. We raise There was a wonderful moment at ing the installation of that church’s Casa- than being replaced, the Brombaugh the question, did Walter Holtkamp the convention of the Organ Historical vant organ. (It’s no secret that the Casa- was moved to the front of the church improve the Cleveland Museum’s Society in North Carolina in 2001 when vant was installed in 1964, so these guys where it is used as a liturgical organ. organ? Who is the judge of that? on Wednesday, June 27, the convention were younger then than they are now!) As I was writing that letter I remem- Should we alter works of art? We visited the chapel at Duke University, John also told us that at the moment he bered an amusing and poignant story wouldn’t change a portrait by Rembrandt home to three excellent and wildly vary- was involved with the relocation of the about Ernest Skinner, an organbuilder because Parisian clothing designers are ing pipe organs. There were three organ he built for the Ashland Avenue whose brilliant innovations in many ways featuring green this year or because it’s recitals—Mark Brombaugh played on Baptist Church in Toledo, Ohio (Opus 9, defined the twentieth-century American not stylish to put feathers in hats these the Flentrop organ, Margaret Irwin- 1972). That congregation was moving to organ. He who gave us pitman stop days. We wouldn’t change a Shakespeare Brandon played on the Brombaugh, and a new building and their original sanctu- action, whiffle-tree Swell engines, play because the word methinks isn’t part Ken Cowan played on the Aeolian. We ary had been sold to a congregation with French Horns, and vertical-selector of every day speech now. were taken from Scheidemann to Wag- musical priorities that did not involve a combination actions, and who built We would, however, alter an historic ner, from Liszt to Frescobaldi, from Brombaugh organ. The organ would be instruments that emphasized fundamen- building by installing wheelchair ramps Buxtehude to Bossi all in a single day. installed temporarily at Sacred Heart tal tone, colorful orchestral solo stops, and elevators. Those instances where What a dazzling display of the variety of Cathedral in Rochester, New York and shimmering strings was later criti- we condone such alterations often have the pipe organ and its music, and how (where it will presumably be available to cized for failing to keep up with fast- to do with usefulness. You don’t have to passionately people defended their students at the Eastman School of changing trends, insisting that his instru- consider the usefulness of a painting or preferences as the buses took us back to Music) until its permanent home at ments were the ideal and should not be sculpture. It is what it is. It’s a snapshot Winston-Salem! I thought it would have Sonoma University is ready. changed. The story I refer to was quoted of an instant from another time. We can been fun to have each of the performers When a new organ is finished, the in All the Stops, the wonderful book appreciate it (whether or not we like it) play on each of the organs, but I had builder might be proud of his accom- about the twentieth-century American as an artist’s expression and we don’t trouble finding supporters. plishment, relieved to be finished with pipe organ written by Craig Whitney depend on it for anything else. particular complications, excited about (PublicAffairs, 2003). (If you haven’t Organs are different. A fine organ It doesn’t take a rocket scientist . . . moving on to the next project—but he is read this book yet, you’ve missed much. stands as a work of art, but it is also a A good friend of mine is a terrific certainly not imagining that the organ he You can order it from the OHS cata- tool to be used by contemporary artists singer whose husband is an astrophysi- just finished will be replaced in thirty or logue: http://store.yahoo.com/ohscata to another artistic end. And, more than cist. He works in a Smithsonian-affiliat- forty years. Pipe organs seem perma- log/crrwhallst.html.) any other instrument, the organist is ed lab at Harvard University using a nent. I’ve had contact with many people Whitney wrote: stuck with the instrument. If you are the telescope in Arizona that he operates who are surprised when they realize that regular organist of a church, all you do remotely by computer. Once at a party an organ can be taken apart and moved. Skinner was effectively frozen out of the must be done with the existing instru- Jane was asked what it’s like to live with They thought it was part of the building. company that bore his name, associated ment. If you are traveling to play a con- such a brilliant person. “You know how But isn’t an organ an expression of its with it now in name only. But it was not cert in a distant city, you must channel they say, it doesn’t take a rocket scien- only at Aeolian-Skinner that tastes were builder’s current philosophy? While an changing. To the romantic-orchestral your creativity through whatever instru- tist?” she replied. “There are lots of organbuilder might hope that his work organ that Skinner had built in the Cleve- ment you encounter. things around the house that really don’t would never be replaced, would it be land Museum of Art in 1922, the young When an organ is playing, the art of need a rocket scientist!” good for organbuilding in general if Cleveland organbuilder Walter Holtkamp the builder, the player, and the compos- Now I’m no rocket scientist, but I churches routinely purchased two new added in 1933 something new and revolu- er are being combined to create yet know there’s a navigation trick called a organs every century? tionary—a small rückpositiv division another artwork, which is the perfor- gravitational slingshot that’s used to A.E. 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10 THE DIAPASON PEDAL 32 Contre Bourdon 32 Contra Violone 16 Diapason 16 Bourdon Pipe and Digital 16 Lieblichgedeckt (Swell) 16 Antiphonal Viole 16 Violone 8 Octave 8 Principal (Great) 8 Gedacktflöte 8 Salicional (Swell) Sounds Combined 4 Octave 4 Choralbass (Great) SOLO 4 Flûte (Swell) 16 Gamba Celeste II IV Mixture 8 Flauto Mirabilis 32 Contre Bombarde 8 Solo Gamba 32 Contre Double Trumpet (Great) 8 Gamba Celeste 16 Bombarde 4 Gambette Celeste II 16 Waldhorn (Swell) 16 Tuba Mirabilis 16 Double Trumpet (Great) 8 Tuba Mirabilis 16 Cornopean (Great) 8 French Horn 8 Trompette 8 Corno d’Bassetto 8 Waldhorn (Swell) 8 Cor Anglais 4 Clarion 4 Octave Mirabilis Tremulant SWELL Celesta 16 Bourdon doux 8 Geigen Diapason CHOIR 8 Bourdon 16 Erzähler 8 Flute Celeste II 8 Principalino 8 Salicional 8 Voce Umana 8 Voix Celeste 8 Gedeckt 8 Erzähler Celeste II 8 Concert Flute 4 Octave Geigen 8 Viola 4 Flute Harmonique 8 Dulciana 4 Traverse Flute 8 Aeoline Celeste 2 2/3 Nasard 4 Oktav 2 Piccolo 4 Flute 1 3/5 Tierce 4 Viola IV Fourniture 2 2/3 Twelfth III Mixture 2 Fifteenth 16 Contre Trompette 2 Waldflöte 8 Trompette 1 1/3 Quintflöte 8 Waldhorn IV Mixture 8 Oboe III Sharp Mixture 8 Hautbois 8 Cornopean (Great) 8 Vox Humana 8 Krummhorn 8 Voix Humaine 8 Clarinet 4 Clairon Tremulant Tremolo ANTIPHONAL GREAT 16 Contra Viole 16 Double Diapason 8 Principal 8 Principal 8 Holzgedackt 8 Diapason 8 Viole 8 Claribel Flute 8 Viole Celeste 8 Gemshorn 4 Prinzipal 4 First Octave 4 Koppelflöte 4 Second Octave 4 Violes II 4 Spitzflute 2 Oktav 2 2/3 Twelfth 1 1/3 Quintflöte Christ Church, 2 Super Octave III Cymbale 1 3/5 Tierce 8 Trumpet III First Mixture Tremulant III Second Mixture United Church of Christ 16 Double Trumpet 8 Tromba BETHLEHEM, PENNSYLVANIA Tremulant Chimes A handsome cherry and colonial white two-tone finish Four-Manual Renaissance™ console controls the addition of seven pipe ranks and more than seventy digital voices (including a full antiphonal organ) to the existing 1930 Möller Opus #5727 pipe organ.
Designed to the specifications of organist and music director Adam Koch, www.allenorgan.com the organ console includes Allen’s MIDI Division II, an adjustable-height bench and a matching cherry-finish dolly. The beautiful edifice is the 150 Locust Street, P.O. Box 36 congregation’s third church building. The combined organ is now the largest Macungie, PA 18062-0036 USA Phone: 610-966-2202 ~ Fax: 610-965-3098 in the historic “Christmas City” of Bethlehem, Pennsylvania. International E-mail: [email protected] concert artist Carlo Curley performed at the Dedicatory Concert. propel interplanetary probes through since the joyous days of Christmas. suggestions but is sparse with the choir only for rehearsal, and the work MUST space. The vehicle is steered toward a Lent, whose name comes from the Old often singing unaccompanied. The be performed with brass/timpani. The planet and makes use of that body’s English “lenten” (spring), comprises 40 twelfth-century Peter Abelard text is text is in English although there is a very gravity to fling itself further into space. days (excluding Sundays) of penance for solemnly treated, often with biting dis- brief closing statement on the text For example, on August 27, 1981, Voy- Christians to recall the 40 days Jesus sonances to enhance the drama. There “Dona nobis pacem.” Sensitive and ager 2 used the gravity of Saturn to fling spent in the desert. It begins on Ash is a brief soprano solo and a closing uni- well-crafted music. itself toward Uranus, where it arrived Wednesday and ends on Holy Saturday. son Amen. Very sensitive music. on January 30, 1986.2 Textual messages often concern topics With All My Heart, Michael Cox. I wonder if a gravitational slingshot such as faithfulness; Psalms common to What Wondrous Love Is This?, SATB and keyboard, Theodore could be used to break the circle and the period include 19, 23, 25, 33, 34, 51, Lloyd Larson. SATB and keyboard, Presser Co., 392-42431, $1.60 (M). send the art of organbuilding to new 91, 103, 105, 116, 130, 137, and 143. Beckenhorst Press, Inc. BP 1706, After a soft, gentle introduction, the places, new concepts, and new plateaus. Generally the music of Lent is much $1.50 (M-). choir sings two strophic verses above It seems to me that many of the more less exciting than in other times of the Larson’s arrangement of this popular the arpeggiated accompaniment. The recent innovations in organbuilding Christian year. The mood seems to be Appalachian folk hymn is often in two dynamic increases as the text discusses have been “returns” to one idea or more pensive with slower settings, and parts. There are four verses with the last the suffering on the Cross. The final another. When Craig Whitney the use of “Alleluia” is suspended until two in a modified four-part setting. The section returns to the opening mood described Holtkamp’s addition of a Easter. keyboard music is easy, on two staves, and ends quietly with sustained choral Rückpositiv as “new and revolutionary,” Church choir directors tend to prefer and is not soloistic. Reflective, gentle lines above the opening keyboard back- he was in fact referring to a concept that programming settings that are fast, cel- music that builds to the loud final verse. ground. was some five hundred years old. We ebrative, enthusiastic, and exciting. reach back through history to recreate Singers enjoy those styles and usually What Wondrous Love Is This?, arr. Ave Verum, Richard R. Rossi. SATB the technology of the slider windchest there is a more immediate connection Hal Hopson. SATB unaccompanied, unaccompanied, GIA Publications, and of voicing organ pipes on low wind with them. Yet we all need to be Oxford University Press, 0-19- G-5718, $1.20 (M-). pressures just as we reach back through reminded that the emotion found in 386713-3, $1.40 (M). This Good Friday text receives a history to understand again the glory of effective settings appropriate to Lent For over two of this anthem’s three poignant setting and has several surpris- high-pressure reeds and air-tight swell brings a different, but equally valuable, pages, the basses must sustain a low F as ing harmonic shifts. Only a Latin text is boxes. We have incorporated computer spirit to the church service. a pedalpoint, and that may be too diffi- used. The two-page motet is slow, quiet, technology to duplicate and enhance Perhaps choir directors can offer new cult for many; perhaps adding the F on and sensitive. the registration equipment developed or different things to bring a quiet inspi- the organ pedals will help them sustain early in the twentieth century. We have ration to the choir during the Lenten the sound and intonation. The four-part built new organs using ancient architec- season, such as: harmony of the last verse uses warm tural elements and we have modified 1. If you do not begin each midweek parallel chords built on fourths. After a Book Reviews those ancient elements to incorporate rehearsal with a prayer, do so during loud climax there is a coda that returns them in contemporary designs. But I Lent. to the opening mood and closes quietly. suggest that no specific instrument or 2. Consider choosing a series of Critical Notes on the Organ Works of style of instrument, and the work of no anthems, prayer responses, or benedic- Search Me, Try Me, Harold J. Jehan Alain, by Marie-Claire Alain; one organbuilder can stand for the tions that are all based on the same text Willome. SATB and keyboard, translated by Norma Stevlingson. future of the instrument. such as “What wondrous love is this.” Abingdon Press, 068706X, $1.50 Paris: Éditions Musicales Alphonse Igor Stravinsky assimilated all the 3. Consider choosing music with (E). Leduc, 2001 and 2003 [English tools of musical composition he had other similarities for those Sundays in Based on Psalm 139, this anthem has translation]. 121 pages, ISBN 2- inherited and produced music that star- the last few weeks before Palm Sunday. four verses with two primarily in unison 85689-061-X. Available from the tled the world. And that music that For example they could all be settings and the choral parts on two staves. The Organ Historical Society ($75 plus caused riots when it was first performed using the same additional instrument keyboard part is very simple and also on shipping), 847/353-9226; is celebrated today as part of the wealth (oboe or cello). Use an instrument that two staves.
Organ Recitals mental parts $45.70 (for entire Claire’s memories of how Jehan played Mass) (M+). particular pieces, and his intentions This is the last movement of his mass (hitherto not notated) as a composer. I titled Music for a Solemn Eucharist (all find this book fascinating in that we see movements are published separately). A the composer’s “hand” as he wrote out brass sextet of three trumpets, horn, and his Catalogue of his works, and also his two trombones is needed. The drawings—depicting his sense of
Workshops & Masterclasses choral/keyboard score indicates that it is humor. With the advent of the comput- www.SusanJaneMatthews.com Photo: Lorraine Dotson
12 THE DIAPASON GRAND ORGUE Flûte Harmonique 8' Cymbale III Montre 16' Flûte Céleste II 8' Contra Bassoon 32' Violonbasse 16' Octave 4' Contra Trompette 16' Bourdon 16' Unda Maris II 4' Basson 16' Montre 8' Flûte Traversière 4' Trompette 8' Dulciana 8' Nazard 2-2/3' Trumpet 8' Prinzipal 8' Octavin 2' Hautbois (mp) 8' Viole de Gambe 8' Choeur Fourniture V Hautbois (mf) 8' Flûte Harmonique 8' Cymbale III Cor d’Amour 8’ Bourdon 8' Tierce 1-3/5' Orchestral Oboe 8’ Chimney Flute 8' Plein Jeu IV Clarinette 8' Quinte 5-1/3’ Voix Humaine 8' Prestant 4' Clairon 4' Oktav 4' Tremulant Flûte 4' Some of the stops on Octaves Graves 16' Solo Flute 4' Muet Tierce 3-1/5’ Octaves Aiguës 4' Quinte 2-2/3' Hector Olivera’s Doublette 2' BOMBARDE Octavin 2' national tour Grand Diapason 8' Tierce Fourniture IV-VI national tour Flûte Majeur 8' Cornet V Cellos Célestes II 8' Tierce 1-3/5' Soprano Ah 8’ Fourniture XI Grand Octave 4’ Cymbale IV Grand Jeu VII Bombarde 16' Grave Mixture IV Trompette 8' Bombarde 16' Trumpet 8' Corno di Bassetto 16' Clairon 4' Trompette Harmonique 8' Tremblant French Horn 8' Chamade 8’ POSITIF Tuba Anglais 8' Quintaton 16' Cor Anglais 8' Bourdon 16’ Clairon Harmonique 4' Erzähler 16' Chamades 16+8+4+2 IV Principal 8' Flûte de Bois 8' PÈDALE Holzgedackt 8' Montre 32' Unda Maris II 8' Contra Violone 32' Viole Céleste II 8' Contre Bourdon 32' Prestant 4' Bourdon Doux 32' Flûte d'amour 4' Contre Basse 16' Koppelflöte 4' Principal 16' Nazard 2-2/3' Contre Gambe 16' Doublette 2' Subbasse 16' Octavin 2' Bourdon (G.O.) 16' Tierce 1-3/5' Violone 16' Larigot 1-1/3' Gambe Celestes II 16' Septieme 1-1/7' Quintaton (Pos) 16' Piccolo 1' Bourdon Doux (Rec) 16' Sesquialtera II Erzähler 16' Grave Fourniture IV Montre 8' Cymbale IV Prinzipal (G.O.) 8' Jeu de Clochette II Violoncelle 8' Basson 16' Cellos Céleste II (Bomb)8' Corno di Bassetto 16' Unda Maris II (Pos) 8' Trompette 8' Flûte 8' Dulzian 8' The Masterpiece Touring Organ by Rodgers Bourdon (Rec) 8' French Horn 8' Octave 4' Clarinette 8' The Virgil Fox Tradition Continues Cor de Nuit 4' Cromorne 8' Fourniture IV Chamades II 8' Ophicleide Heroique 64' Tuba Anglais 8' Contre Bombarde 32' Chamade 8' Contra Basson 32' Petite Clairon 4' Bombarde 16' Rohrschalmei 4' Basson (Rec) 16' Tremulant Trombone 16' Octaves Graves 16' Corno di Bassetto 16' Muet Contre Trompette 16' Octaves Aiguës 4' Bombarde 8' Chamade (Pos) 8' RÉCIT Rodgers Instruments LLC Tuba Anglais (Pos) 8' Bourdon Doux 16' 1300 NE 25th Avenue Trompette 8' Contre Gambe 16' Hillsboro, Oregon 97124 Trumpet 8' Diapason 8' 503.648.0444 Clairon 4' Gambe 8' fax: 503.681.0444 Rohrschalmei (Pos) 4' Voix Céleste 8' www.rodgersinstruments.com Zink 2’ Bourdon 8' Email: [email protected] er for composition, there will be fewer America from England and the found- you need is Some Cozy Corner”). About kg!) will be welcomed by organists and ‘tell-tale’ signs of who composed what. ing in New York of the Hope-Jones forty percent of factory production by music historians alike. Personal touches will not appear on the Organ Company in 1907, and describes the early 1920s was for this purpose, —James B. Hartman page, and all music will have the same its inventions and innovations that pre- although the number decreased in suc- The University of Manitoba printed look. ceded its bankruptcy in 1910. Chapter ceeding years. A large part of this chap- Winnipeg, MB, Canada As each piece is presented, the Alain Four, “1910–1914: Wurlitzer Buys ter consists of photographs of these catalog number is assigned, the date of Hope-Jones,” describes the Wurlitzer instruments and the interiors of opulent Note: The 2005 Organ Historical Society Cata- log Supplement lists nine compact discs on its The- work listed, as is the person to whom Motion Picture Orchestra (Style residences where they were installed. atre Organ page; seven of these feature perfor- the work is dedicated. The place, date, J–$7500 Complete; Style L–$9000 The chapter concludes with 26 pages of mances on Wurlitzer organs. and performer of the premiere are Complete) and the troubles and prob- printed lists of selections for Wurlitzer noted. Following is the list of sources, lems with various installations in several Residence Organ Rolls. commentary, and then a thorough mea- locations, along with copies of related Chapter Ten, “Wurlitzer Church sure-by-measure comparison of correspondence. Organs,” describes the range of instru- New Recordings sources, when sources differ. With Chapter Five, “1915–1919: The ments built for or removed to religious these complete notes, one can make Mighty Wurlitzer Comes of Age,” cov- institutions: 256 in all between 1910 and informed decisions on how to interpret ers the company’s steady growth in 1930. The comprehensive Church Erfurt & Europa. Wieland Meinhold various instances. business and its expansion that included Organ Opus List describes these in at the Compenius Organ of the If you teach or perform any of a four-manual instrument for a theatre terms of opus number, location, style, Michaeliskirche in Erfurt. Recorded Alain’s works, you will find this volume in Denver, Colorado, in 1916, the size, and date. As elsewhere, many con- 2002, TT 54:38, Motette CD 13111. invaluable. largest organ built by the firm up to that soles are pictured along with reproduc- Available from the Organ Historical —Sharon L. Hettinger time. The company’s “Unit Orchestra” tions of advertising posters and cata- Society ($14.98 plus shipping); Lawrence, Kansas was a new and profitable field. In 1915, logue pages. Chapter Eleven, 804/353-9226; the Wurlitzer factory claimed that the “1933–1988: Denouement,” describes
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14 THE DIAPASON two chorale-based works played on this melreich, BWV 683; Christ, unser Herr, Robert Clark makes good use of the program notes to the first version of CD, only the first variation of J. G. zum Jordan kam, BWV 684; Christ, expressive vocale qualities of the Christ, unser Herr, zum Jordan kam Walther’s Herr Jesus Christ dich zu uns unser Herr, zum Jordan kam, BWV 685; Richard, Fowkes organ in his dignified (BWV 684) engagingly describe the wend is included, although it is well Aus tiefer Not schrei ich zu dir, BWV performance of the Prelude in E-flat effect as being of “the rolling waters of articulated. The same composer’s con- 686; Aus tiefer Not schrei ich zu dir, (BWV 552). The playing is full of life the river Jordan [ . . . ] pictured in six- certo in one movement after Torelli BWV 687; Jesus Christus, unser Heiland, and I was particularly impressed by the teenth notes in the bass, over [which] shows us the crystal-like baroque sound BWV 688; Jesus Christus, unser Heiland, voicing of the Pedal 16v Posaune in the hover two dovelike treble voices, while of the use of gapped registers, an ear- BWV 689, Duetto I, BWV 802; Duetto II, middle section. It provides a rhythmic the chorale rises up in the middle voice catching contrast between the manuals. BWV 803; Duetto III, BWV 804; Duetto bass that sounds at times like a real like Christ rising from the waters.” This Two sets of short versos follow. The IV, BWV 805; Fuga a 5 con Pedale pro orchestral trombone. In the chorale effect is enhanced by the contrasting use first set of five by Abraham van der Ker- Organo pleno, BWV 552 (2). preludes that make up most of Part III of various reeds and flutes, with a dar- choven (based in Brussels during the The title page of Part III of the of the Clavierübung the liquid flutes ing—and again rather French—use of 17th century) is based on the Salve Clavierübung, quoted in the program and colorful solo voices of the organ are the reeds in the fugue that forms the sec- Regina, the plainchant being heard in notes of this compact disc, states that exploited to the full. Particularly note- ond chorale prelude on the same subject. ornamented form in the treble on the these works are “to delight the spirit of worthy is the performer’s delightful ren- An effective climax is then provided by Krummhorn in the fourth, and in the music-lovers and especially of connois- dering of ebullient trio, Allein Gott in the use of the full organ for the first of bass on the Posaunenbass in the final seurs of such endeavor.” This indeed der Höh sei Ehr (BWV 676). He also the two versions of Aus tiefer Not schrei verse. The Krummhorn is heard again, might serve as a worthy epigraph for the imparts considerable excitement to the ich zu dir (BWV 686) that follows. The this time with the flue chorus in the last recording itself. Robert Clark brings to second of the chorales on the Ten Com- first of the two choral preludes on Jesus of the four versos by Miguel López. the recording a lifetime of scholarship mandments, Dies sind die heiligen Christus, unser Heiland (BWV 684) has Johann Bernard Bach’s partita on Du as a teacher, editor and performer of zehen Gebot (BWV 679), whose dance- always been my favorite movement from Friedefürst, Herr Jesu Christ contains Bach, while the Richards, Fowkes & like rhythms are transformed into a kind the Clavierübung Part III, partly because more effective use of contrasts between Co. organ in Knoxville could hardly be of fanfare by the ingenious use of the its lively and chromatic character has a verses, the first using a gapped registra- a better vehicle for his playing. The reeds. After this the sound of the full strangely modern feeling—if I did not tion, the second sounding delicately instrument is an expressive and finely organ brings the first CD to a close with know that it was composed by Bach I entrancing on just the 4v, while the crafted mechanical-action instrument in the “Giant” fugue, Wir glauben all’ an might well ascribe it to a twentieth-cen- majesty of the full flues brings the work the North German style and is “well- einen Gott (BWV 680). tury composer such as Marcel Dupré. In to a satisfactory close. tempered” in the 1/5-comma Kellner On the first track of the second disc, this recording a piquant quality is impart- Three short Polish dances follow, all tuning, making it a very suitable medi- the manuals-only version of Wir glauben ed by the effective use of the mixtures. quietly flowing, while the contrast um for the performance of Bach’s all’ an einen Gott (BWV 681), the reeds, Once again the second, fugal chorale between manuals including the music. The exceptionally helpful and including the 16v Dulcian, are used to prelude on the same subject is played on Krummhorn is again heard to good informative program notes are by John great effect, lending to the chorale pre- a reed—this time the 8v Trompet on the effect in Clérambault’s Dialogue. The David Peterson, who was co-editor with lude a grandeur not unlike a French Great—imparting a pleasing, though undoubtedly virtuosic Toccata, Fugue the performer, Robert Clark, of the Grand Jeu. This imparts a considerable rather dark, character to the final chorale and Cadenza by J. C. Kittel shows how Concordia edition of the Orgelbüchlein. feeling of majesty to the piece, notwith- prelude of the set. The four Duetti that Bach’s style had been absorbed by one At the beginning of the first disc, standing the absence of a pedal line. The follow are, as the program notes of his last pupils. This work contains both Southern and Northern traits, the former exemplified by long pedalpoints JOHANNUS introduces a unique concert DVD in the toccata, the latter by the free cadenza full of arpeggiated figuration. The fugue has a subject full of typical violin-like writing, brought out clearly on the flues, the Posaunenbass making a The impressive interpreter memorable impression in the bass Pierre Pincemaille (France) entries. The CD concludes with a set of variations on the Noël Suisse by Daquin, which shows off the different solo possi- The master of phrasing bilities before concluding on full flues. J. David Hart (U.S.A.) The booklet gives basic details of the organ, and of the performer, but unfor- tunately nothing about the pieces or the The Queen’s Organist composers. Also absent is a listing of the Joseph Nolan (U.K.) registrations used, although even to the non-specialist they are relatively clearly This DVD is identifiable. The CD shows that even now exclusively The Maestro of the Lowlands with a small instrument, in the hands of Klaas Jan Mulder (The Netherlands) a skilled organist there is still plenty of available from your variety to be displayed. Wieland Mein- JOHANNUS dealer hold demonstrates a sound grasp of per- The musical painter formance practice with a well-articulat- Rolf Kunz (Germany) ed approach to touch and stylistically added ornaments. All of the stops exude charm, particularly the mellow Krummhorn and the rasping Posaunen- bass. At under an hour in length, it is a shame that at least some of the other 12 variations by Walther could not have been included, or perhaps a piece by Bach himself. Recommended, particu- larly for introducing some interesting works by lesser-known composers of the 17th century. Five top organists will —John Collins Sussex, England take you on a journey J. S. Bach, Clavierübung, Part III. Robert Clark, organist. Richards, Fowkes & Co. organ, Op. 7, West- to the world of Johannus minster Presbyterian Church, Knoxville, Tennessee. Two-CD set, Calcante Recordings CD 042,
JANUARY, 2006 15 acknowledge, among the “neglected moods of these compositions. Assisting ject in one volume, although at first are in two parts only. Occasional figures gems of the repertory,” all the more so Pickering in the beautifully played Aria glance one may feel overwhelmed by the over the bass have been added by the because of the elegant simplicity of their is oboist Susan Odem. In this reviewer’s amount of information. A list of record- composer. Additionally, Calvert John- form as two-part inventions. Most per- opinion, this well-crafted work, pub- ings of historic Italian organs will prove son has provided possible notes for the formers playing the third part of the lished by MorningStar Music, is one of to be of the greatest interest for further pedal based on existing models. As in Clavierübung simply omit the duets, the most poignant and effective works investigation. his previous sonata, the composer has which is a pity as Robert Clark’s record- for the organ and oboe, and, justifiably, There is also full treatment of finger- figured the bass in places. Of the two ing ably demonstrates. The chromaticism it has received numerous performances ing taken from contemporary sources, sonatas by Valerj, the Rondo grazioso in of the first and last of the set links them throughout the country. including a table of the comparative lists B-flat is a charmingly galant work while with the chorale prelude on Jesus Chris- Many of the recorded works are based of the different combinations in each the Siciliana in C minor is considerably tus unser Heiland that has gone before. on familiar hymn tunes ranging from the hand for ascending and descending pas- more serious; both works include care- The pastorale-like character of the third reflective “Sweet Hour of Prayer” to that sages, the use of the pedal (where actu- fully written-out short cadenzas. The is reminiscent of some of the movements grand and noble English melody known ally available), and articulation, includ- final work in this section is the Sonata of Bach’s Trio Sonatas. A majestic per- to many by its text, “Come, Come ye ing the different touches described for per Organo a guisa di Banda Militare formance of the “St. Anne” triple Fugue Saints.” Among other noteworthy works harpsichord and organ, ornamentation, che Suona una Marcia by Gherardeschi, in E-flat provides a fitting conclusion to are the Partita on Foundation, commis- with explanatory illustrations of all the again with original registration includ- the recording. The playing in the first sioned by the Blackhawk (Quad Cities) different signs drawn from the main ing the nightingale. This piece would two sections of this is fairly restrained. Chapter of the American Guild of contemporary treatises, and two tables make a great postlude if one has an Then the effect of the final section is all Organists, and Suite on Webb, which giving indications of tempo from slow to organ with the appropriate resources. the more successful in that it is not until was commissioned by Marilyn Mason fast drawn from sources of 1791 and Each piece is provided with editorial what the program notes refer to as the and premiered by her at the First Pres- 1800. A comprehensive list of primary comments and thought-provoking ques- “cosmic conclusion,” where the jaunty byterian Church in Saginaw, Michigan, source material, as well as modern edi- tions with reference to performance third subject enters, that the performer where the author of the text, George tions of major composers and antholo- practice, to facilitate the student’s really lets loose. Duffield, Jr., was a former pastor. gies, and books and articles in English, resolving difficulties for himself. Finger- I thoroughly recommend this two-CD Organists who have played Dr. Jor- completes the first section. ing is added to several pieces to illustrate set. Not only is it a pleasing and accurate dan’s works will find this a wonderful The remaining third of the volume a possible contemporary manner of tack- performance of the Clavierübung Part survey of some very beautiful and prac- contains 14 pieces taken from both con- ling tricky passages. It is a pity that there III, but it is also highly informative— tical music for church and recital use. temporary printed editions and manu- are no pieces by Padre Davide da Berg- although many of us are familiar with David Pickering is to be congratulated scripts, many being suitable for use in amo, many of whose works show the the third part of the Clavierübung to for making this CD available and cer- both liturgy and concert. A set of three descent into secularization of the start with, one comes away from listen- tainly for his sensitive interpretations. short versets by Giovanni Martini is church, and extracts from some of the ing to this recording feeling that one has My only wish is that the cathedral’s framed by opening and closing toccatas; sonatas by Martini, but there is plenty learned a great deal more about the acoustical environment matched the apart from the cantabile melody of the here to whet the appetite. music than one knew before. quality of the organ, the performer and third, the treatment is fugal, the closing Eleven illustrations are provided, —John L. Speller Dr. Jordan’s music. cadence being most unusual. An Offer- including a diagram of the short-octave St. Louis, Missouri The CD is available from Dr. David torio in F by Martini contains long-held keyboard, a map of Italy showing the old Pickering, Graceland University, 1 Uni- bass notes for the pedal in the opening provinces, a line drawing showing a versity Place, Lamoni, IA 50140 ($12, and closing sections, the lively fugal cross-section through an Italian organ David Pickering Plays Organ Music including postage and handling); central section utilizing repeated notes. case taken from a treatise of 1833. Most of Alice Jordan. Godfrey Video Ser-
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16 THE DIAPASON The Sewanee Church Music Conference 2005 Mary Fisher Landrum
Church musicians from 24 states and tions on the hymntune “Hanover.” the Virgin Islands participated in the In the university service on Sunday 55th annual Sewanee Church Music morning Schubert’s Mass in C provided Conference July 12–18 at Dubose Con- the settings of texts for the Holy ference Center in Monteagle, Ten- Eucharist. The anthem at the Offertory, nessee. Robert Delcamp, professor of “Intende voci orationis,” was also com- music, University of the South, planned posed by Schubert. All these settings and directed the conference. had orchestral accompaniment. Heading the faculty were Bruce Bruce Neswick composed the setting Neswick, organist and choirmaster of of the psalm. The service was framed by the Cathedral of St. Philip, Atlanta; Widor’s Andante sostenuto from the Harold Pysher, associate to the rector Gothic Symphony and Guilmant’s Alle- for music and liturgy at The Church of gro vivace from Sonata No. 2 played by Bethesda-by-the-Sea, Palm Beach, Choir of conferees at All Saints’ Chapel Pysher. Pysher was the organist for the Florida; and the Rev. James F. Turrell, service, and Neswick directed the choir. assistant professor of liturgics and the Liturgy” and “The Seven Deadly Litur- The service concluded with the ringing history of liturgics at the School of The- gical Sins (and what a church musician of the bells of the Leonidas Polk ology, University of the South, Sewanee. can do about them.)” Harold Pysher Memorial Carillon. In a variety of workshops Dr. Two organ recitals were highlights of Neswick covered plainchant and Angli- the week. Pysher and Neswick per- based on the hymn. Mary Fisher Landrum, a native of Indi- can chant techniques while Dr. Pysher formed on both, the first being played The 153 conferees formed the choir ana, Pennsylvania, is a graduate of Vassar demonstrated hymn playing as well as on the recently enlarged Casavant in for two services in All Saints’ Chapel. College and did graduate work at the East- man School of Music as a student of Harold anthem and psalm accompaniment. All Saints’ Chapel at the University of Evensong used George Dyson’s Magni- Gleason. She has served as college organist Keith Shafer, director and organist at St. the South. The second recital was held ficat and Nunc Dimittis. The anthem, and a member of the music faculty at Austin Paul’s Episcopal Church in Augusta, in the Chapel of the Apostles at the “Christ, mighty Savior,” by Craig College, Sherman, Texas; Sullins College, Georgia, discussed Episcopal basics that School of Theology in Sewanee. Its Phillips was commissioned for this con- Milligan College, and King College in Bristol, were especially helpful for those who focus was on hymns, sung by the audi- ference and sung during Evensong. Tennessee. For a third of a century she was are new in the Episcopal Church. ence and each followed by a solo work, Another commissioned work was organist/choir director at Emmanuel Episco- Shafer also presented new psalm set- an improvisation, or an organ duet Michael Burkhardt’s set of organ varia- pal Church in Bristol, Tennessee. tings. Mark Schweizer of St. James Press, Shafer, and Neswick led anthem- reading sessions. Neswick also demon- ANDOVER BEDIENT BERGHAUS BIGELOW BOND strated choir training and audition tech- niques with choristers from the Blair BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD Children’s Chorus of Vanderbilt Uni- versity and choristers from St. George’s Episcopal Church in Nashville. Dr. Turrell led the daily services using Rites I and II and various musical settings of liturgy. Pysher and Neswick accompanied the services on the organ. Turrell also presented a series of lec- tures on such topics as “Singing a New Song: Church Music & the Renewal of ® New Organ Music Pipe Organs - and bits from four famous fugues accompany successive entrances of the second Kyrie from the B-minor Mass. Fugue subjects comprise the prepon- derance of the thematic material but fugal writing per se is rare. The piece Not closes with a dramatic confrontation between elements of the Toccata and Fugue in d minor and the Prelude and Snob Appeal, Fugue in D Major. Julius Reubke, Orgelwerke, Der 94. Psalm (Sonate)/Trio/Adagio, edited by Günther Kaunzinger. but Schott/Universal UT 50243, $23.95 (from Theodore Presser). The good news for those who have Mass Appeal. already learned the Sonata on the 94th Psalm is that this edition contains very few additional or altered notes! Further good news is that the print is large and easy to read (43 pages compared to my Peters score containing 26 pages). For lack of an autograph copy of the score, as the editor explains, all editions must rely on the first published edition, edit- ed by Reubke’s younger brother Otto in 1871, some twelve years after Julius’s death. This means faithfulness to the original inconsistencies. The editor has in two or three places suggested correc- Pipe Organs Are for Everyone! tions that the performer will possibly have already intuited, and in several more places other notes or accents that are consistent with similar figures else- where in the piece. Other adjustments to previous editions are minor changes To receive information about pipe organs in dynamic markings. Also in this ‘com- plete works’ edition one finds a youthful A and recognized pipe organ builders organ trio, tentatively dated from the P write or call toll free 1-800-473-5270 years 1848–49, and a two-stave version, with slight modifications, of the central O or on the web @ www.apoba.com Adagio of the 94th Psalm. The original BA Associated Pipe Organ Builders of America for the latter is printed in facsimile, two handwritten pages discovered at P.O. Box 155 • Chicago Ridge, Illinois 60415
Weimar in 2004 in an album BOODY that & QUIMBY PARSONS OTT REDMAN SCHANTZ SCHOENSTEIN TAYLOR belonged to the Princess Marie von Sayn-Wittgenstein. —Gale Kramer NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON Ann Arbor, Michigan
JANUARY, 2006 17 Philadelphia Joins the Ranks—Dobson Opus 76 Joel H. Kuznik
The Kimmel Center for the Performing Arts (photo © Jeff Goldberg/Esto) Drawing (Dobson Pipe Organ Builders)
Philadelphia has joined the array of work and the largest 32v pipes were major U.S. orchestras with a concert installed to meet the hall’s opening in hall organ. With the installation of the December 2001. The tracker console Dobson organ in the Kimmel Center was installed in the summer of 2004, for the Performing Arts, Verizon Hall and the remainder of the organ was became the tenth American concert hall delivered in the summer of 2005. Instal- with a new or renovated organ since lation was completed October 1 to allow Dallas in 1992. In 2004 came Los Ange- seven months for voicing before the les, Madison, and Boston, and still to May 2006 inaugural Organ Festival. come are San Luis Obispo, Orange The organ is one of design collabora- County, and Nashville in 2007 with tions. The organ design involved the Atlanta in 2009. interaction of Lynn Dobson with the The Dobson organ is impressive in its hall’s architect, Raphael Vinoly, and the numbers: 88 registers, 111 stops, 125 acoustical engineer, Russell Johnson. ranks, and 6,938 pipes at a cost of $6.4 Several models were built by the archi- million with a planned $5 million to tect and organ builder and submitted to endow the organ, its programs, and edu- the organ committee for comment and cation. The organ weighs 32 tons and approval. The organ case is constructed took four semis to deliver. Three blow- of American black cherry and hard ers totaling 25 horsepower supply the maple with a stained and lacquered fin- organ with wind pressures ranging from ish. Some of the 32v metal pipes made of 1 4 ⁄2w to 20w, supported by 15 reservoirs. a burnished tin alloy of 83% tin and 17% The tracker-action instrument repre- lead are in the façade arranged in a sents the latest in computer technology broadly curving arc, leaning out at a 4° Dobson organ, Kimmel Center (photo: with an on-stage electric console and a angle, creating a parallel with the hall’s Evelyn Taylor) memory system of 300 levels to control balconies. Dobson console (photo: Evelyn Taylor) 48 combination pistons and 22 pedal The tonal design of the organ—its For information on the organ, go to pistons. The organ required 52,000 specification, pipe scaling, voicing treat-
Joel H. Kuznik, M.Mus., STM, had careers as a minister, college organist, professor, and For more information, visit www.MoravianMusicFestival.org business executive before retiring and becom- ing a music critic and author. In the past sev- or email [email protected]. eral years he has had 24 articles published in four journals, including a highly researched article on concert hall organs. He was also Southern Office Northern Office the lead presenter of the AGO committee for 457 South Church Street Be a part of our passion! 41 West Locust Street advocating the inclusion of a pipe organ in Winston-Salem, NC 27101 Bethlehem, PA 18018 the renovation of Avery Fisher Hall at Lin- www.moravianmusic.org coln Center, New York, scheduled to begin in (336) 725-0651 (610) 866-3340 2009.
18 THE DIAPASON The 23rd International Organ Festival at Saint Albans 2005 William Kuhlman
he twenty-third International Organ under the direction of Andrew Lucas, Trompette (1973) was written during The Sunday Evensong was exquisite- TFestival was held at Saint Albans such was the case. Hearing Messiah 998 the composer’s convalescence from a ly sung by the Men and Boys of St. Cathedral and Abbey from July 7–16, years after this grand Norman structure near-fatal illness. This seldom-played Albans featuring Shepherd’s service set- 2005. The festival, which began in 1963, was begun was a musical highlight of and extraordinary piece was well-per- ting, hymns by C. Hubert H. Parry and was the brainchild of Peter Hurford, Festival 2005. By the second chorus, formed by John Scott on the colorful C. H. Monk, and a particularly wonder- Master of Music at St. Albans from occasional problems with togetherness and powerful 75-rank Harrison & Harri- ful reading of Phillip Moore’s anthem 1958–78, who with his wife Patricia was had been rectified by Maestro Lucas, son. Two chorale preludes from “All Wisdom comes before the Lord.” inspired by the installation of the 1962 and despite the rather large forces, cho- Clavierübung III, “These Are Thy Holy One can only be impressed and filled Harrison & Harrison organ, co-designed ruses were rendered in a light buoyant Ten Commands” and “Jesus Christ Our with admiration at the precocious spirit by Peter Hurford and Ralph Downes, in style in which consonants rang out Savior,” came off nicely in clear and of this superbly trained ensemble under the cathedral. This exhilarating week of clearly and precisely. This was a visceral transparent registrations, the first lov- Andrew Lucas’ expert leadership. Con- organ, choral, multi-media, symphonic and gutsy performance—no holds ingly rendered, the second dancing sidering that this was the second service and chamber events set the City of St. barred, make no mistake about it, as the along in a great flight. Bach’s Prelude of the day for the boys, and the third in Albans abustle with activity and provided rendering of the Hallelujah Chorus well and Fugue in A minor, BWV 543, was 24 hours for the men, one can appreci- a welcome environment for visitors from proved. The singing from both soloists played with appropriate doses of free- ate the energy, talent and discipline of the U.K. and abroad. and chorus was at once elegant and con- dom and flexibility. The Mendelssohn this and other choirs like it. The amaz- trolled but enthusiastically glorious. “Andante with Variations in D” was ing feature of the St. Albans ensemble is Friday published posthumously not long after that they are not part of a choir “board- Friday’s opening event featured Sunday Mendelssohn’s death in 1847. Percy ing school” but rather are brought back David Briggs, a recent addition to the The Service of Commemoration on Grainger’s “Handel in the Strand” cer- and forth by committed and diligent New York City organ community and Sunday morning July 10 was a pro- tainly livened up the afternoon and parents for the nearly two hours of former winner of the improvisation foundly impressive service honoring the warmed Mr. Scott to the crowd. Based rehearsal each day, in addition to an competition at St. Albans in 1993. The sixtieth anniversary of the end of World in part on Handel’s tune “The Harmo- extended Friday evening rehearsal of evening was devoted to a showing of War II, which was celebrated the previ- nious Blacksmith,” it was reminiscent of over two hours. The Dean of the Cathe- Cecil B. DeMille’s silent film “The King ous week throughout the United King- a piece the great Reginald Foort may dral, the Very Reverend Dr. Jeffrey of Kings.” For almost two straight dom. Included were emotional recollec- have knocked off on one of his Sunday John, preached a fine sermon on hours, Mr. Briggs provided soaring and tions from two men and one German afternoon concerts in a town hall 60 or “Music,” pointing out that if religious majestic improvised accompaniments. woman recalling the sacrifice and horror 70 years ago. Composer Ad Wammes’ music lacks the power to ignite some- This presentation to an audience of over of war and their life experiences of sixty Miroir is a delightful minimalist piece thing inside of you beyond a nice warm one thousand proved to be the perfect years ago. Beautiful renditions by the creating a hypnotic effect akin to danc- glow, it can only be considered “reli- marriage of music to the on-screen Cathedral Choir of Men and Boys ing rays of light reflected in glass with gious wallpaper.” As usual, the organist drama. Briggs’s improvisations not only included the John Ireland anthem little wisps of melody sneaking in the Simon Johnson got a workout playing reflected but enhanced the action on “Greater Love Hath No Man” and mov- left hand part over the 140 bars of osti- nearly nonstop the entire 35 minutes screen in a dramatic and powerful way ing performances of the Walton Te nato. The rhythmically dynamic and plus the Vierne First Organ Symphony reminiscent of Dupré at times, Messi- Deum, “God Save the Queen” (sung exhilarating Fanfare by one of Scott’s opening movement for the pièce de sor- aen, Cochereau and Langlais (one of his with gusto by all), and the postlude mentors, Kenneth Leighton, concluded tie. His playing came to be highly mentors) at others. played by organist Simon Johnson, the afternoon’s program. Oddly enough, regarded throughout the festival. Bach’s BVW 548, the “Wedge.” this is a little-known and under-played An ancillary event offered to festival Saturday Former organist and choirmaster at piece in the U.K., since it was published participants and townsfolk was a perfor- Undaunted by his exhausting evening St. Paul’s, London, and more recently in America and has never been easily mance of Gilbert and Sullivan’s Trial by twelve hours prior, Briggs demonstrated appointed to a similar post at St. available in the British Isles. It was Jury, presented by the Regeneration the small three- to 12-stop pipe organs Thomas Church, New York City, John played with the affection one might Theatre Company at the old 19th-cen- on exhibition in the north transept of Scott was the second jury member in expect from Scott, a former choirboy in tury court house in the middle of town, the cathedral. Once again, he was bril- concert Sunday afternoon in St. Albans Leighton’s Wakefield Men and Boys in historic scene of many a banishment to liant, serving up a smorgasbord of Cathedral. Langlais’ La Cinquième the late 1960s. Australia in the nineteenth century for improvisations appropriate to the size and voicing of each of the nine instru- ments, some in Renaissance style, oth- ers in modern variation forms, and still others in spirited and delightful sorties à la Louis Vierne. One of the most inge- nious of all the demonstrations was improvised on two adjacent Vincent Woodstock twins of three stops each, placed at right angles to each other and played simultaneously by Briggs with one hand on each organ. The last demo was on the largest of the nine organs heard, this one by Harrison & Harrison: a spirited excursion into “Three Blind Mice” en stile Jehan Alain by a master improviser riding the crest of his tri- umph the previous evening and obvi- ously enjoying every minute of it. The final session of the morning was an illustrated talk by the cathe- dral organist at Southwell entitled “Painted Pipes Make Merrier Music” tracing the history of English organ case decoration. Ludger Lohmann, one of the com- petition jurists, played an afternoon recital on the II/26 Peter Collins “Sil- bermann Organ” at St. Saviour’s Church in town. The beautiful Romanesque lines and elegant bricked columns made for a particularly apt setting for his fine performance in a tidy acoustic—trans- parent and articulate renditions of Bach’s Pièce d’Orgue, Fantasie BWV 562, and Trio Sonata No. 5; the de Grigny Veni Creator and Mozart K. 608 were given polished and elegant read- ings as well. Evening Prayer was beautifully sung by the Men and Abbey Girls Choir directed by Simon Johnson with organ- ist James Davy. The highlight was a stunning rendition of the James MacMillan setting of Christus Vincit. Special prayers for the victims and fam- ilies of the disaster in London the previ- ous Thursday were said. Even with a chorus of 236 singers and hundreds of previously heard perfor- mances, a fresh Messiah staging can be a revelation. Heard in the bright, pre- sent acoustic of St. Albans Cathedral
JANUARY, 2006 19 petty (and not so petty) crimes. It poetry by John Donne. The celestial umphal. The Harrison & Harrison once umana stop with alluring charm; a proved to be a perfect setting for this ending of the work and the great polish again proved a worthy partner to the Cavazzoni hymn on the Principale stop, lively and energetic production by this and richness overall exuded feelings of RCM Symphony in a pleasant and which proved to be a gloriously warm young and vibrant company and lent a warmth and fondness for text brought agreeable reading of the second move- and singing sound; a Gabrieli inton- new wrinkle to the phrase “high camp.” by Victorian and post-Victorian com- ment. The third movement brought to a azione played on the ripieno or tutti posers like Harris (1883–1973). thrilling conclusion this marvelous col- sound and several other pieces showing Monday James Lancelot (Durham Cathe- laboration. off the bagpipe drone stop (the Zam- On Monday, and the other weekdays, dral) brought the evening to a thrilling Following the interval, Elgar’s Enig- pogna) and the nightingale stop (the interpretation and improvisation semi- and fitting ending of a magnificent dis- ma Variations were given a fabulous Usignolo). We were filled with admira- finals were held with nineteen competi- play of choral music at its most glorious performance by these aspiring young tion for not only the serene beauty of tors playing for the five-member inter- with Howells’s Te Deum (Collegium artists. Like our young musicians at the organ sounds displayed making national jury. Regale) written in 1944 for Boris Ord Interlochen and honors orchestras scat- these lovely pieces come alive, but the The “Three Choirs” concert on Mon- and the King’s College Choir of Men tered about America, these students will virtuosity of this young and talented day evening brought in yet another full and Boys. form the nucleus for the next generation player who seemed totally at home in house, packing the cathedral to over- of professional orchestral musicians even the quickest passages using Diru- flowing. Featured were the Men and Tuesday worldwide. When one hears groups like ta-style early fingerings (3-4, 3-4 Boys choirs of Winchester, Durham and The evening concert on July 12 by this perform so brilliantly, one can only ascending and 3-2, 3-2 descending). St. Albans cathedrals. The “Battle of the Peter Hurford and The Swingle wonder at the political or educational The York Gate Keyboard Gallery pro- Choirs” began with a beguiling rendi- Singers proved to be pleasant enough thinking that leads to elimination of vided the scene for Anne Page’s tion of Tallis’ rarely sung Loquebantur for some audience members, but was instrumental music and arts program demonstration of the two-manual varlis linguis sung from the presbytery, overall an unexciting evening of old from American public schools. Alphonse Mustel “Orgue-Celesta” from followed by a processional sung in Swingle war-horses and “signature” 1907. Ms. Page launched into a master- multi-phonic alternatim style on Iste pieces. The vocal dexterity and impec- Thursday ful mini-lecture/demonstration of the Confessor Domini interspersed with cable technique that is a Swingle trade- Thursday was the “Royal Academy of beauties and unique characteristics of organ settings by Tallis and Redford mark was marred by problems with both Music” day for those who opted to go this little-known instrument, which once again played by the masterful intonation and accuracy. Following down to London. We were greeted sprang from the spirit of 19th and early Simon Johnson. Winchester followed “spot-on” choral singing by the previ- upon arrival by David Titterington, 20th century invention employing the with a playful and spirited performance ously heard choirs, the Swingles seemed head of organ studies at the R.A.M., so-called “free reed” concept. It rose to of Byrd’s Haec dies and a vibrant setting under-rehearsed and unsure of them- who began our day in the elegant 400- the height of its popularity after the of Laudi alla beata vergine by James selves much of the time. seat Duke’s Hall with a cordial welcome industrial revolution gave rise to the MacMillan. Peter Hurford managed to bail the and outline of the day’s planned activi- middle class. Its ability to make dynam- It would seem unfair to compare the evening out of complete disaster with ties. Only the Weimar conservatory and ic changes by subtle variations in the three choirs, each with their own per- some nice performances of Orgelbüch- the Liszt Academy in Budapest are foot pumping, and a sustaining power sonality, some with a more “forward” lein favorites in two different groupings, older than the Royal Academy, founded beyond that of a piano, made it an and soprano-dominant sound, and oth- followed in each case with Swinglized in 1822. Beautiful portraiture and sculp- attractive alternative for composers like ers with all components in sync. Suffice renderings. He dashed off the “St. ture of important figureheads at the Lefébure-Wély, Franck, Bizet, Vierne it to say that Andrew Lucas’ St. Albans Anne” prelude as well as the “little” G- R.A.M. such as Sir David Lumsden, Sir and others. Composition for the instru- Men and Boys bathed us once again in minor fugue and the Alain Litanies with Henry Wood and the Wesleys adorn the ment quickly became a long-standing sumptuous choral sound in their rendi- his usual professionalism. This great side walls. Elton John was cited as a French tradition. Ms. Page has become tions of the Brahms Geistliches Lied and artist and treasure of the international graduate and a major supporter of the a true savant of the instrument. Her Michael Tippett’s setting of the Ameri- organ world celebrated his 75th birth- academy’s programs. passion for its possibilities became ever can spiritual Steal Away. The uncon- day on St. Cecilia’s Day 2005. We heard some excellent playing of more apparent with her tour de force ventional and highly difficult setting of Franck and Langlais by academy organ renditions of difficult compositions by Tippett’s Spanish fiesta-inspired Magni- Wednesday students Jessica Cottis and Joe Fort Lefébure-Wély and others. She was ficat was sung by all three choirs as the Wednesday evening brought the on the wonderful 1993 Van den Heuvel. quick to point out that this instrument first half came to a festive conclusion. Royal College of Music Junior Depart- The organ was built in the Cavaillé-Coll was never meant to be a “substitute for The piece was commissioned in 1961 ment Symphony Orchestra from Lon- style with a case modeled on the Tro- the pipe organ” but a different kettle of for the 450th anniversary of the found- don to town. The level and training of cadero case in Paris. fish altogether with possibilities beyond ing of St. John’s College, Cambridge. this fine ensemble of student musicians The David Josefowitz Recital Hall that of an organ. One of the highlights Following the interval, the boys from showed that they had the “right stuff” provided a perfect venue for the perfor- of the day was hearing the Prelude, the three choirs once again showed from the first note forward. The opu- mance of early Italian organ music by Fugue and Variation of Franck in its their stuff in a wonderfully rhythmic lence of their sound bloomed (almost the Piden Organ Fellow at the Royal original scoring for piano and harmoni- performance of the Britten Missa Bre- too much) in the rich and present Academy, Riccardo Bonci. The organ, um. The effect was extremely interest- vis. The forty-plus men of the choirs acoustic of the St. Albans nave. But a 1763 Italianate instrument, was a ing and rich in dynamic contrast. Other then dug aggressively into a gutsy and what was lacking in orchestral polish major find by the Academy. The instru- pieces by Karg-Elert and Vierne (24 forbidding setting of Gombert’s Magni- was compensated by the insatiable ener- ment, originally thought to be from Pièces en style libre) showed us how ficat Tertii et Octavi Toni. Jonathan gy, enthusiasm and obvious love for Naples, was lovingly restored in Flo- composers pushed the instrument’s pos- Harvey’s piece entitled Toccata for playing as exemplified initially in a read- rence by Riccardo Lorenzini who was sibilities to the limits. Organ and Tape from the 1980s was a ing of the wonderful occasional music undaunted by its wretched condition The afternoon offering was a master- typical genre piece from that era, from Peter Grimes by Britten. upon discovery in a Rome apartment. class at St. Marylebone Parish Church, demonstrating the undying fascination Despite some expected difficulty in The case was restored by artists in the across the street from the Royal Acade- composers had for combining the pings keeping orchestra and organ together National Gallery in Florence. The 1v my and site of a fine Rieger organ from and poofs possible by combining these due to the great spatial separation rank was discovered to be from the year 1987. Jurist Jos van der Kooy led the two sound sources. between organ and ensemble, the first 1590. A nightingale and bagpipe stops class of students from the academy Andrew Lumsden (Winchester) movement of the Guilmant Organ Sym- were added although not original to the ready to offer up pieces by Karg-Elert, brought the three choirs together a sec- phony #1, played by Jane Watts and organ. The tuning is meantone. Bach, Messiaen and Reger. Marvelous ond time in William Harris’s a cappella the Symphony under Richard Dickin’s We heard Frescobaldi’s Toccata playing by the student musicians was setting of Bring Us, O Lord God with able baton, rang dramatic and tri- Quarta (Bk. II) played on the Voce elevated by helpful and insightful com- ments by van der Kooy, who holds posi- tions at both the Grote Kerk of St. Bavo in Haarlem and the Vesterkerk in Ams- terdam. Some profoundly insightful Log On and take the tour! comments were mixed in among some wonderful “Kooy-isms” such as “open the swell box with your ears, not your feet,” “Don’t let pistons dictate your ANNUAL AND ONE-TIME COPYRIGHT silences,” and “I think birds sing very sophisticated in France” (re: Messiaen). PERMISSIONS WITH THE The evening concert entitled “The Splendour of the Baroque” featured CLICK OF A MOUSE Emma Kirkby, soprano, Jos van der Kooy, organ, and the London Baroque in a diverse program of rarely heard music from the eighteenth century. Along with works by Handel, Bach and John Christopher Smith, were two of the most delightful Soler Concertos for two organs, perfectly executed by Jos van der Kooy and Jane Watts. With the Five Arias, employing rapturous texts from Milton’s Paradise Lost and set sensitively with homage to Handel by John Christopher Smith (1712–95), all was right in the heavens. • EASY—online permission and reporting Improvisation • ECONOMICAL—based on average weekend attendance The improvisation prelims were con- • THOROUGH—your favorite songs ducted throughout the week. The given theme, Nun Danket All und bringet • CONVENIENT—includes a growing list of publishers Her, came with the instruction to exe- cute a fifteen-minute partita on it. The improvisation final on Friday morning LOG ON TODAY! WWW.ONELICENSE.NET required each player to split the 20 allowed minutes as they wished between the submitted theme (Veni
20 THE DIAPASON Creator Spiritus) and the newly com- with a very typical British-sounding posed theme by Jos van der Kooy. The march melody to the great delight of all. themes were handed to competitors 40 We thought we were at the “Proms.” He minutes before their allotted perfor- spun out a number of CHH Parry/Percy mance time. Whitlock-like variations in a rondo The first improviser was the young form, some homophonic, others more Frenchman Jean-Baptiste Dupont, imitative with small hints of Elgar’s who brought a huge, blossoming, rhyth- familiar Pomp and Circumstance tune mic and foreboding drama to his thrown in for good measure. It was just themes, not unlike the Cochereau of plain fun and a nice foil for the others old. He integrated his motivic ideas into who were “oh so moderne”! You’d have colorful textures and held the audi- thought Mr. Maus was British-born and ence’s interest right through to his bred. Maybe a week in St. Albans incredible ending. rubbed off! Gerben Mourik from the Nether- Daniel Cook of the U.K., a finalist in lands approached the themes in a much the interpretation competition, almost more subdued and restrained fashion, came up to the same high standard in building in a relatively tonal and conser- his performance of the Duruflé Veni vative style. His was a beautiful harmon- Creator established the night before. ic language with very clear exposition of Once again, he seemed in total control both themes and an excellent registra- of all aspects of the piece and gave it a tional concept. fine reading. The third contestant and an obvious Gerben Mourik, the Dutch winner audience favorite was Thorsten Maus Awards ceremony, front row (l to r): judges Jos van der Kooy, Jane Watts, Andrew of the improvisation competition, played from Germany. His was the most con- Lucas, winner of interpretation competition and prize of the audience Andrew next and in a lovely gesture to his English servative style of the three. While DeWar, judges Erwan Le Prado, John Scott, and Peter Hurford; back row: finalists hosts chose to improvise on the hymn- Maus’s harmonic language was not as Thorsten Maus, Jonathan Moyers, David Cook, Henry Fairs, Jean Baptiste Dupont, tune Michael (“All my hope on God is interesting as the first two, his compact and Gerben Mourik, winner of the improvisation competition. founded”). Once again, he gave an alto- but thorough treatment employing vari- gether splendid performance with great ous formal techniques was perhaps the room with thick walls especially hos- work on a wonderfully English-inflected inventive strokes in his theme and varia- best packaged. pitable to the bass range. Others were instrument in an ideal setting. tions and employing many different tech- somewhat more legato than current Jean-Baptiste Dupont, the French niques and formal procedures. The final recital by a jurist was played taste would condone, blurring the lines. improvisation-colorist extraordinaire, Andrew DeWar squeezed the by Erwan Le Prado from France, a Yet another played in a rather stiff, showed us once again his consummate mighty Harrison & Harrison dry in former student of André Isoir. He inflexible manner. But this was all for mastery of sound and texture. In this another tour de force reading of Reger’s presently teaches at the Conservatoire the judges to ruminate about. forum, sans a given theme upon which Phantasie für Orgel über den Choral de Caen in France. Le Prado’s Bach and The second and third pieces, from to extemporize, he was able to let his ‘Halleluja! Gott zu loben’, op. 52, no. 3, Buxtehude works were played with 1850–1970 and after 1970, were the juices flow freely and this he did right using every imaginable tonal resource great musical personality, nuance and choice of the performer. We heard well, producing gigantic explosions of available to him on this somewhat mod- sense of immediacy—by far the best Reger, Duruflé and Franck plus a wide sound to flow in alternation with the estly sized cathedral instrument. Bach playing of the week. He brought range of short pieces from Dan Locklair loveliest shimmers imaginable. Congratulations and thanks to the to the G-minor Fantasy, BWV 542, the and Thierry Escaich to Lionel Rogg and Jonathan Moyers (USA), a doctoral staff, jury, patrons, townspeople and of power it deserved in an enthusiastic and Jon Laukvik. What criticism could be student of Donald Sutherland at the course the competitors who came from energized rendition. The little D-minor applied to these gifted performers Peabody Conservatory, played once all over the globe and combined to Trio, BWV 583, seemed an apt choice to would have to do with subtle and again the Thierry Escaich Evocation II. make the week such a marvelous musi- play between fantasy and fugue since ephemeral items such as lack of “fire,” The evocation most apparent in this cal experience for all. I many of its motives bear a resemblance clarity, and use of the acoustic in rests piece written over a sometime tedious to the subject and countersubjects of and tempi, and overall control of the pedal point is the tune Freu dich sehr, o William Kuhlman is Professor of Music at 542. The fugue was played in a spirited pieces. meine Seele. Mr. Moyers gave the piece Luther College in Decorah, Iowa, where he and somewhat daring manner which, Needless to say, these were all superb as fine a reading (and perhaps better) as has taught since 1969. He is currently direc- despite its in-your-face approach, performance that would stand up well could be expected. tor of the Luther College Study Abroad pro- worked admirably in the rather dry in any recital venue. What a thrill it was Thorsten Maus from Germany, a gram located in Nottingham, England. He is acoustic of St. Saviour’s Church. to see a cathedral nearly packed with finalist in improvisation, started us off a member of Concert Artists Cooperative. The Alain Aria is one of those “less is people, rapt with attention and interest more” Alain pieces that give voice to his in what these young performers had to uniquely colorful, vivid and quirky say. imagination. The Second Fantasy of After considerably more deliberation Alain, with its haunting Arabic themes by the panel, a decision was announced. suggestive of the chant of the Muezzin First prize for interpretation and its from a minaret calling the faithful to attendant $9600 purse went to Andrew Refinement, Grandeur, prayer, whips up into a wild and DeWar of the U.K. Dewar was the sec- whirling dance, ending as it began in a ond prize winner in the 2003 competi- Delicacy, & Grace mood of secret and mysterious melan- tion and is currently pursuing studies at choly. For a Frenchman, a suite from the Musikhochschule in Stuttgart with the French Baroque seems almost Ludger Lohmann. Dewar also won the obligatory. Le Prado displayed well the “Prize of the Audience” ($900). sonorities of the school with the Guilain The second prize ($5300) went to Suite du Premier Ton on the 22-stop another Brit, Henry Fairs, a graduate 1989 Peter Collins organ built in the of the Musikhochschule in Cologne and style of Andreas Silbermann. former student of Susan Landale. The Le Prado’s final offering was Six Vari- first prize for the improvisation compe- ations sur un psaume huguenot written tition ($7000) was given to Gerben by his mentor André Isoir. This rarely Mourik of the Netherlands, currently heard piece by the 70-year-old French studying at Tilburg Conservatoire. The performing giant takes as its theme Douglas May Award ($1300) for one Psalm 92 from the Genevan Psalter. It is who is not a recipient of any other prize Isoir’s one and only published organ for the best performance of any compe- work. The amazingly intricate textures tition piece in the quarter-final and are fully exploited by the tonal palette of semi-final rounds went to Simon Bell the classical pipe organ in wonderfully of Great Britain. imaginative and unexpected ways. One Final accolades were bestowed on could hear the cross influences of con- each by town and festival officials and temporaries such as Gaston Litaize and patrons at a festive ceremony in the Oliver Messiaen. The vibrant “Final” great nave of the cathedral on Saturday brought the afternoon’s recital to a morning, followed by a recital by the dynamic and impressive conclusion. finalists in both improvisation and inter- pretation. Once again, the cathedral was Friday packed with audience members. Friday brought us to the interpreta- Henry Fairs began the concert with tion finals. The common piece to be the Elgar First Sonata opening move- played that morning was the 9/8 Prelude ment, which the judges had requested in C by Bach. All three renditions were that he perform since he had played it All Saints Episcopal Church, Atlanta, GA competent although several suffered so brilliantly during an earlier level of Raymond & Elizabeth Chenault, Music Directors from too heavy a pedal registration— the competition. It proved to be the easy to do on an organ not especially perfect choice to begin this auspicious designed to play Baroque music and in a event—a lovely rendering of this lush Member, Associated Pipe Organ John-Paul Builders of America Buzard 112 West Hill Street Pipe Organ Builders Champaign, Illinois 61820 800.397.3103 • www.Buzardorgans.com
JANUARY, 2006 21 Bruhns’s “Little” E-minor: A Guide Towards Performance Jan-Piet Knijff
Introduction builders of the time. After various Although only a handful of his organ alterations, it had 24 stops on three works survive, Nicolaus Bruhns was manuals (Hauptwerk, Rückpositiv, and undoubtedly one of the most impor- Brustwerk) and pedal in 1723. In addi- tant organists of his generation; the tion to a number of sacred cantatas, famous Bach Obituary mentions him Bruhns’s works for organ include two as one of the composers Johann Sebas- preludia in E minor, one in G major, tian took “as a model” for his own the chorale fantasy on Nun komm, der Geck. Contains the four preludia and Overview work.1 Bruhns was born less than Heiden Heiland, and an Adagio in D the chorale fantasy. Let’s start off with getting an idea of twenty years before Bach, in Decem- major (surely a fragment from a larger Although no longer in print, the fol- the whole piece. Don’t start playing ber 1665, to a family of musicians in preludium in that key, the Adagio was lowing edition can still be found in right away; just take a look at the score Schwabstedt in North Frisia. At the first published by Carus Verlag in the libraries and sometimes turns up in and see what’s going on. At the very age of 16 he went to Lübeck to study Husumer Orgelbuch, Stuttgart 2001). book sales: beginning, you will notice the pedals violin with his uncle Peter Bruhns and The authorship of the Preludium in G • Kistner & Siegel (Organum series rushing in with a dazzling solo, resulting organ and composition with Dieterich Minor, first published by Martin Geck IV, vol. 8), edited by Max Seiffert. Con- in a “drum roll” (m. 5 ff.), supported by Buxtehude. On the latter’s recommen- in 1967, remains uncertain: its only tains only the preludia in E minor and G strong off-beat manual chords. This sec- dation, Bruhns worked in Copenhagen source mentions a “Mons: Prunth” as major. tion is followed by a short Adagio (mm. for a few years, but in 1689 he the composer, and even if the last Although all four editions can be con- 10–16). Then follows an Allegro in 12/8 returned to the land of his birth to name is to be read as Bruhns, it is pos- sidered scholarly “urtext” editions in with extensive use of the echo effect. become organist at the Stadtkirche in sible that the work is Georg’s, not their own right, there are vast differ- Notice how at the end (mm. 33 ff.) the Husum. He declined an offer from the Nicolaus’s, as Barbara Ann Raedeke ences among them. As welcome and roles are inverted: the echo comes first city of Kiel to become organist there, has suggested;2 the piece is definitely “modern” as Seiffert’s editions in the this time! accepting a 25% raise in Husum much less convincing than Bruhns’s Organum series were at the time of Another short Adagio (mm. 39–46) instead. After almost exactly eight other organ works.3 their publication, they are now mostly leads to a fugue, marked Vivace (mm. years in the position, Bruhns died on outdated, sometimes because new 47–84). Take a look at the pedal and March 29, 1697, only 31 years old. He Editions sources have turned up, sometimes notice how the fugue can be divided in was succeeded by his brother Georg, Three editions of Bruhns’s organ because eighty years of scholarship (and three short sections: mm. 47–67; 67–76; who had succeeded their father in works are currently available in print: performance) have led to new conclu- and 76–84. Once again a short Adagio, Schwabstedt at the time Nicolaus was • Doblinger (Vienna & Munich, sions. Important to know is that Seiffert and we arrive at the final Allegro (mm. appointed in Husum. Georg stayed in 1993), edited by Michael Radulescu. generally supplied tempo indications; 90–105), a dialogue between soprano Husum until his death in 1742. Vol. 1 contains the preludia in G major he also generously added ties without and pedal, ending in a playful series of Nicolaus must have been an equally and E minor, vol. 2 the preludium in G telling you. The Peters edition, too, is arpeggiated chords. virtuoso organist and violinist, and the minor and two versions of the chorale now outdated. The concluding Adagio begins with story that he sometimes accompanied fantasy Nun komm, der Heiden Heiland. Klaus Beckmann’s editions of the off-beat repeated chords in the hands himself on the organ pedals while play- • Breitkopf & Härtel (Wiesbaden North German organ repertoire (his (mm. 106–110), followed by a pedal ing the violin rings true (Harald Vogel 1972), edited by Klaus Beckmann. Con- complete Buxtehude edition is best point supporting expressive harmonies. was apparently the first to suggest that tains the four preludia and the chorale known, but he also did Böhm, Lübeck, A diminished-seventh chord is empha- the arpeggio passage in the “Great” E- fantasy. A revision of this edition that Tunder, and many others) have often sized by a rhetorical pause before it minor Preludium may reflect this prac- will include the Adagio in D Major is been criticized. Given the absence of resolves into the final cadence. tice). Although Bruhns’s organ in scheduled for publication. autographs (manuscripts in the hand Husum was not particularly large, it • C.F. Peters (Frankfurt & New of the composer), Beckmann feels it is Beginning to play must have been a very fine instrument, York, 1967), originally edited by Fritz his task to establish as best a text as he Now that you have an idea of the as it was built by Gottfried Fritzsche Stein for the series Das Erbe deutscher can. In practice this often leads to piece as a whole, it’s time to start play- (1629–32), one of the foremost Musik in 1937–9, revised by Martin changes that are arbitrary at best in the ing. But, unless you’re an experienced eyes of many scholars and performers. player and a good sight reader, don’t try While Beckmann mentions everything to sight-read the whole piece at once. (or most everything) in his critical Why not start with the opening pedal commentary, the format he uses is not solo, clearly conceived for alternating particularly inviting, to say the least; toes and really not very hard to play at and if you don’t read German, the all. Play the first four measures (finish- abbreviations are practically undeci- ing of with the first notes of m. 5) and pherable. Although Beckmann’s notice how Bruhns already has told you Bruhns edition is certainly usable, you a whole story! To get an even better idea have to watch out, and better spend a of the expressive writing, try playing the couple of hours figuring out all the pedal solo as “solid” chords, either with changes he made if you want to know a hand (or both hands) or actually in the what’s actually in the source. pedal (Example 1). The edition by Michael Radulescu Now that you have the opening mea- stays much closer to the original: cor- sures under your belt, let’s take a look at rections are noted in an accessible the very end of the piece: simply sight- commentary; editorial ties are dotted read the last three measures—no big and editorial rests and ornaments put deal. Now, why not connect the begin- in brackets. The result is an edition ning four measures and the last three: that is very trustworthy but at the same after the first note in m. 5, simply jump time looks a little pedantic. An inter- to m. 117. Play this combination of esting feature is that Radulescu offers beginning and end a few times; it gives most pieces on two staves, with the you a sort of “summary” of the piece, a pedal notes on the lower staff with the “framework” to fill in the rest of the stems down. This is how an organist of music. It’s a good idea to return to your Bruhns’s (and even Bach’s) time would little “summary” regularly when work- have read virtually every organ work ing on the piece; it helps you to bear in (assuming they used staff notation), but mind the end-goal of your journey. it is probably a little unpractical for For now, continue with the opening most organists today, and there is hard- section, trying the pedal “drum roll.” ly ever any doubt as to which bass notes This works best when played mildly belong in the pedal in Bruhns. staccato (as if repeating the note at the Most organists may prefer to play same pitch). Forget whatever you may from the Beckmann edition after cor- have learned about keeping your knees recting the text on the basis of Radules- together when playing the pedals: that cu’s edition. As an alternative, I have doesn’t help very much in this kind of prepared an edition on three staves in situation. Instead, think of your right which I have made suggestions for hand knee moving out over your right foot division by assigning right-hand notes to when playing that high b. Once the the top staff and left-hand notes to the pedal part feels comfortable, try adding middle staff. Since the source is written those off-beat manual chords. You in German organ tablature (a kind of want them to be strong and expressive, letter notation), any hand division is edi- sure, but since they come on light torial anyway. The practice of indicating beats, try not to give them their exact hand division however is widely used full length (rather something like a dot- elsewhere in seventeenth-century key- ted eighth note). ORGAN HISTORICAL SOCIETY board music, and there are very few In m. 8, there is a mistake in the man- BOX 26811 RICHMOND, VA 23261 places open for serious discussion in the uscript; the most logical solution may be Order 24 Hours Daily www.ohscatalog.org “Little” E-minor. The edition will be to play quarter-note chords (as in Rad- 804-353-9226 (REAL PEOPLE 9:30 TO 5 EST MON - FRI) made available on-line, but for now, ulescu’s edition), but many organists FAX 804-353-9266 e-mail [email protected] simply contact me by e-mail if you want have become used to hearing eighth- a copy ([email protected]). note chords here (as in Beckmann),
22 THE DIAPASON and Brustwerk, respectively. The prob- (think of it as the first violins on the one lem with this is the pedal: you will prob- hand and the cellos and double basses ably need to adjust the pedal registra- on the other), why not begin with play- tion at least once (or even twice). It is ing just that dialogue, without the sup- possible, of course, to play the pedal porting chords. To get an idea of how part in the left hand (combining the things sound, you can even start off with three upper parts in the right) when playing the pedal part in the left hand. going to a quieter manual (even though However you do it, try to get a smooth Bruhns’s writing does not seem to sug- dialogue going without “waiting for the gest it). bus” at every barline. The fingering is • Add a few ornaments the second pretty obvious; the pedaling is a little time, and perhaps some more (or differ- more challenging, although there are ent ones) the third time. really not that many options. Here is my • Play on the same manual through- suggestion (Example 6). out but “think” different dynamics: real- ly strong the first time, milder the sec- ond, as light as you can the third time; or: loud at first, then more quietly, and loud again. Don’t worry too much about how the difference in sound happens; if you have a clear concept and communi- cate it to the organ the best you can, the Yes, the left foot has to leap around a result will be noticeable somehow to a bit. And yes, you have to be a little care- sensitive listener. ful to make the left-foot notes sound not Finally, a combination of two or all of too hacked (particularly the first g#). the above may be even more effective. But using heels (and, for my part, silent which does give a little change of pace. Finally, there are two incomplete Whatever you do, if you use pedals, substitution) doesn’t make things much See what you like best; it doesn’t really entries of the theme: again reserve the right hand for the easier either. In my experience, as long matter too much, and from the point of m. 76: in alto, right hand (but put the soprano and make sure to play the left as the bench is at the right height and if view of the source, you could argue left index finger on the long gv in m. 77); hand pick-up chord really light (and you let go of the idea of keeping your either way. m. 77: in soprano, right hand (with short) in order to make place for the knees together at all costs, the toe-only When arriving at the Adagio in m. 11, the thumb going under the left index right-hand f#v. Radulescu’s edition has a solution is easiest and sounds best. Here be sure to keep (approximately) the finger on the first beat of m. 78). half-note chord at the beginning of m. are some ways to play around with this same tempo by “thinking” sixteenths in This gives you the outline for the 83; this certainly needs to be shortened spot in order to get the music “into your that measure. fugue. Here, by the way, is my fingering to a quarter to make the soprano clear feet” (Example 7). for the theme (Example 3). In the (you find this kind of thing frequently in Make up your own variations! Much The 12/8 echo section pedal, once again try to avoid the heels chorale preludes by Buxtehude, for better to play around and have fun with Think of the eighths in the right hand (Example 4). example). a little tune like this than banging out as triplets; you can maintain the same While we’re at it: what is the reason the notes in the score a zillion times. tempo for this section. It’s easiest to for avoiding the heels in this kind of The Allegro While you’re playing around, try to reserve the right hand for the “triplets” music? Well, first off, it makes you look Since this section is essentially a dia- make things feel as comfortable as pos- and take all the other manual notes in good in historically informed organ cir- logue between right hand and pedals sible. If things don’t feel quite right, try the left hand. Here are some fingering cles, where the general assumption is suggestions for the first two measures that the heel was not (or very rarely) (Example 2). used in organ music up to (and includ- Using the same finger for neighbor- ing) Bach. Although we have no idea First Congregational Church ing notes helps creating a clear, slightly what virtuoso performers like Bruhns P A L O A L T O , C A L I F O R N I A detached sound. Make sure not to over- (and Bach) did in real life, most if not all do it: you don’t want the music to sound of their music can be comfortably too jumpy (at least, I don’t). If you feel played without using the heel. More really uncomfortable using this kind of importantly, it’s usually easier to get a fingering, you can easily change it, for good sound and the “right” kind of example by using a thumb on the evv touch that way. It is not true that it was before the d#vv in m. 18; just try to avoid (or is) impossible to use heels on seven- a “Romantic” legato. For the left hand, teenth-century pedals, although it’s you may find it easiest to start with the generally more difficult at the center index finger on the first two notes. The (around c) than at the extremes. If you pedal won’t give you much trouble; I find it hard to imagine that an inventive would avoid heels, simply playing right- virtuoso like Bruhns never ever in his right-left-right in m. 27. In m. 36, sim- lifetime hit on the idea of using the ply stick with the right toe; “lean” a little other part of his foot, you may want to into every note so that they don’t support your theory by pointing out m. become too short, but you still want 60 in the G-major preludium, where the them to be clearly articulated. left foot plays two neighboring six- Take your time for the manual teenths (B–c) while the right foot is oth- changes to the “echo” manual and back erwise engaged. However, using the (no matter which manual you use for heel does not make this spot particular- the echo); the little bit of time it takes to ly easy to play either! In the end it’s not get from one manual to another (and so much what you do in those excep- vice versa) actually helps making the tional cases that matters but your gener- echo effect clearer. In general, try to al approach. Image courtesy of John Miller Architects © 2005 make your movements easy and pleas- Here are some more fingering sug- ant; when it feels that way, there’s a gestions for the fugue (Examples 5a and E ARE pleased to announce the design and construction of a new pipe good chance the music will also sound 5b). In mm. 59–61, reserve the right Worgan for First Congregational Church of Palo Alto, California. The that way. hand for the top voice only, combining instrument’s two cases were penned in consultation with John Miller Architects of alto and tenor in the left hand. In mm. Mountain View and will be a significant element in the church’s redesigned The fugue 65–67, I recommend taking the three chancel. With 49 stops on electric slider windchests, the organ’s stoplist was Again, resist the temptation to sight- middle voices in the left hand, again developed in close collaboration with the church’s Assistant Music Director and read the whole fugue. Instead, pick out reserving the right hand for the top line. Organist, Joe Guthrie. The instrument is currently being constructed in our the entries of the theme first and then It’s nice to have all of your right hand to play them in the appropriate hand or shape this nice melodic line as well as workshops and will be completed during the summer of 2006. feet. Here’s how it works: possible, and to play a trill on the dotted m. 47: theme in soprano, played in quarter bv in m. 66 (see below). Orgues Létourneau Ltée the right hand; The section ends with the same two m. 50: theme in alto, left hand; measures three times (Bruhns did that m. 53: theme in tenor, left; more often, see the end of the second m. 56: theme in bass, pedals. fugue of the “Great” E-minor). What to In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie Those four entries constitute the exposi- do? Well, unless you want to be boring, Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 tion of the fugue. After an “episode,” a I wouldn’t play them the same three Washington, DC 20005-4018 Telephone: (450) 774-2698 kind of development of the motive from times. Here are some options: Toll Free: (800) 625-PIPE Fax: (450) 774-3008 m. 48, we’re back to business: • Change manuals, perhaps playing Fax: (202) 737-1818 e-mail: [email protected] m. 67: theme in alto, left hand; forte, piano, and pianissimo. On Buxte- e-mail: [email protected] www.letourneauorgans.com m. 70: theme in tenor, left; hude’s organ, the manuals would proba- m. 73: theme in bass, pedals. bly have been Hauptwerk, Rückpositiv,
JANUARY, 2006 23 to adjust the height of the bench just a little or to move it back or forward a bit; small things can make a huge difference. Become sensitive to the way you move and try to find ways to make it easier for you. One finger is crucial to keep you going: no matter what finger you’re using right before it (chances are it’s a thumb or else the index), put your little pinky on the third beat in m. 97. When adding the chords to the sopra- no-bass dialogue, make sure not to make the quarter notes too long. The eighth- note pick-ups can be nice and short (without making them too jumpy, of course). In m. 104, the manuscript has gvv fol- suggests a bit of a diminuendo. But if lowed by f#v. Clearly, the two notes must you don’t like putting the middle finger be in the same register. It’s really up to over the index, simply put a thumb on what you think sounds best and/or the last note of the trill. (start with the main note) or whether on an organ similar to Bruhns’s). makes most sense here (Beckmann goes Most of the trills I have suggested you want to incorporate the preceding It could be nice if the fugue is a little for high, Radulescu for low). here start with the main note. But isn’t sixteenths in the trill (start with the quieter than the first and last sections; At the beginning of the last Adagio, there some kind of rule that trills in upper note). you could use a slightly lighter pleno or imagine the repeated chords as played Baroque music always start with the even principals 8+4+2, for example; of on one bow by a group of string players, upper note? Well, yes, but that’s one of More ornamentation: the Adagios course, you would have to lighten the and remember they’re off-beat, and those gross oversimplifications of popu- The four Adagio sections, with almost pedal, probably by taking off the reed(s) therefore light (Example 8). larized historically informed perfor- exclusively whole notes and half notes, and perhaps the mixture. M. 85 could be mance practice. In the seventeenth may sound lovely the way they are writ- a place to go back to a bigger registra- century, main-note trills seem to be the ten—they would probably be considered tion, with further opportunities for a rule, although upper-note trills certain- an opportunity for (quite) extensive crescendo in m. 90 (marking the begin- ly exist, and apparently became quite ornamentation by any performer of ning of the Allegro), m. 106, and m. 117. fashionable in France in the second half Bruhns’s time. How much and what of the century. A rule of thumb: if the exactly you want to do is ultimately up to Tempo Ornaments note with the trill is itself consonant, you, but here are some ideas for mm. The tempo of any performance of In a number of places, this music start with the upper note; but if the 10–16 (Example 12). any piece of music depends on many needs ornamentation to be at its best, note itself is dissonant, then start with With these ideas as a basis, try to factors including the acoustics of the either simple or more elaborate. The the main note. In both cases, the first work something out for the other sec- hall, the time of the day, and without a soprano d in m. 10 needs a trill which note of the trill is dissonant, creating tions. Bear in mind that the ornamenta- doubt the mood of the performer. would probably best start with the main that nice little bit of friction. Also, if the tion is supposed to make the music Many compositions can sound surpris- note, although starting with the upper note immediately before the trill is more expressive, not to show off your ingly convincing at very different tempi; note e is certainly a possibility (see already the upper note, you may not virtuosity or to emulate the composer. the most important thing is that the below). In m. 39, the long d in the pedal want to repeat it as the beginning note Try not to write your ornaments down, tempo feels right to you! Nonetheless, followed by the written-out turn cries of the trill. but instead play around with as many here are some metronome markings for out for a virtuoso, long trill, something If you want to add a trill on the sopra- different ideas as you can come up with. the piece; take them for what they are: like Example 9, or perhaps Example 10. no d#vv in m. 85 (which would sound Ideally, your ornamentation is going to a ballpark indication. In mm. 66 and 75 of the fugue, the dot- very nice), consider starting with the be different from performance to per- Beginning: ~66 ted quarter in the soprano sounds best upper note. A trill on the soprano bv on formance! In the final Adagio, Bruhns 12/8: ~60–66 with a simple trill, starting with the main the second beat of m. 97 could go either uses imitation: the chromatic line Fugue: ~60 note, something like this (Example 11). way, as long is the trill is short. The a–g#–g–f# appears in the soprano (m. Allegro: ~96 The suggested fingering helps to cre- soprano cvv on the last beat of m. 100 111), tenor (m. 113) and, sort of, in the ate a nice, clear trill; the articulation could also go either way, depending on bass (m. 115). In order to bring out the Discography before the turn actually sounds good and whether you want to emphasize the cvv imitation, you may want to use similar Finally, for CD collectors, the follow- ornaments for both the soprano and the ing recordings of Bruhns’s complete tenor line. organ works may be worth considering: • Piet Kee: Bruhns and Buxtehude. Registration Roskilde Cathedral, Denmark. Chandos Large-scale pieces like preludes and CHAN0539. toccatas are played with an organo • Lorenzo Ghielmi: Bruhns, Buxte- pleno registration: principals 8v, 4v, 2v, hude, and Brunckhorst. Basilica San 2 mixtures, the Quint 2 ⁄3v if there is one, Simpliciano, Milan, Italy. Winter & and perhaps a flue stop 16v in the man- Winter 910 070-2. I uals (Bruhns might have used his Quin- tadena 16v), and the same plus reeds in Notes v 1. See for example Hans David and Arthur the pedals (use at least a Posaune 16 if Mendel (eds.), The New Bach Reader (New York: you have one). You can add an 8v flute Norton, 1998), 300. stop in the hands to make the sound a 2. Barbara Ann Raedeke, “The Organ Works of bit fuller, but avoid throwing in tons of Nicolaus Bruhns: A Study of Form, Style, and Per- formance Practice” (D.M.A. diss., University of 8v and 4v stops; that tends to make the Rochester, 1983), 120. sound muddy. You probably want a 3. A student of mine at the Aaron Copland really big pedal registration for the solo School of Music at Queens College/CUNY, who had previously learned the “Little” E-minor, thought it at the beginning; if the pedal is not loud “blatantly obvious” that the Preludium in G Minor enough by itself, couple to one (or was not by Bruhns. (She decided to learn the more) of the manuals. “Great” E-minor instead.) The question is to what extent you want to vary registration for the vari- Jan-Piet Knijff teaches organ and chamber ous sections of a piece like this. Obvi- music and is organist-in-residence at the ously, you will need an echo manual Aaron Copland School of Music at Queens for the 12/8 section. You sometimes College/CUNY. He holds the Doctor of Musi- hear this section with a “small” regis- cal Arts degree from The City University of tration (8+4+2, or 8+4+1, or some- New York as well as the Artist’s Diploma from thing like that) and something like the Conservatory of Amsterdam and is an flutes 8+2 for the echo. As always, Associate of the American Guild of Organists. He won both first prize and the Audience much depends on the organ and the Prize at the International Bach Competition particular situation, but I like to use at Lausanne, Switzerland. His organ teachers least a small pleno for this section with have included Piet Kee, Ewald Kooiman, and a few stops for the echo (which could Christoph Wolff. Visit his website at effectively be played on the Brustwerk
1184 Woodland St. SW, Hartville, Ohio 44632 330-966-2499 www.keggorgan.com
24 THE DIAPASON Cover feature
Cornel Zimmer Organ Builders, Denver, North Carolina North Decatur Presbyterian GREAT (Unenclosed, Manual II) Church, Decatur, Georgia 16v Double Diapason (WTC) At the corner of Medlock Road and 8v Open Diapason (61 pipes) Scott Boulevard stands a unique struc- 8v Second Diapason (WTC) ture prompting more than just a few 8v Bourdon (61 pipes) passersby to take a second glance. The 8v Harmonic Flute (61 pipes) congregation of the church is also 4v Octave (61 pipes) 4v Spitzflöte (WTC) unique in many ways, yet with a story 2 2 ⁄3v Twelfth (WTC) reminiscent of countless other congre- 2v Super Octave (61 pipes) gations throughout the country. 3 1 ⁄5v Seventeenth (WTC) 1 When the present sanctuary was 1 ⁄3v Mixture IV (244 pipes) built, an electronic organ was purchased 16v Bombarde (WTC) with the dream of installing a grand pipe 8v Trumpet (WTC) organ in the not-too-distant future. In 8v French Horn (Choir) the same vein as a host of other congre- 8v Festival Trumpet (WTC) gations, money needed for a pipe organ (non-coupling) 8v Tuba Mirabilis (Choir) was diverted to other, more pressing 4v Clarion (WTC) needs. When its fiftieth anniversary Tremulant drew near, however, the members of Chimes (WTC) North Decatur found the impetus they needed to fulfill their long-awaited SWELL (Expressive, Manual III) dream for a pipe organ, thanks to a suc- 16v Lieblich Gedeckt (WTC) cessful “Play Your Part” fund-raising 8v Diapason (61 pipes) campaign. 8v Rohrflöte (61 pipes) 8v Viole de Gambe (61 pipes) To replace the aging electronic organ, 8v Voix Celeste (WTC) the church chose Cornel Zimmer Organ 8v Flute Celeste II (WTC) Builders of Denver, North Carolina to 4v Prestant (61 pipes) build and place an all-new pipe/digital 4v Triangle Flute (WTC) organ in the rear gallery of their sanctu- 2v Waldflöte (61 pipes) ary. Placed high on the axis of the 2v Plein Jeu IV (WTC) church and speaking directly down the 16v Double Trumpet (WTC) nave, the organ enjoys prime place- 8v Trompette (61 pipes) 8v Oboe (WTC) ment. In preparation for the organ, the 8v Festival Trumpet congregation removed all of the carpet (non-coupling) in the balcony and much of the carpet in 8v Vox Humana (WTC) the nave and chancel. In place of the 4v Clairon (WTC) carpet, hard surface flooring was added, Tremulant affording the organ even greater tonal Zimbelstern (WTC) egress. Heat buildup in the peak of the Swell to Swell 16v church, an unfortunate side effect of the Swell Unison Off unique architecture, was alleviated with Swell to Swell 4v a new exhaust system, drawing the hot CHOIR (Expressive, Manual I) air away from the organ. 16v Gemshorn (WTC) Given the budget and space limita- 8v Principal (WTC) tions of the church, Cornel Zimmer 8v Holzgedeckt (WTC) Organbuilders set about designing an 8v Gemshorn (WTC) organ that would serve many roles, 8v Gemshorn Celeste (WTC) including accompanying congregational 8v Erzahler Celeste II (WTC) 4v Octave (WTC) singing, choral accompaniment, and use 4v Koppelflöte (WTC) as a recital instrument. A three-manual 2 2 ⁄3v Nazard (WTC) specification was designed with founda- 2v Superoctave (WTC) tion pipe ranks in the Swell, Great and 2v Piccolo (WTC) 3 Pedal. 1 ⁄5v Tierce (WTC) The façade is taken from the Pedal 1v Scharff III (WTC) 16v and 8v principals, with the Great 16v Basset Horn (WTC) division located above the swell box. 8v Petite Trompette (WTC) 8v English Horn (WTC) The Great division includes a number of 8v French Horn (WTC) full-length 8v stops giving the organ a 8v Cromorne (WTC) rich, singing foundation. The First 8v Festival Trumpet Open Diapason is a broad scale, while (non-coupling) the Second Open Diapason is of lesser 8v Tuba Mirabilis (WTC) scale and volume, yet it still provides the Harp (WTC) foundation necessary to be used with Tremulant the upperwork of the principal chorus. Choir to Choir 16v v Choir Unison Off Also on the Great is an 8 Flute Har- Choir to Choir 4v monique, playing dual roles as a founda- tion and a solo stop. PEDAL (Unenclosed) The Swell division contains a princi- 32v Contra Bourdon (WTC) pal chorus as well as many other stops 16v Principal (32 pipes) useful for accompanying the sizable 16v Subbass (WTC) choir that co-inhabits the rear gallery 16v Double Diapason (Great) with the organ. The Choir division com- the Tuba speaking from the main organ Builders’ pipemaker, Tommy Linder, as 16v Lieblich Gedeckt (Swell) 16v Gemshorn (Choir) prises digital stops and is at home with in the balcony and the Festival Trumpet well as pipework from A.R. Schopp’s 8v Octave (32 pipes) the main organ. The organist is also speaking from high in the chancel arch- Sons, Inc. in Alliance, Ohio and Luc 8v Bass Flute (WTC) given the option of playing the Choir way. Two 32v reeds prove useful in both Ladurantaye Tuyautier Inc. of Lac 8v Lieblich Gedeckt (Swell) division antiphonally through an inde- accompanying and solo works. The Con- Saguay, Quebec, Canada. George Zong 4v Choral Bass (12 pipes) pendent audio system in the front tre Basson is enclosed with the Swell and David Caldwell built the console 4v Triangle Flute (Swell) transept of the church. This option division, giving it greater flexibility. and casework, incorporating special 4v Harmonic Flute (Great) 2 proves very useful for accompanying The windchests of this organ utilize accents found throughout the room, and 2 ⁄3v Mixture IV (WTC) congregational singing, as well as allow- individual electro-pneumatic note Eric Molenaar oversaw the wiring of the 32v Contre Bombarde (WTC) 32v Contre Basson (WTC) ing for a myriad of dialogue effects with actions, affording greater versatility in organ. Marty Lemons matched the fin- 16v Trombone (WTC) the main organ. Given the importance pipe layout as well as borrowing stops ish for the new organ precisely with the 16v Bombarde (Great) of these tasks, the Choir division was into the Pedal. In diatonic arrange- finish found on the existing woodwork 16v Double Trumpet (Swell) designed to be a sizable, yet complete ments, the C and C# sides of adjacent in the room. Jim Twyne oversaw the 8v Trumpet (WTC) division incorporating a principal chorus stops can be reversed to promote tonal finishing of the organ with assis- 4v Clarion (WTC) with mixture, mutations, reeds and greater tuning stability. Wooden tance from Mike Rathke and Nathan 4v Bassett Horn (Choir) celestes. windtrunks and ample reservoirs assure Bryson. Cornel and Anne Zimmer Of special note are the many colorful a steady wind supply even under the designed the organ and oversaw the WTC = Walker Technical Co. digital voices Total ranks: 73 reeds incorporated into all the divisions greatest demands. management of the project. A special Pipe ranks: 17 of this organ. Chorus reeds speaking 16v This versatile organ is voiced to fill the thanks is also in order to both David Digital ranks: 56 8v and 4v pitch are found in the Great, room with rich sound, which envelops Bothwell and organist/choirmaster Swell and Pedal, complementing the the congregation, allowing it to sing with Jamie Shiell of North Decatur Presby- Photo Credit: Brian C. Robbins flue choruses and numerous color reeds complete freedom. Whether people are terian Church for their valuable input (www.brphoto.com) found in the Choir division. The diversi- seated in the nave, gallery or chancel, on this project. ty of reed stops available to the organist the organ is never overpowering. —Nathan Bryson, with input from allows for a dramatic layering effect. The organ incorporates all new Cornel Zimmer and Jim Twyne Two solo reeds are also incorporated: pipework from Cornel Zimmer Organ
JANUARY, 2006 25 New Organs
Orgues Létourneau Limitée, mechanical key action. The stop action Saint-Hyacinthe, Québec, Canada, is electric and boasts a 16-level piston Opus 93 capture system by Solid State Organ The Abbey of Gethsemani, Systems of Alexandria, Virginia. Trappist, Kentucky —Andrew Forrest With roots tracing back to the 11th Orgues Létourneau Limitée century Cistercian monks in France, the Saint-Hyacinthe, Québec Abbey of Gethsemani was first estab-
Bedient Pipe Organ Company, Roca, Nebraska Opus 71, Amistad Chapel, United Church of Christ Church House, Cleveland, Ohio Opus 71, a Phoenix model from our Legacy Line, is a modest instrument with grand tonal possibilities. It is designed to lead liturgy, hymn singing and to play a significant amount of organ literature. Eighteenth- and 19th-centu- Façades ry organs of France and Germany inspire the design of the organ. The organ case is constructed of Consoles Honduras mahogany and includes dec- orative pipe shades of iroko wood. The twenty-three pipes in the façade are Control speaking pipes and part of the Princi- Systems pal 8v stop. Their mouths are gilded with 23-karat gold leaf. The keyboard naturals are covered with blackwood, and the accidentals are of white maple. Digital The pedal keys are made of oak, and Extension the accidentals are capped with moradillo. Voices The fourteen sets of pipes in the organ produce twelve individual stops Sounds like art and total 807 pipes. The custom- designed iroko wood pipe shades incor- porate maritime elements reflecting R.A. Colby, Inc. African captives’ revolt during transport Post Office Box 4058 to the United States on the slave ship, Johnson City, TN 37602 Amistad. —Gene Bedient 423.282.4473 Fax 423.928.5212 GREAT SWELL (enclosed) PEDAL Couplers www.racolby.com 8v Principal (tc) 8v Salicional 16v Subbass Great/Pedal 4v Octave 8v Gedackt 8v Flute Swell/Pedal 2v Octave 4v Spitzflute Swell/Great II Sesquialtera 2v Flute II–III Mixture 8v Trumpet Treble Tremulant 8v Cromorne Bass
26 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Jean-Guy Proulx & Jacquelin Rochette; Pickle Piano & Church Organs Brick Presbyterian Church, New York, NY 8 pm This calendar runs from the 15th of the month Bloomingdale, IL of issue through the following month. The deadline Cathy Rodland; Church of St. Louis, King of is the first of the preceding month (Jan. 1 for France, St. Paul, MN 12:35 pm Feb. issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped 25 JANUARY within each date north-south and east-west. •=AGO Dong-ho Lee; Dwight Chapel, New Haven, chapter event, • •=RCCO centre event, +=new CT 12:30 pm organ dedication, ++= OHS event. Information cannot be accepted unless it spec- 26 JANUARY iſes artist name, date, location, and hour in writ- Donald Ingram & Eugene Tobey; Trinity ing. Multiple listings should be in chronological Church, Vero Beach, FL 12:10 pm order; please do not send duplicate listings. THE DIAPASON regrets that it cannot assume responsi- 27 JANUARY bility for the accuracy of calendar entries. John Scott; St. Paul’s Episcopal, Greenville, NC 7:30 pm Paul Jacobs; Christ Church (Episcopal), Pensacola, FL 7:30 pm UNITED STATES Cj Sambach; Holy Family Church, Flint, MI East of the Mississippi 7:30 pm Olivier Latry; House of Hope Presbyterian, St. Paul, MN 8 pm 15 JANUARY Mirian Conti, piano; All Saints’ Episcopal 28 JANUARY Church, Wolfeboro, NH 2 pm Choral Evensong; Grace Church, New York, Kendall Crilly; Battell Chapel, New Haven, NY 4 pm CT 8 pm John Scott, masterclass; St. Paul’s Episco- Choral concert; St. Bartholomew’s, New York, pal, Greenville, NC 9 am NY 3 pm Marilyn Keiser, workshop, masterclass and Mark Trautman; Christ Church, New keynote address; Church Music Conference, Brunswick, NJ 6:30 pm Moody Music Building, University of Alabama, Brink Bush; Washington National Cathedral, Tuscaloosa, AL 10 am Washington, DC 5 pm Marilyn Keiser; Byrnes Auditorium, Winthrop 29 JANUARY University, Rock Hill, SC 3 pm Heinrich Christensen, with soprano; King’s Kevin Komisaruk; St. Philip’s Cathedral, Chapel, Boston, MA 5 pm Atlanta, GA 3:30 pm Super Bell XIV; First Church of Christ, Bradley Hunter Welch; First Presbyterian Wethersſeld, CT 4 pm Church, Nashville, TN 4 pm Angela Garvey; Christ Church, New Julien Bret; St. James Episcopal Cathedral, Brunswick, NJ 6:30 pm Chicago, IL 4 pm Roger Kurtz; Holy Trinity Lutheran, Lancast- John Behnke; Concordia University, er, PA 4 pm Mequon, WI 3:30 pm David Leahey; Washington National Cathe- dral, Washington, DC 5 pm 17 JANUARY Frederick Hohman; Duke University Chapel, Heinrich Christensen; King’s Chapel, Durham, NC 5 pm Boston, MA 12:15 pm Thomas Murray; Jacoby Hall, Jacksonville, Tom Ferry; Church of St. Louis, King of FL 3 pm France, St. Paul, MN 12:35 pm Ken Cowan; Christ Church, Pensacola, FL 4 pm 19 JANUARY Olivier Latry; Hyde Park Community United David Shuler; St. Luke in the Fields, New Methodist, Cincinnati, OH 4 pm York, NY 8 pm Cj Sambach, INformance; Woodside Church, Mozart, Mass in c; Church of St. Ignatius Loy- Flint, MI 11:30 am ola, New York, NY 8 pm Atlanta Baroque Orchestra; Peachtree Road Todd Wilson; Furman University, Greenville, United Methodist, Atlanta, GA 3 pm SC 8 pm Mitchell Weisiger; St. Philip’s Cathedral, Judith Taylor; Trinity Church, Vero Beach, Atlanta, GA 3:30 pm FL 12:10 pm H. Ricardo Ramirez; St. Mary of the Lake Catholic Church, Gary, IN 3 pm 20 JANUARY Ralph Johansen; Church of St. Louis, King +Todd Wilson; Furman University, of France, St. Paul, MN 12:35 pm Greenville, SC 8 pm Choristers’ Guild Hymn Festival; Peachtree 31 JANUARY Road United Methodist , Atlanta, GA 7:30 pm Cameron Carpenter; Central Synagogue, Alan Morrison; Music Center, St. Petersburg New York, NY 12:30 pm College, St. Petersburg, FL 7:30 pm Ralph Johansen; Church of St. Louis, King of France, St. Paul, MN 12:35 pm 21 JANUARY Andrew Pester; Dwight Chapel, New Haven, 1 FEBRUARY CT 8 pm Jieun Newland; Woolsey Hall, Yale Universi- Aaron David Miller; St. Giles Episcopal, ty, New Haven, CT 12:30 pm Northbrook, IL 8 pm Children’s concert; Peachtree Road United Bradley Hunter Welch; St. Norbert Abbey, Methodist, Atlanta, GA 6:45 pm De Pere, WI 2 pm 2 FEBRUARY 22 JANUARY Andrew Walker; Trinity Church, Vero Beach, Scott Warren; Church of St. Ignatius Loyola, FL 12:10 pm New York, NY 4 pm Craig Phillips; St. Mary’s Cathedral, Mem- Stefan Kuechler; Cathedral of St. Patrick, phis, TN 7:30 pm New York, NY 4:30 pm Gavin Black; Christ Church, New Brunswick, 3 FEBRUARY NJ 6:30 pm Craig Cramer; Wallace Memorial Chapel, West- Christopher Anderson; Washington Nation- minster College, New Wilmington, PA 7:30 pm al Cathedral, Washington, DC 5 pm John Weaver; St. Paul’s Episcopal, Wilming- Vera Kochanowsky & Thomas MacCrack- ton, NC 7:30 pm en, pianoforte, Mozart’s 250th Birthday Concert; Charlie Steele; Brevard-Davidson River Old Presbyterian Meeting House, Alexandria, Presbyterian, Brevard, NC 7:30 pm VA 4 pm Aaron David Miller, with Toledo Symphony; Antone Godding Bruce Neswick; St. Brigid Church, Alpharet- Peristyle Auditorium, Toledo, OH 8 pm, also 2/4 Nichols Hills ta, GA 2 pm United Methodist Church Gail Archer; St. Philip’s Cathedral, Atlanta, 4 FEBRUARY O GA 3:30 pm, Evensong at 4 pm Richard Benefield; Adolphus Busch Hall, klahoma City Todd Wilson; The Lutheran Church of the Harvard University, Cambridge, MA 8 pm, also Redeemer, Atlanta, GA 7 pm 2/5 at 3 pm Diane Bish; Trinity Church, Vero Beach, FL 3 Beethoven, Symphony No. 9; Woolsey Hall, LORRAINEAINE BRUGH, Ph.D. pm Yale University, New Haven, CT 8 pm LORRAINELORR BRUGH, Ph.D. Frederick Swann; First United Methodist, Sonia Kim; Dwight Chapel, Yale University, Birmingham, MI 7:30 pm New Haven, CT 8 pm Margaret Kemper; St. Chrysostom’s, Chica- •Suffolk County Childrens Choir; St. Peter’s- Associate Professor go, IL 2:30 pm by-the-Sea Episcopal, Bay Shore, NY 3 pm University Organist Craig Cramer, masterclass; Will Orr Auditori- 23 JANUARY um, Westminster College, New Wilmington, PA Dan Locklair, with percussion, recorder, and 10 am Valparaiso University ƀute; Wake Forest University, Winston-Salem, •Peter DuBois, masterclass; Holy Family RC Valparaiso, IN NC 8 pm Church, Hilton Head, SC 10 am www.valpo.edu Merlin Lehman; Elliott Chapel, The Presby- terian Homes, Evanston, IL 1:30 pm 5 FEBRUARY Choral Evensong; Grace Church, New York, 219-464-5084 24 JANUARY NY 4 pm [email protected] Kirk Adsett; Central Synagogue, New York, Lawrence Strohm & Marija Strohm; Cathe- [email protected] NY 12:30 pm dral of St. Patrick, New York, NY 4:30 pm
JANUARY, 2006 27 Bach, Cantata 82; Holy Trinity Lutheran, New 14 FEBRUARY York, NY 5 pm David Higgs, masterclass; Central Syna- Choral Evensong; St. Bartholomew’s, New gogue, New York, NY 10 am, recital 12:30 pm York, NY 5 pm Sarah Carlson; St. Luke’s Chapel, Medical Witold Zalewski; Holy Trinity Episcopal, New University of SC, Charleston, SC 12:15 pm York, NY 4 pm Ben van Oosten, masterclass; Finney Choral Evensong; Christ Church, New Chapel, Oberlin College, Oberlin, OH 7 pm Brunswick, NJ 6 pm Anthony & Beard; St. Simons Presbyterian, Gillian Weir; Trinity Evangelical Lutheran, St. Simons Island, GA 8 pm Lansdale, PA 4 pm Simply Gershwin; Wisconsin Lutheran Col- Solemn Choral Vespers; Cathedral of Mary lege, Milwaukee, WI 7:30 pm Our Queen, Baltimore, MD 5:30 pm Robert Vickery; Church of St. Louis, King of Brian Jones Ensemble Gaudior; Old Presbyterian Meeting France, St. Paul, MN 12:35 pm Director of Music Emeritus House, Alexandria, VA 4 pm Peter DuBois; Holy Family RC Church, Hilton 15 FEBRUARY TRINITY CHURCH Head, SC 4 pm Cj Sambach, INformance; Westminster Pres- Cj Sambach; First United Methodist, Ft. byterian, Albany, NY 9:30 am, 1 pm BOSTON Myers, FL 3 pm Gail Archer; Holy Apostles Church, New Olivier Latry; Severance Hall, Cleveland, OH York, NY 8 pm 3 pm Ben van Oosten; Finney Chapel, Oberlin Stephen Buzard; St. Philip’s Cathedral, College, Oberlin, OH 8 pm Atlanta, GA 3:30 pm, Evensong at 4 pm Gerre Hancock, improvisation workshop; Hymn festival; St. Lorenz Lutheran, Franken- Knowles Chapel, Rollins College, Winter Park, muth, MI 4 pm FL 3:30 pm Choral concert; Independent Presbyterian, Birmingham, AL 4 pm 16 FEBRUARY Bradley Hunter Welch; First United Voces Nordicae; St. Bartholomew’s, New Methodist, Montgomery, AL 3:30 pm York, NY 7:30 pm Choral Evensong; St. James Cathedral, Choral concert; St. Luke in the Fields, New Chicago, IL 4 pm York, NY 8 pm Gerre Hancock; Knowles Chapel, Rollins DAVID K. LAMB, D.MUS. 6 FEBRUARY College, Winter Park, FL 7:30 pm Paul Bisaccia, piano; Avery Heights, Hart- Douglas Cleveland, masterclass; Mees Hall, Director of Music/Organist ford, CT 7:30 pm Capital University, Columbus, OH 1 pm Marilyn Biery; Cathedral of St. Paul, St. Paul, First United Methodist Church 7 FEBRUARY MN 7:30 pm Columbus, Indiana Dennis James; Portland City Hall, Portland, 812/372-2851 ME 7:30 pm 17 FEBRUARY Frederick Teardo; Central Synagogue, New Cj Sambach; Westminster Presbyterian, York, NY 12:30 pm Albany, NY 7 pm Robert Nienaber; Church of St. Louis, King Marek Kudlicki; Church of the Ascension, of France, St. Paul, MN 12:35 pm Clearwater, FL 7:30 pm Douglas Cleveland; Mees Hall, Capital Uni- JAMES R. METZLER 8 FEBRUARY versity, Columbus, OH 7:30 pm Renée Louprette; St. Ignatius Loyola, New Choral concert; First Presbyterian, Birming- TRINITY CATHEDRAL York, NY 7 pm ham, MI 7:30 pm LITTLE ROCK Choral concert; St. Ignatius Loyola, New York, NY 8 pm 18 FEBRUARY Joseph Gramley, percussion; Independent Alistair Nelson; Battell Chapel, Yale Univer- Presbyterian, Birmingham, AL 6:30 pm sity, New Haven, CT 3 pm Timothy Weisman; Dwight Chapel, Yale Uni- 9 FEBRUARY versity, New Haven, CT 8 pm Colin Redekop; Trinity Church, Vero Beach, Missa Gaia; St. Bartholomew’s, New York, FL 12:10 pm NY 2 pm, 4:30 pm Lynn Trapp; Cathedral of St. Paul, St. Paul, Marvin Mills, with Ritz Chamber Players; MN 7:30 pm Church of the Good Shepherd, Jacksonville, FL 8 pm 10 FEBRUARY Motet Choir; Rockefeller Chapel, Chicago, IL Pierre Pincemaille; St. Paul’s Episcopal 8 pm Cathedral, Buffalo, NY 7:30 pm Nigel Potts; St. Stephen’s Episcopal, Golds- 19 FEBRUARY boro, NC 7:30 pm Abbey Siegfried; St. Michael’s, Marblehead Carolina Baroque; St. John’s Lutheran, Salis- MA 5 pm bury, NC 7:30 pm Jason Roberts; First Church of Christ, The King’s Singers; Oberlin College, Oberlin, Wethersſeld, CT 7 pm OH 8 pm Robert Grudzien; St. Paul’s Chapel, Colum- Organized Rhythm; Independent Presbyter- bia University, New York, NY 4 pm ian, Birmingham, AL 7 pm David Rogers; Cathedral of St. Patrick, New John Paradowski, children’s concert; St. York, NY 4:30 pm Raphael Catholic Church, Naperville, IL 7 pm Bach, Cantata 18; Holy Trinity Lutheran, New Todd Wilson; Benson Great Hall, Bethel Uni- York, NY 5 pm versity, St. Paul, MN 7:30 pm Nigel Potts; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 11 FEBRUARY Ben van Oosten; Brick Presbyterian, New Choral concert; Church of St. Joseph, York, NY 8 pm (lecture by Jean-Louis Coignet at Bronxville, NY 7 pm 7 pm) Alan Morrison, masterclass; The Cathedral Bradley Althoff; Christ Church, New Church of St. Luke, Orlando, FL 10 am Brunswick, NJ 6:30 pm, Vespers at 6 pm Valerie Lefever; Holy Trinity Lutheran, Lan- 12 FEBRUARY caster, PA 4 pm Colin Lynch; Woolsey Hall, Yale University, Trey Clegg; St. Philip’s Cathedral, Atlanta, New Haven, CT 8 pm GA 3:30 pm, Evensong at 4 pm Marek Kudlicki; St. Vincent Ferrer Catholic VocalEssence; Ordway Center, St. Paul, MN Church, New York, NY 4 pm 4 pm Bach, Cantata 84; Holy Trinity Lutheran, New York, NY 5 pm 20 FEBRUARY The South Mountain Chorale; Our Lady of Ben van Oosten, masterclass; Brick Presby- Sorrows, South Orange, NJ 3 pm terian, New York, NY 9 am Christopher Jennings; Christ Church, New Jean Galard; Brick Presbyterian, New York, Brunswick, NJ 6:30 pm, Vespers at 6 pm NY 4:15 pm Nigel Potts; Centenary United Methodist, Stephen Cleobury New Bern, NC 3 pm , keynote lecture, open Alan Morrison; The Cathedral Church of St. choral rehearsal and choral Evensong; McCal- Luke, Orlando, FL 4 pm lum Ballroom, Rhodes College, Memphis, TN John Weaver; Broad Street Presbyterian, Columbus, OH 4 pm 21 FEBRUARY Ken Cowan; Worthington United Methodist, Margaret Angelini; King’s Chapel, Boston, Worthington, OH 4:30 pm MA 12:15 pm Chanson; Boatman Chapel, Union College, Adam Koch; Central Synagogue, New York, Barbourville, KY 2:30 pm NY 12:30 pm Alvin Blount; St. Philip’s Cathedral, Atlanta, Greg Homza; St. Luke’s Chapel, Medical Uni- Cathedral Church of St. John GA 3:30 pm, Evensong at 4 pm versity of SC, Charleston, SC 12:15 pm Albuquerque, New Mexico Craig Cramer; Wabash College Chapel, Judy Campen; Church of St. Louis, King of www.stjohnsabq.org A two-inch Crawfordsville, IN 3 pm France, St. Paul, MN 12:35 pm 505-247-1581 Choral Evensong; Independent Presbyterian, Professional Card Birmingham, AL 5:30 pm 23 FEBRUARY William Aylesworth, John Bryant, Chris- Choral concert; St. Ignatius Loyola, New in THE DIAPASON tine Kraemer, Merlin Lehman, Leon Nelson, York, NY 8 pm Kirsten Synnestvedt & Christopher Urban; ensemble amarcord; Brevard-Davidson River For information on rates and First Presbyterian, Arlington Heights, IL 4 pm Presbyterian, Brevard, NC 7:30 pm specifications, contact: Brahms, A German Requiem; Queen of All James Biery; Cathedral of St. Paul, St. Paul, Saints Basilica, Chicago, IL 4:30 pm MN 7:30 pm Jerome Butera 24 FEBRUARY [email protected] 13 FEBRUARY Q x Pierre Pincemaille; Cincinnati Museum Cen- Heinrich Christensen; Old West Church, Iain uinn Ma ine Thevenot ter, Cincinnati, OH 7:30 pm Boston, MA 8 pm Director of Associate Organist- 847/391-1045 Cathedral Music Choir Director Ken Cowan, masterclass; Worthington Unit- Mozart choral works; Woolsey Hall, Yale Uni- ed Methodist, Worthington, OH 7:30 pm versity, New Haven, CT 8 pm
28 THE DIAPASON 25 FEBRUARY David Dahl, with tenor; St. Mark’s Cathedral, Cj Sambach, INformance; First Presbyterian, Seattle, WA 2 pm Bristol, TN 9:30 am Ronald McKean; Cathedral of St. Mary of the Choral concert; Rockefeller Chapel, Chicago, Assumption, San Francisco, CA 3:30 pm IL 8 pm Richard Elliott; First Congregational, Los Angeles, CA 4 pm 26 FEBRUARY Ken Cowan, with Los Angeles Master David Kazimir; Ascension Memorial Church, Chorale; Walt Disney Concert Hall, Los Ange- Ipswich, MA 4:30 pm les, CA 7 pm Fred Teardo; Woolsey Hall, Yale University, New Haven, CT 8 pm 27 JANUARY Boguslaw Grabowski; First Presbyterian, Carole Terry; University of Iowa School of New York, NY 4 pm Music, Iowa City, IA 8 pm Bach, Cantata 127; Holy Trinity Lutheran, James David Christie; Parker Chapel, Trini- New York, NY 5 pm ty University, San Antonio, TX 8 pm Justin Hartz; Christ Church, New Brunswick, NJ 6:30 pm, Vespers at 6 pm 28 JANUARY Bel Canto Children’s Chorus; Doylestown Carole Terry, masterclass; University of Iowa Presbyterian, Doylestown, PA 4 pm School of Music, Iowa City, IA David Arcus; Duke University Chapel, James David Christie, masterclass; Travis Durham, NC 5 pm Park United Methodist, San Antonio, TX 9 am Donald Sutherland; Peachtree Christian, •Maxine Thevenot, children’s workshop; Atlanta, GA 2 pm Cathedral Church of St. John, Albuquerque, NM Cj Sambach; First Presbyterian, Bristol, TN 3 10:30 am pm Gerre Hancock, workshop; Pinnacle Presby- Yoon-Mi Lim; Kenilworth Union, Kenilworth, terian, Scottsdale, AZ 9 am IL 5 pm Bach, St. John Passion; First United 29 JANUARY Methodist, Evanston, IL 8 pm Carole Terry; University of Iowa School of James Russell Brown; St. Chrysostom’s, Music, Iowa City, IA 8 pm Chicago, IL 2:30 pm Gerre Hancock; Pinnacle Presbyterian, Scottsdale, AZ 4 pm 27 FEBRUARY •Frederick Swann; Grace Cathedral, San Jason Roberts; St. Peter’s Episcopal, Mor- Francisco, CA 4 pm ristown, NJ 7:30 pm Carol Williams; Balboa Park, San Diego, CA Yoon-Mi Lim; Elliott Chapel, The Presbyter- 2 pm ian Homes, Evanston, IL 1:30 pm 3 FEBRUARY 28 FEBRUARY Olivier Latry; Kerr Gothic Hall, University of Desiree Hines; Central Synagogue, New Oklahoma, Norman, OK 8 pm York, NY 12:30 pm Paul Jacobs; St. Barnabas-in-the-Desert Robert Gant; St. Luke’s Chapel, Medical Uni- Episcopal, Scottsdale, AZ 7 pm versity of SC, Charleston, SC 12:15 pm Fred Swann; St. Mark’s Cathedral, Seattle, DONALD W. WILLIAMS Dean Billmeyer; Church of St. Louis, King of WA 7:30 pm France, St. Paul, MN 12:35 pm 5 FEBRUARY IN MEMORIAM Douglas Cleveland; O’Donnell Auditorium, August 5, 1939–September 22, 2005 UNITED STATES Nebraska Wesleyan University, Lincoln, NE 4 West of the Mississippi pm Choral Evensong; Cathedral Church of St. 15 JANUARY John, Albuquerque, NM 4 pm Peter Richard Conte; First Plymouth Con- Robert Parkins, Bridges Hall, Pomona Col- gregational, Lincoln, NE 7:30 pm lege, Claremont, CA 3 pm Davis Wortman RONALD WYATT Bach, Cantata 32; Christ the King Lutheran, Choral Evensong; All Saints’ Episcopal, Bev- Houston, TX 5 pm erly Hills, CA 5 pm St. James’ Church Trinity Church David Higgs; Pinnacle Presbyterian, Scotts- Carol Williams; Balboa Park, San Diego, CA dale, AZ 4 pm 2 pm New York Galveston Arthur Johnson; Cathedral of St. Mary of the Assumption, San Francisco, CA 3:30 pm 10 FEBRUARY Ardyth Lohuis & Robert Murray; Claremont Gillian Weir; Ed Landreth Auditorium, United Church of Christ, Claremont, CA 4 pm Texas Christian University, Fort Worth, TX Diane Meredith Belcher; Walt Disney Con- 7:30 pm cert Hall, Los Angeles, CA 7:30 pm Paul Jacobs; Memorial Drive Presbyterian, Carol Williams; Balboa Park, San Diego, CA Houston, TX 7:30 pm Marcia van Oyen mvanoyen..com 2 pm Gail Archer; Trinity Episcopal, Reno, NV 12 noon 16 JANUARY Joseph Adam; Kilworth Chapel, University of Plymouth First United Methodist Church, Plymouth, Michigan Thomas Murray; Benaroya Hall, Seattle, WA Puget Sound, Tacoma, WA 12:10 pm Plymouth First United Methodist Church, Plymouth, Michigan 7:35 pm 11 FEBRUARY 20 JANUARY Marilyn Keiser, open choral rehearsal; Kimberly Marshall; St. Philip’s in the Hills Palmer Memorial Episcopal, Houston, TX 9 Episcopal, Tucson, AZ 2:30 pm am Paul Bisaccia, piano; Ruidoso Performing 22 JANUARY Arts Center, Ruidoso, NM 7:30 pm Epiphany Evensong; Christ Church Cathe- Erik Suter; St. Patrick’s Episcopal, Incline Vil- dral, St. Louis, MO 5 pm lage, NV 7:30 pm
J On Tour in Southern Germany - #0601 . . . Michael Barone shares his field recordings of exceptional historic instruments in spectacular Bavarian A Baroque churches, and invites you to join his tour there in May 2006. N U From Here and There - #0602 . . . Skip James, Thomas Murray, Alan Morrison, Sean McCarthy and Kathryn Sparks play recent instruments in A Florida, Texas and Minnesota. R Y We Got Rhythm - #0603. . . contrasting the preponderantly pious personality of many church musicians, these organists know how to get out and 'get down'. 2 0 A Mozart Organist's Odyssey - #0604. . . in celebration of the 250th birthday of Wolfgang Amadeus Mozart (b. 1/27/1756), we explore some 0 of the music he wrote for the organ, and some that he didn't. 6 Tracker Backers - #0605. . . playing instruments by Bedient, Steiner, Rieger and Hendrickson, our soloists appreciate the potentials inherent in the pipe organ's original, basic mechanical action.
JANUARY, 2006 29 12 FEBRUARY Jeffrey Campbell; St. Philip’s in the Hills 29 JANUARY Spirit, Have Mercy, S. 671, Bach; Allegro Marilyn Keiser; Sunday morning services (9 Episcopal, Tucson, AZ 2:30 pm Winfried Bönig; Abteikirche, Hamborn, Ger- vivace (Symphonie I), Vierne; Choral in a, am, 11 am) and choral Evensong (5 pm), many 4:30 pm Franck; The Rhythmic Trumpet (Baroques), Palmer Memorial Episcopal, Houston, TX 26 FEBRUARY Bingham; Toccata (Symphonie V), Widor. Steinbach and Helvey Piano Duo; Trinity Unit- Choral Evensong; Christ Church Cathedral, 31 JANUARY St. Louis, MO 5 pm Michael Harris; St. Lawrence Jewry, London, ed Methodist, Little Rock, AR 6 pm BYRON L. BLACKMORE, Our Savior’s Bach, Magnificat, Vivaldi, Gloria; Cathedral Stephen Cleobury, conducting Mozart choral UK 1 pm concert; St. Paul’s United Methodist, Houston, Lutheran Church, La Crosse, WI, Septem- Church of St. John, Albuquerque, NM 4 pm ber 18: Improvisation, op. 150, no. 7, Saint- California Baroque Ensemble; Cathedral of TX 6 pm 2 FEBRUARY Malcolm Archer; Cathedral Church of St. John Belcher; St. Martin’s, Dorking, UK 1 pm Saëns; For Evening Prayer (Collects), St. Mary of the Assumption, San Francisco, CA Pinkham; Suite on the Second Tone, Guilain; 3:30 pm John, Albuquerque, NM 4 pm Paul Roy, with ƀute; St. Mark’s Cathedral, 3 FEBRUARY Prelude on Melita, Stearns; Toccata and Choral concert; Trinity Episcopal, Santa Bar- Fugue in d, Rondo in G, bara, CA 3:30 pm Seattle, WA 2 pm Robert Patterson; SS. Peter and Paul, BWV 538, Bach; Mary Preston; The Neighborhood Church, Carol Williams; Balboa Park, San Diego, CA Godalming, UK 1 pm Gherardeschi; Adagio (Symphonie No. 3, op. Palos Verdes Estates, CA 4 pm 2 pm 28), Vierne; Fantasia Trionfale, Nystedt. Carol Williams; Balboa Park, San Diego, CA 11 FEBRUARY 2 pm Michael Rhodes; All Souls, Langham Place, SCOTT BRADFORD, St. James United INTERNATIONAL London, UK 7:30 pm Church, Montreal, QC, Canada, August 23: 13 FEBRUARY Suite Modale, op. 43, Peeters; Passacaglia Gillian Weir; Jones Concert Hall, Baylor Uni- 15 JANUARY 13 FEBRUARY and Fugue No. 2 in e, Willan; Fantazia of versity, Waco, TX 7:30 pm Matthew Martin; Westminster Cathedral, William Whitehead; All Souls Langham Foure Parts, Gibbons; Rhapsody, op 17, no. London, UK 4:45 pm Place, London, UK 7:30 pm 3, Howells. 15 FEBRUARY Kathleen Scheide; Church of the Most Holy Pierre Pincemaille; Memorial Church, Stan- Trinity, Nassau, Bahamas 8 pm 14 FEBRUARY CHARLES CALLAHAN, Shrine of the ford, CA 8 pm Daniel Moult; St. Lawrence Jewry, London, Immaculate Conception, Atlanta, GA, Sep- 18 JANUARY UK 1 pm tember 13: Rondeau and Trumpet Tune, 16 FEBRUARY David Old; Reading Town Hall, Reading, UK Purcell; Allegro (Concerto in g), Handel; Malcolm Archer; St. John's United 1 pm 16 FEBRUARY Sonata IV in e, Prelude and Fugue in b, Methodist, Lubbock, TX 7:30 pm Ben Sheen; St. Martin’s, Dorking, UK 1 pm Bach; Solo de Flute, Offertoire pour une Anthony & Beard; Southwest Symphony, 19 JANUARY Paul Stubbings; St. Matthew’s Westminster, messe en l’honneur de la Sainte Vierge, Lem- Hobbs, NM Matthew Martin; St. Matthew’s Westminster, London, UK 1:05 pm mens; Grand Triumphal Chorus, Guilmant; London, UK 1:05 pm Praeludium in a, Eddy; Marche Champetre, 17 FEBRUARY 17 FEBRUARY Boex; Night in Monterrey, Capriccio on the Organized Rhythm; Pittsburg State Universi- 21 JANUARY Philip Crozier; Redpath Hall, McGill Universi- notes of the Cuckoo, Purvis; Psalm of Praise ty, Pittsburg, KS 7:30 pm Nicholas O’Neill; St. George’s Cathedral ty, Montreal, QC, Canada 12:15 pm (Toccata on Old 100th), Aria, Fanfares and Southwark, London, UK 1:05 pm Pierre Pincemaille; Holy Rosary Cathedral, Riffs, Callahan. 19 FEBRUARY Roger Fisher; St. Alphage, Burnt Oak, Edg- Vancouver, BC, Canada 8 pm Malcolm Archer; Bates Recital Hall, Univer- ware, UK 1:05 pm JAMES CALLAHAN, with Earl Yowell, sity of Texas, Austin, TX 3 pm William Whitehead; St. Albans Cathedral, St. 18 FEBRUARY percussion, University of St. Thomas, St. Gerre & Judith Hancock; St. Mark’s Episco- Albans, UK 5:30 pm Tod van den Berg; St. George’s Cathedral Paul, MN, September 19: Prelude to the pal, San Antonio, TX 4 pm Southwark, London, UK 1:05 pm Introit for Easter Sunday, Improperium, Tamara Still; Grace Lutheran, Tacoma, WA 3 22 JANUARY Veni Veni Emmanuel (Six Pieces Based on pm Andrew Sampson; Westminster Cathedral, 21 FEBRUARY Gregorian Themes), Toccata—Veni Creator Christoph Tietze; Cathedral of St. Mary of London, UK 4:45 pm Malcolm Archer; Westminster United Spiritus, The Four Elements, Triptych for the Assumption, San Francisco, CA 3:30 pm Church, Winnipeg, MB, Canada 8 pm Organ and Percussion, Callahan. 25 JANUARY 20 FEBRUARY Megumi Yoshida, Minato Mirai Hall, Yoko- 22 FEBRUARY hama, Japan 12:10 pm Andrew Sheranian, Minato Mirai Hall, Yoko- ELIZABETH & RAYMOND Mozart, Mass in c; St. Thomas Aquinas CHENAULT, First Congregational Church, Church, Dallas, TX 8 pm hama, Japan 12:10 pm 26 JANUARY Fresno, CA, September 11: Variations on an Easter Theme, Rutter; Eclogue, Shephard; 24 FEBRUARY Julian Perkins; St. John’s Smith Square, 23 FEBRUARY Malcolm Archer; Trinity Episcopal Cathedral, London, UK 1 pm Stephen Farr; St. John’s Smith Square, Lon- Allegro for Organ Duet, Moore; Nativity Little Rock, AR 7:30 pm Mark Brafield; St. Martin’s, Dorking, UK 1 pm don, UK 1 pm Scenes, Roberts; Rhapsody, Hakim; Toccata Stephen Cleobury; St. Paul’s United Aled Jones; St. Paul’s Cathedral, London, on Sine Nomine, The Emerald Isle, Callahan; Methodist, Houston, TX 7:30 pm UK 6:30 pm 24 FEBRUARY Shenandoah, White; The Stars and Stripes Claire Innes-Hopkins; Marlborough Road Forever, Sousa, arr. Chenault. Methodist, St Albans, UK 12:30 pm John Scott; Christ Church Cathedral, Van- PHILIP T. D. COOPER, 1740 Whitefield couver, BC, Canada 8 pm House, Nazareth, PA, October 2: Praeludium aus F Dur, Krieger; O Mensch, bewein dein 25 FEBRUARY Sünde groß, Herzlich tut mich verlangen, David Hill; St. Albans Cathedral, St. Albans, Fuga ex C Dur, Pachelbel; Praeludium und UK 5:30 pm Fuga in f moll, Fischer; Warum sollt ich mich Robin Jackson & Maureen McAllister; St. denn grämen, Walther; Canzona ex G Dur, Mary’s, Chesham, UK 7:30 pm BuxWV 170, Buxtehude; General Washing- ton’s March, Reel D Dur, Contry Dance 28 FEBRUARY (sic), Greenwich, The Vice President’s Naomi Matsui, Minato Mirai Hall, Yokohama, March (William Schoener’s Music Book), Japan 7 pm Anonymous; Erhalt uns, Herr, bei deinem Guido Graumann; St. Lawrence Jewry, Lon- Wort, BWV 1103, O Lamm Gottes don, UK 1 pm unschuldig, BWV 1095, Machs mit mir, Gott, nach deiner Güt, BWV 957, Nun laßt uns den Leib begraben, BWV 1111, Praeludium und Fughetta in G Dur, BWV 902, Bach. Organ Recitals PHILIP CROZIER, Eglise Saints-Anges Gardiens, Lachine, QC, Canada, September STEPHEN ALLTOP, The Presbyterian 14: Voluntary en ré majeur, Boyce; Prélude NEW INSTRUMENTS Homes, Evanston, IL, September 26: Prae- et fugue en la mineur, BWV 543, Bach; MAINTENANCE ludium in d, BuxWV 150, Buxtehude; Fugue Scherzo (Dix Pièces), Gigout; Allein Gott in RESTORATIONS No. 4 on BACH, Schumann; Fugue in g, der Höh’ sei Ehr’, BWV 664, Bach; Partite BWV 578, Bach; Allegro moderato e diverse sopra De Lofzang van Maria, Post. 974 AUTUMN DRIVE ANTIOCH, ILLINOIS 60002 maestoso (Sonata No. 4 in B-flat), ABR 847-395-1919 Mendelssohn; Nest in Old North Church DAVID A. GELL, Bethania Lutheran F INCY PIPE ORGANS FAX 847-395-1991 (Views from the Oldest House), Rorem; Suite Church, Solvang, CA, September 17: Jesus www.fabryinc.com Gothique, Boëllmann. Christus, unser Heiland, Rodeck; Prelude, Fugue and Chaconne in C, BuxWV 137, BRUCE P. BENGTSON, Christ Episco- Vater unser im Himmelreich, BuxWV 219, pal Church, Reading, PA, September 18: We Von Gott will ich nicht lassen, BuxWV 220, All Believe in One God, Creator, S. 680, 221, Toccata in d, BuxWV 155, Buxtehude; Bach; Postlude for the Office of Compline, Allegretto, Gade; Variations on the Austrian Alain; Requiescat in Pace, Sowerby; Pastorale Hymn, Attrup; Passacaglia over Lova will jag and Aviary, Roberts; Introduction, Pas- Herran, Viderø; Ostermorgen, op. 54, no. 3, sacaglia and Fugue, Wright; God, the Holy Malling.
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30 THE DIAPASON MARY GIFFORD, with the St. Leonard Widor; No. 5 (Sei Fioretti), Tournemire; Germany, August 10: Praeludium und Fuge March, Sousa, arr. Linger. Singers, Our Lady of Sorrows Basilica, Allegro vivace, Final (Organ Symphony No. in C-dur, Albrechtsberger; Fugue à six par- Chicago, IL, September 25: Regina Caeli, 1), Vierne; improvisation. ties et deux sujets à 4 mains, Loret; Vier vari- MAXINE THEVENOT, St. Michael’s Kreckel, Becker; Magnificat in the 4th tone, ierte Choräle für die Orgel zu vier Händen, Cornhill, London, England, July 11: Prae- Cavazzoni; Come, Creator Spirit, BWV BRUCE NESWICK, University of Texas, op. 19, Höpner; Sonate g-moll, op. 50, ludium in G, Fanny Mendelssohn; Prelude, 667, Bach; Improvisation, Skop; Prelude, Austin, TX, September 25: Komm, heiliger Baumert; A Fancy for Two to Play, Tomkins; Fugue and Variation, Franck; Antienne, Cradle Song, Sarabande on Vox Dilecti, Geist, Herre Gott, Hasse; Praeludium und A Verse, Carleton; Lied (Petite Suite), Danse (Suite Mariales), Hakim; Joie et Choral March, Webber; Suite Gothique, Fuge in e-moll, BWV 548, Bach; Diptyque, Bédard; Fuge g-moll, Mozart; Sonate d-moll, Clarté (Les Corps Glorieux), Messiaen; Boëllmann. Messiaen; Fanfares to the Tongues of Fire, op. 30, Merkel. Sonate 2, Hindemith; Early One Morning, King; Te Deum Laudamus, Hurd; improvisa- Propsteikirche St. Nikolaus, Kiel, Ger- Grainger, arr. Quinn; Dance, Burge. JONATHAN HOLMES, St. Mary the tion. many, August 15: Fuga sopra il Magnificat, Virgin, Ewell Parish Church, Ewell, BWV 733, Bach; Duett für Orgel, Wesley; KENT TRITLE, Church of St. Ignatius Epsom, England, September 10: Sonata in ROBERT PARKINS, Dwight Chapel, Die süßen Ketten der Liebe, Das Fest der Loyola, New York, NY, September 25: g, Lindberg; Mars, Venus, Jupiter (The New Haven, CT, September 18: Tiento III Academica (Das Labyrinth der Welt und das Grand Dialogue, Marchand; Récit de Tierce Planets, op. 32), Holst, arr. Wills; Fantasia (1° tono), Cabezón; Tento de meio registo Paradies der Herzens), Eben; A Fancy for en taille, de Grigny; Concerto in a, BWV 593, and Fugue in g, BWV 542, Bach; Deuxième alto de 2° tom, Conceição; Pasacalles I (1° Two to Play, Tomkins; A Verse, Carleton; Wer nur den lieben Gott lässt walten, BWV livre d’orgue, Marchand; Prelude and tono), Tiento (12) de falsas (4° tono), Caban- Zwei Versetti, Moto Ostinato (Son- 647, Bach; Praeludium in g, Buxtehude; Fugue No. 3 in E-flat, op. 99, Saint-Saëns; illes; Xácara, Diferencias sobre la Gayta, ntagsmusik), Eben; Lied (Petite Suite), Sonata No. 4 in B-flat, op. 65, Mendelssohn; Adagio (Symphony No. 3 in f-sharp, op. Anonymous; Tiento (16) de 4° tono, Correa Bédard; Toccata Française (sur le nom de O God of Love (The Ghosts of Versailles), 28), Vierne; Prelude and Fugue No. 1 in B, de Arauxo; Toccata in c, Pachelbel; Capriccio H.E.L.M.U.T.), Bölting. Corigliano; Choral No. 2 in b, Franck; Tocca- op. 7, Prelude and Fugue No. 3 in g, op. 7, sopra il Cucu, Kerll; Wenn wir in höchsten ta, op. 104, Jongen. Dupré; Scherzo, op. 2, Duruflé; Suite à la Nöten sein, BWV 668a, Pièce d’Orgue, BWV MARY PRESTON, First United Française sur des thèmes populaires, 572, Bach; Toccata IX, Eberlin; Scherzoso Methodist Church, Campbell, CA, Septem- JOHANNES UNGER, Cathedral of the Cochereau, transcr. Lombard. (Sonata No. 8 in e), Rheinberger; Canzone ber 18: Crown Imperial, Walton; Prélude, Madeleine, Salt Lake City, UT, September (Jesu, meine Freude), Karg-Elert; Prelude Adagio et Choral varié sur le thème du Veni 11: Toccata, Adagio und Fuge C-Dur, BWV ARTHUR LA MIRANDE, Cathedral of and Fugue in a, Brahms. Creator, Duruflé; The Despair and Agony of 564, Wachet auf, ruft uns du Stimme, BWV St. John the Evangelist, Milwaukee, WI, Dachau, Sifler; Prelude on Jauchz, Erd’, und 645, Wo soll ich fliehen hin, BWV 646, Meine September 28: Fantasy on the St. Wenceslas WILLIAM PETERSON, Pomona Col- Himmel, juble!, op. 67, no. 15, Reger; A Seele erhebt den Herrn, BWV 648, Ach bleib Chorale, Klicka; Three Japanese Sketches, lege, Claremont, CA, September 25: Toccata Sweet for Mother Goose, Akerley; Even Song, bei uns, Herr Jesu Christ, BWV 649, Bach; Bovet. in C, Sweelinck; Almande de La nonette, LaMontaine; Sonata Eroïca, Jongen. Sonate, op. 65, Rheinberger; Les Ressuscités Almande Brun Smeedelyn (Susanne van et la lumière de vie (Livre du Saint Sacre- CHRISTOPHER LEES & TOM TREN- Soldt Manuscript), Ellend du hast, Praeam- JOYCE JOHNSON ROBINSON , Chiesa ment), Messiaen; Deuxième Symphonie, op. NEY, with Michael Hiemstra, saxophone, bulum super f, Wilhelmus Legrant, Mit di Santa Maria, Valduggia, Italy, September 20, Vierne. First Presbyterian Church of Birmingham, ganczem Willien wünsch ich dir (Berlin, 6: Convocation, Callahan; Communion and MI, September 16: Dialogue Dynamique, Staatsbibliothek Mus. Ms. 40613), Engelsche Meditation on Ubi Caritas, Visser; Minuetto, CARL SCHWARTZ, St. Peter’s Chapel, Goldilocks and the Three Bears, A Whale of a Fortuyn, Sweelinck; Toccata super: In te, Puccini, arr. Moore; Trumpet Tune in D, Solomons, MD, October 2: Largo from Xerx- Tune, The Rabbit of Seville, That’s Entertain- Domine, speravi, Scheidt; Toccata No. 3, Johnson; Vocalise, Rachmaninoff; Bethena, es, Handel; Trumpet Tune, Carter; Prelude on ment, Poetic Potential, All That Jazz, Playing Pasquini; Open score with two voices, Open Joplin; Rondò-Polonese, Diana; Méditation Land of Rest, Shearing; Fugue in C, BuxWV Your Song!, Variations on Heart and Soul, score with three voices (Il Transilvano), religieuse, Mulet; Farewell from Rome, 174, Buxtehude; Tune in E in the style of John improvisations. Diruta; Ricercare del primo tuono (Il Tran- Hensel; Sweet Sixteenths, Albright; A Tuscan Stanley, Thalben-Ball; Nun freut euch, lieben silvano), Luzzaschi; Ricercar arioso No. 4, Adagio, Ashdown; Toccata in G, Dubois. Christen g’mein, BWV 734, Toccata and ROBERT SUTHERLAND LORD, Uni- Gabrieli; Toccata per l’Elevatione, Recercar Fugue in d, BWV 565, Bach; Adagio (Sym- versity of Pittsburgh, Pittsburgh, PA, Sep- con obligo del Basso come appare, Bergam- CARL SCHWARTZ, Christ Episcopal phonie III, op. 28), Vierne; Ronde Française, tember 18: Tuba Tune in D, Lang; Fantasia asca (Fiori musicali), Toccata quinto (Il sec- Church, Montpelier, VT, September 4: op. 37, Boëllmann, arr. Choisnel; Allegro in G, Parry; Sketch No. 2 (Three Gothic ondo libro . . .), Frescobaldi. Vivace (Sonata VI in G, BWV 530), Bach; assai vivace (Sonata I in f, op. 65, no. 1), Sketches for Two Organs), Acclamations on a Adagio (Symphonie III in f-sharp, op. 28), Mendelssohn; Antiphon (Suite No. 1), Hamp- Carolingian Chant (Medieval Suite), SYLVIE POIRIER & PHILIP CROZI- Vierne; Wir glauben all’ an einen Gott, ton; Fairest Lord Jesus, Woodman; Andante Langlais; Dolce (Organ Symphony No. 4), ER, Cathedral, Brandenburg an der Havel, Schöpfer, BWV 680, Bach; Liberty Bell (Finale) (Concerto in g), Handel.
JANUARY, 2006 31 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 31.
POSITIONS PUBLICATIONS/ HARPSICHORDS/ PIPE ORGANS AVAILABLE RECORDINGS CLAVICHORDS FOR SALE
Looking for experienced pipe organ tuners, Reflections: 1947-1997, The Organ Depart- Harpsichords from the workshop of Knight 1970s Moller, electro-pneumatic action, three service technicians and builders to start work ment, School of Music, The University of Michi- Vernon. Authentic replicas of historic instru- manuals, drawknob console, 37 ranks, currently immediately in the New York area. Immediate gan, edited by Marilyn Mason & Margarete ments carefully made and elegantly decorated. in use at First Presbyterian Church, Fargo, ND. beneſts including paid holidays, paid vacation Thomsen; dedicated to the memory of Albert 8201 Keystone, Skokie, IL 60076. Telephone Buyer to remove between April 16 and May 8, and a health care package. 631/254-2744, Stanley, Earl V. Moore, and Palmer Christian. 847/679-2809. Web site: 2006. Best offer. Contact Scott R. Riedel and [email protected]. Includes an informal history-memoir of the www.vernonharpsichords.mykeyboard.com. Associates Ltd., 11040 W. Bluemound Road, organ department with papers by 12 current and Wauwatosa, WI 53226, 414/771-8966, e-mail: former faculty and students; 11 scholarly arti- [email protected]. PUBLICATIONS/ cles; reminiscences and testimonials by gradu- PIANOFORTE FOR SALE RECORDINGS ates of the department; 12 appendices, and a CD recording, “Marilyn Mason in Recital,” Brown and Allen/Boston square grand Fabry Inc. has the following instruments for recorded at the National Shrine of the Immacu- pianoforte. 73 keys. Very good condition. Best sale on consignment: Wicks 1964, 2 manuals, 6 CDs: Amphion, CRD, Gothic, Guild, Herald, late Conception in Washington, DC. $50 from offer. Nelson, 847/367-5102 or 312/304-5287. ranks, in storage; Moller 1966, 2 manuals, 10 IFO, Lammas, Motette, OxRecs, Naxos, Priory, The University of Michigan, Prof. Marilyn ranks, in storage; Moller 1925, 2 manuals, 10 ProOrgano, Regent, Regis, Syrius, Triton, York Mason, School of Music, Ann Arbor, MI 48109- ranks, in church; Moller 1949, 3 manuals, 30 ranks, in church; Reuter 1950s, 2 manuals, 9 Ambisonic. LPs: Abbey, Cathedral, Wealden. 2085; or the Organ Literature Foundation, PIPE ORGANS 407/464-9454. 781/848-1388. ranks, in church; Moller/Kimball/Kilgen 2 manu- FOR SALE als, 16 ranks, in church; Kimball 1940s, 2 manu- als, 4 ranks, in storage; Berghaus 1976, 2 manu- CD Recording, “In memoriam Mark Buxton als, 11 ranks, in church. Purchase instruments in OHS Catalog 2006 of organ and theatre organ Wahl 1-stop continuo organs for sale. Fully “as is” condition or Fabry Inc. offers removal, CDs, books, sheet music, DVDs, and VHS (1961-1996).” Recorded at Église Notre- portable, transposable to 4 pitches. Spring Dame de France in Leicester Square, Lon- rebuilding, new DC electric systems, and installa- videos. Free. Thousands of items. Mailed gratis 2006 delivery. Prices start at $17,000. Visit tion at new location. For speciſcations please e- upon request to Organ Historical Society, P.O. don, between 1987 and 1996. Works of Calla- www.wahlorganbuilders.com or call han, Widor, Grunewald, Salome, Ropartz, mail, fax, or write our ofſce. Fabry Inc., 974 Box 26811, Richmond, VA 23261, or request 920/749-9633. Autumn Dr., Antioch, IL 60002, fax 847/395- the printed catalog at www.ohscatalog.org. and Boëllmann, along with Buxton’s improvi- sations. $15 postpaid: Sandy Buxton, 10 1991, e-mail [email protected]. Beachview Crescent, Toronto ON M4E 2L3 Wicks Organ, ca. 1970, 17 ranks, 2-manual ATTENTION ORGANISTS! It’s New Year’s Canada. 416/699-5387, FAX 416/964-2492; and pedal. Available early 2006, buyer to 1952 Wicks organ. 18 ranks, 26 stops including Resolution time! If your resolution is to e-mail [email protected] remove. Make offer. Mt. Pleasant Lutheran mitred 16v Open Diapason and Trombone in practice more—and better—our exclusive Church, Joshua Brown, Music Director, 1700 pedal. 3-manual drawknob console with pre- new product is just what you need. The S. Green Bay Road, Racine, WI 53406, pared antiphonal. Original installation divided in Noise-O-Matic simulates the same sounds Aging of Organ Leather by Harley Pilt- 262/634-6669, [email protected]. balcony in Cleveland area. $20,000 complete that you encounter every Sunday during ingsrud tells how to test and select leathers minus blower; buyer to remove. May be seen prelude and postlude times: whispering, for longevity of 60 years or more in organs. and played. Call Greg Sparks at 216/252-8264 Also, other aspects of leather production and 1966 Sipe 3-manual organ, 1966. Eight ranks evenings for details. full-volume conversations, children whin- include 8v Principal and 16v Reed, cleverly uti- ing, and of course, coughing. The Noise-O- the history of testing for longevity. New 48- page edition in 1994, $9.95 + $2.50 per entire lized. Tripper combination action, crescendo Matic uses exclusive black box technology and sforzando. Organ is 76w deep, 138w wide, Wicks practice organ—Three stops under to generate your choice of distractions, or order for shipping in U.S. Published by Organ Historical Society, Box 26811, Richmond, VA 113w tall; console: 57w x 84w x 51w. Price $25K expression. Would make a good practice organ. you can receive a random combination of or best offer. Buyer to remove. Full specifica- Needs some work. Asking $7,000. For more noises. Interfaces with the crescendo 23261. 804/353-9226 by telephone with Visa or MasterCard. FAX 804/353-9266. tion available. Contact Melissa Hancock, information call 615/274-6400. pedal to increase the noise volume as your 214/768-2530, [email protected]. ability to concentrate grows. Easily installed using ordinary sacristy tools. 1860 Wm. A. Johnson 1/8, including 12-note Learn to play over these universal distrac- New Classified Ad rates are in effect Farrand & Votey op. 758, 1899, 2/24. From 16v Subbass. Meticulously restored, $39,500; tions! Box Resolution-con, THE DIAPA- Ringling home, Baraboo, WI. In storage. Pedal extension optional. Details: Andrew Smith SON. [email protected]. January 1, 2006. See page 31. Hendrickson Organ Company, St. Peter, MN. Pipe Organs, 522 East Rd., Cornish, NH 03745. [email protected]. 507/931-4271. Best offer. 603/542-8316; [email protected]. glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
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32 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 31.
MISCELLANEOUS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Atlantic City Pipe Organ: Tellers Trumpet, 1985 Austin tripper combination action for ſve Columbia Organ Leathers sells the finest Top Quality Releathering. Pouch rails, pri- Oboe, Cornet, Mahogany Pedal Bourdon. 1932 divisions, $350. 1985 Austin pedal contact assem- leathers available for organ use. We sell pre- maries, reservoirs and any other pneumatic Estey Trumpet, Clarion, Clarinet, Vox, 4v Chim- bly with 25 switches, $150. Klann complete three- punched pouches and pre-assembled pouches, action. Removal and installation service avail- ney Flute, Domed Top French Horn. 1924 division console system wired, $200. Relays, and we specialize in custom releathering ser- able. Full warranty. Skinner, Casavant and Moller, Trumpet, Capped Oboe, Clarinet, combo actions, pipes and other parts available. vices. Call today for a catalogue. 800/423-7003 Kimball specialty. Spencer Organ Company, Gamba, Salicional & Celeste, 8v Gemshorn. Inquiries: e-mail orgnbldr@ comcat.com, phone or e-mail: [email protected]. Inc. Call, Fax or visit our website for quotation Late Moller, 3-1/2w wp, 4v Oboe Clarion, 2v Block 215/353-0286 or 215/788-3423. and information. 781/893-7624 Voice/Fax, Flote, II Rausch Quint, 2v Principal, www.spencerorgan.com. 20-note organ chimes. For more info visit Tuning with your laptop—Send $5 for a CD- Two manual and pedal stop key http://mywebpages.comcast.net/acorgan. organ con- ROM that features articles on temperaments, sole (AGO standard) in medium oak wood, con- E-mail: [email protected]. Phone tuning, and reed pipe construction. RELEATHERING: also Pipe Organ Rebuild- 609/641-9422. temporary-style case. All keys and stop controls ing, Repair and Maintenance Service in New made of wood. 44 stop controls: 12 Pedal, 14 Contact: www.mdi.ca/hhuestis or e-mail: [email protected]. Herbert L. Huestis, 1574 Gulf England area. Years of experience, fine work- Swell, 18 Great including 13 couplers. Pistons: manship. Reading Organ Works, A. Richard Zimbelsterns: 6 bronze cast bells; mechani- 5 Gen, 3 SW, 3 GT, 5 pedal toe studs and 5 Rd., #1502, Pt. Roberts, WA 98281. Phone 604/946-3952. Hunter, P.O. Box 267, 1324 Vermont Route cal mechanism; unlimited variable speeds; general toe studs; two expression pedals and 106, Reading, VT 05062. 802/484-1275. portable, 3 pounds: $113 postpaid. For audio crescendo pedal. Call 262/781-6050 between E-mail [email protected]. demonstration, telephone 402/454-6625. 11:00 am to 5:00 pm weekdays or leave mes- sage anytime. Highest quality organ control systems since 1989. Whether just a pipe relay, combination Meidinger blower. 2w static pressure, for con- Austin actions recovered. Over 30 years action or complete control system, all parts are experience. Units thoroughly tested and fully tinuo type organ, 1 or 2 stops. Housed in silenc- Sets of organ pipes for sale by Herb Huestis, ing box, outside dimensions: 14-3/4 x 16-3/8 x compatible. Intelligent design, competitive pric- guaranteed. Please call or e-mail for quotes. w w #1502—1574 Gulf Road, Point Roberts, WA ing, custom software to meet all of your require- 11-1/2w. Very compact! $800 plus shipping in Technical assistance available. Foley-Baker, 98281, 604/946-3952, e-mail: [email protected]. ments. For more information call Westacott Inc., 42 N. River Road, Tolland, CT 06084. U.S. or Canada. Pictures available on request. Shipping extra to U.S. or Canada—no overseas. Call 604/946-3952, e-mail: [email protected]. Organ Systems, 215/353-0286, or e-mail Phone 1-800/621-2624. FAX 860/870-7571. $600—4v Stopped Flute made by Detlef Kleuker, [email protected]. [email protected]. Herb Huestis, #1502—1574 Gulf Road, Point 1964 from a 2-rank continuo organ. Bottom 7 Roberts, WA 98281. pipes slightly damaged and difſcult to repair. Very good condition from g to fvvv 47 notes, suitable as Need help with your re-leathering 1995 Schantz French Horn 8v, 73 pipes, 6w 3v Nazard. Very nice tone at 60mm or project? All pneumatics including Flue pipes in metal and wood–Mixtures scale, 6w pressure. Crated for shipment greater.$1200—8v Regal made by Detlef Kleuker, Austin. Over 45 years experience and upperwork are available from stock or from California. $3,500 or best offer. 1964 from a 2-rank continuo organ. Very good (on the job assistance available). specify custom orders to meet your exact [email protected] or leave mes- condition throughout. Bottom two octaves open 615/274-6400. requirements. Tuning Sleeves with sage at 215/767-9530. shallots, Bertouneche shallots from cv upwards. flare–Order complete sets ready to install Very nice tone at 60mm or greater. $600—4v or bulk quantities in each diameter. These Gamba made by Stinkens of Holland, c. 1970. sleeves are guaranteed to fit and will not Digital tuning software, laptop included, $230 Very good condition throughout, 49 notes from tarnish or corrode. For excellent quality, including shipping. Small Toshiba 610 laptop with Tenor C upwards. Very nice tone at 60mm to ALL REPLIES great pricing and timely delivery contact: TuneLab97 shareware tuning software, $230 70mm. $900—Bottom 12 notes of Oboe/Bas- International Organ Supply, P.O. Box 401, including shipping.** Register for $34 from soon, made by Casavant Frères c. 1970. Original- TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX www.tunelab-world.com. Great for piano, harpsi- ly from a Fagott 16v (half length). Very suitable for 708/447-0702. chord and organ tuning—fully programmable extending 4v Oboe to 8v pitch where bottom octave that appear temperaments! Complete with Excel spread- is needed. Good tone at 70–80mm. $800—Mei- without an address sheets of historical temperaments, internal mike, dinger blower. 2w static pressure, for continuo type ƀoppy and mouse, 8.0 x 9.75 x 2w. Herb Huestis organ, 1 or 2 stops. Housed in silencing box, out- should be sent to: Postal regulations require that mail #1502—1574 Gulf Rd, Pt Roberts, WA 98281. side dimensions: 14-3/4w x 16-3/8w x 11-1/2w. Very to THE DIAPASON include a suite num- Phone 604/946-3952. compact! $600—54-note tracker wind chest. 2 THE DIAPASON ber to assure delivery. Please send stops. Send for pix. Heavy, about 100 lbs. Com- 380 E. Northwest Hwy., Suite 200 all correspondence to: THE DIAPA- Reuter 3-manual console and bench, dark plete with pallets, sliders and pull down levers. oak, $500. Contact Tim Kammeyer, Originally built for 2-stop continuo organ. May be Des Plaines, IL 60016-2282 SON, 380 E. Northwest Hwy., Suite 563/652-6134, St. John’s Lutheran, Monticello, modiſed for use in small home organ. Originally 200, Des Plaines, IL 60016-2282. Iowa. made by Detlef Kleuker.
CHARLES W. M CMANIS In Memoriam March 17, 1913–December 3, 2004
JANUARY, 2006 33 *=picture +=musical examples 2005 In Review—An Index †=stoplist #=diagrams
Articles, Reports, and Reviews by author (boldface) and subject
Albert Schweitzer Organ Festival/USA. See Spicer. Knijff, Jan-Piet. New Organ Music. July 14–15 American Guild of Organists. See Palmer. Kooiman, Ewald, translated by Jan-Piet Knijff. Sense and Nonsense about American Institute of Organbuilders. See Glück. Silent Finger Substitution and Pedal Technique in the Nineteenth Century. Oct American Organ Archives. See Petty. 26–29+ Apple, Warren. New Organ Music. Nov 16, Dec 18 Kuznik, Joel. For Bach—A Very Special Organ: St. Catherine’s Church, Ham- Arias, Enrique Alberto. Ars Musica Chicago: Symposium and Workshop burg. June 18† Reports. Jan 17 ______. Music & Worship at Bach’s Church Today: Conversations with the Can- Ars Musica Chicago. See Arias. tor, Organist and Pastor of St. Thomas, Leipzig: Cantor Georg Christoph Biller Atkinson, Gordon, William Bolcom, Phillip Burgess, James Hammann, – Organist Ullrich Böhme – Pastor Christian Wolff. Dec 24–26*# Michele Johns, James Kibbie, Gale Kramer, Robert Speed, & Mary Ida ______. New Recordings. Jan 14, Feb 16–17, July 12, Yost. Marilyn Mason 80th Birthday Tributes. June 24–26* Landrum, Mary Fisher. Sewanee Church Music Conference. Feb 19* Bach Organ. See Kuznik. Laukhuff, Hans-Erich, translated by Richard Houghten. The COLLAPSE Baker, Robert. See Murray. Project: Stopping Corrosion in Ancient Organ Pipes. Nov 22 Bethards, Jack M. A Brief for the Symphonic Organ. Sept 22–26†# Leighton, Kenneth. See Hardwick. Biery, Marilyn. The Organ in Concert: A New Series of Organ Music Established Leipzig, St. Thomas Church. See Kuznik. by MorningStar Music Publishers. Jan 22–25+ Letters to the Editor. Feb 2, April 2, May 2, June 2, Aug 2, Sept 3, Dec 3 Bishop, John. In the wind . . . April 14–16*, May 11–12*, June 10, 12*, July 6, 8, Liszt’s Monster Instrument. See Moore. 10*, Aug 10–12, Sept 12, 14, Oct 12, 14, Nov 11–12, Dec 10, 12 Book Reviews. See Collins, Couch, Hartman, Hettinger, Marigold, Ogasapian, Mardirosian, Haig. New Organ Music. Jan 14–15, Mar 14 Smith. Marigold, W. G. Book Reviews. Mar 12 Boston Early Music Festival. See Palmer. ______. New Recordings. Mar 13–14, June 17, Oct 17, Dec 16–17 Brian Jones. See Hansen. Mason, Marilyn. See Atkinson et al. Maycher, Lorenz. A Conversation with Thomas Richner: July 20, 2004, Orwell, Callaway, William. 16th Annual England Organ Tour, July 13–25, 2004. May Vermont. Dec 20–21* 16–18* ______. A Conversation with William Teague. Oct 22–25* Carillon News. See Swager. McCook, Thomas L. John Thomas Widener, Jr., Organbuilder: October 16, Cavanagh, Lynn. McGill Summer Organ Academy, July 5–14, 2005, Montréal, 1922–November 4, 2004. Dec 19* Canada. Nov 20–21 McCray, James. Music for Voices and Organ. Jan 12, Feb 14, 16, Mar 11–12, ______. The Rise and Fall of a Famous Collaboration: Marcel Dupré and Jeanne April 16–17, May 12–13, June 12, 14, July 10–11, Aug 12–13, Sept 14–15, Oct Demessieux. July 18–22* 14, 16, Nov 13–14, Dec 12, 14 Ciampa, Leonardo. In Memoriam E. & G. G. Hook, Opus 253 (1859–2005). McGill Summer Organ Academy. See Cavanagh. Mar 18–19*† McLaughlin, Renate. University of Michigan 26th Institute of Organ and Coleberd, R. E. Organist and Organbuilder, Jerome Meachen and Charles Church Music. Oct 19* McManis: A Meeting of the Minds. June 20–23*† McManis, Charles. See Coleberd. COLLAPSE Project. See Laukhuff. Meachen, Jerome. See Coleberd. Collins, John. Book Reviews. June 14 Mental Imagery. See Johnson. ______. New Organ Music. July 15, Aug 14, Oct 17–18 Merklin. See Potratz. ______. New Recordings. Jan 13–14, April 18–19, June 14–16, July 12–13, Nov MHKS. See Palmer. 15, Dec 17–18 Moore, Wayne T. Liszt’s Monster Instrument Revisited. May 15* Couch, Leon. Book Reviews. April 18 Murray, Thomas. In Memoriam Robert Baker: June 5, 1914–January 15, 2005. April 23* Dean, Ronald E. Organ Historical Society Convention: Buffalo, New York, July Music for Voices and Organ. See McCray. 14–20, 2004. April 24–28* Demessieux, Jeanne. See Cavanagh. Nelson, Leon. New Handbell Music. Jan 15, Oct 18 Dual Temperaments. See Huestis. New Handbell Music. See Nelson. Duncan, Douglas Ian. The First Six Decades: Spreckels Organ Pavilion, Balboa New Organ Music. See Apple, Collins, Gell, Hughes, Knijff, Mardirosian, Parks, Park, San Diego, California. Jan 1, 18–21*† Robinson, Smith. Dupré, Marcel. See Cavanagh. New Recordings. See Collins, Hughes, Kuznik, Marigold, Parks, Speller Noack Organ Company. See Owen. E. & G. G. Hook, Opus 253. See Ciampa. Egler, Steven. Robert Glasgow at 80: A conversation with Steven Egler. May Ogasapian, John. Book Reviews. Jan 12–13, Feb 16, Mar 12 19–21* Organ Historical Society. See Dean. England. See Callaway. Organ Music. See Biery. Organ Recitals. Jan 30–31, Feb 36–37, Mar 28–29, April 36–37, May 28–29, June Finger substitution. See Kooiman. 32–33, July 28–29, Aug 28–29, Sept 33, Oct 36–37, Nov 28–29, Dec 31–33 Owen, Barbara. An Organ Odyssey: One Church’s Story—Noack Organ Compa- Gell, David A. New Organ Music. Sept 17, Nov 16 ny Opus 145. April 29*† Glasgow, Robert. See Egler. Glück, Sebastian M. American Institute of Organbuilders Thirty-first Annual Palmer, Larry. Baroque in Boston: The 13th Biennial Early Music Festival. Oct Convention, New York City, September 28–October 1, 2004. April 20–21* 20–21* ______. Harpsichord News. April 12, Aug 10, Dec 8, 10 Hamburg. See Kuznik. ______. Johann Sebastian Bach: Past, Present, Future—SEHKS and MHKS Hamilton, Gregory. The Breath of the Spirit: Americans in Paris. Mar 21* Meet in DeLand, Florida, March 3–5, 2005. June 19* Hansen, John A. Brian Jones: An Appreciation. Aug 15 ______. Some Sins of Commission. Sept 19–21*+ Hardwick, Peter. The Liturgical Church Music of Kenneth Leighton, Part 1. Feb Palmer, Larry, & Joyce Johnson Robinson. 2004 AGO National Convention. 22–25*+ Feb 26–29* ______. The Liturgical Church Music of Kenneth Leighton, Part 2. Mar 15–17*+ Parks, Carl. New Organ Music. Jan 15 Harpsichord News. See Palmer. ______. New Recordings. Sept 16–17 Hartman, James B. Book Reviews. July 11–12, Aug 13–14, Sept 15–16, Oct 16, Pasi, Martin. See Huestis. Nov 14–15, Dec 16 Pedal technique. See Kooiman. ______. The World of the Organ on the Internet. Feb 20–21. Petty, Bynum. Impressions of the Organ: American Organ Archives Symposium ______. Versatile Organ Stop Names. Dec 8 May 23–30, 2005, New Brunswick, New Jersey. Sept 18* Hettinger, Sharon L. Book Reviews. Nov 14, Dec 16 Piano-harmonium. See Moore. Huestis, Herbert L. Pasi Open House. Mar 10*† Potratz, Laura. Pure Merklin: A History of the Organ of Saint Eugène-Sainte ______. Reflections on the Philosophical, Metaphysical and Practical Aspects of Cécile, Paris. Nov 17–19*† Dual Temperament in the Pasi Organ at St. Cecilia’s Cathedral, Omaha, Nebraska; Symposia held April 7–9 by the University of Nebraska-Lincoln and Rehearsal techniques. See Johnson, Edie. the Westfield Center. July 16–17* Richner, Thomas. See Maycher. Hughes, Sarah Mahler. A Caledonian Odyssey: Historical Keyboard Instruments Robinson, Joyce Johnson. New Organ Music. Jan 15, Feb 17, April 19, May 14 in Scotland. Aug 19–21*† ______. New Organ Music. Dec 18–19 Sadoh, Godwin. Fela Sowande: The Legacy of a Nigerian Music Legend. Dec ______. New Recordings. June 16–17 22–23* Scotland. See Hughes. In the wind . . . . See Bishop. SEHKS. See Palmer. Internet. See Hartman. Sewanee Church Music Conference. See Landrum. Smith, Domecq. Book Reviews. Dec 14–16 Johnson, Brent. John E. Sperling: Tonal Director Emeritus, Wicks Organ Com- ______. New Organ Music. April 19 pany. April 22* Sowande, Fela. See Sadoh. Johnson, Edie. Mental Imagery and Rehearsal for Organists. Aug 16–18+ Speller, John. New Recordings. Jan 14, Feb 16, Mar 12–13, May 13–14, June 16, Jones, Brian. See Hansen. July 13–14, Aug 14, Sept 16, Oct 16–17, Nov 15–16 Sperling, John E. See Johnson.
34 THE DIAPASON Spicer, David. Seventh annual Albert Schweitzer Organ Festival/USA. Mar 20* Thevenot, Maxine,* to associate Mid-Atlantic Organ Company Spreckels Organ Pavilion. See Duncan. organist and choir director, Cathedral Covenant Presbyterian Church, Swager, Brian. Carillon News. Jan 10, 12*, June 8*, Oct 12, Dec 10* Church of St. John’s, Albuquerque, Charlotte, NC. 5/131,* Sept 28 Symphonic Organ. See Bethards. NM. Sept 6 Tritle, Kent,* to guest music director, Nichols & Simpson Taylor, Herman D. & Gordon Atkinson. University of Michigan 44th Confer- Oratorio Society of New York. Nov 6 Cathedral of St. John the Evangelist, ence on Organ Music. Feb 18–19* Van Oyen, Marcia,* to associate direc- Milwaukee, WI. 4/30*, Nov 24 Teague, William. See Maycher. tor of music/organist, Plymouth First Church of the Redeemer, Sarasota, Temperament. See Huestis. United Methodist Church, Plymouth, FL. 3/61,* May 24 MI. Nov 6 First Presbyterian Church, Little University of Michigan. See McLaughlin, Taylor. Rock, AR. 3/61,* Aug 24 University of Nebraska. See Huestis. Odell Welch, James. The Organ in Opera: James Welch performs with the San Francis- Obituaries St. Ann’s Episcopal Church, Bridge- co Opera. Jan 16* hampton, NY. 3/19,* Dec 1, 27 Widener, John Thomas, Jr. See McCook. Aprahamian, Felix. Mar 8 Ott Arias, Enrique Alberto. Feb 8 Zion Lutheran Church, Portland, PA. Mar 6 Baker, Robert.* Mar 8 OR. 2/40*, Nov 1, 23–24 Honors and Town, Robert,* honored by Wichita Bailey, Dexter. * June 5 AGO chapter for 40 years of teach- Bittrich, Gustav. * June 6 Rieger Competitions ing, Wichita State University, Wichi- Burns, James A.* April 10 Bryn Mawr Presbyterian Church, ta, KS. Sept 8 Byrnes, Robert.* Jan 10 Bryn Mawr, PA. 3/83,* July 1, 23 Weaver, John,* to be honored upon Foster, George A.* June 6 Ashdown, Franklin D.,* receives retirement, Madison Avenue Presby- Holloway, Edward H.* May 8, 10 Schlueter Standard Panel Award from ASCAP. terian Church, New York, NY. April Huffman, William C. July 6 Bethel United Methodist Church, Nov 8 7–8 Kelsay, Henry Murlin.* Nov 10 Charleston, SC. 3/51,* Aug 1, 23–24 Bengston, Bruce P.,* celebrates 50 Webb, Marianne,* receives Distin- Land, Lois Rhea.* Feb 8 Chester Presbyterian Church, years as church organist. Sept 6 guished Service Award, Southern Illi- Mackie, Virginia French. Aug 6 Chester, VA. 2/31,* April 30 Bingham, Judith, wins Barlow Prize in nois University, Carbondale, IL. Aug Mander, Noel.* Nov 10 composition. Feb 6 6 Marsh, Joy Anne Moore. Sept 10 Taylor & Boody Cabena, Barrie,* wins 2004–2006 Wilkins, Donald,* honored at 80th Marshall, Philip. Nov 10 Goshen College, Goshen, IN. 2/32,* Holtkamp-AGO Award in Organ birthday, Calvary Episcopal Church, McManis, Charles Wilson.* Feb 8 May 1, 22–24 Composition. Dec 4 Pittsburgh, PA. Sept 10 Morse, Dorothy Hurley. April 10 Copher, Daniel,* wins Palm Beach Woltz, Randy,* celebrated 30 years as Nalle, Billy. Aug 6, 8 Tickell AGO scholarship competition. Mar 3 organist, First Church of Christ Sci- Nordblad, Dorothy Hildegard. Nov St. Cecilia’s Abbey, Ryde, Isle of Entriken, William F. & Ellen Goff,* entist, Laguna Beach, CA. Mar 6 10 Wight, England. 2/12,* Aug 22 honored for 15 years of music min- Ziegert, Martina, wins Englert-Mar- Ogasapian, John.* Oct 8 istry at First Presbyterian Church, chal prize in Biarritz International Ossewaarde, Jack H.* Sept 10 Wilhelm New York, NY. April 4, 6 Organ Competition. Sept. 5 Parker, Rev. William F.* Aug 8 Benedictine Monastery Saint-Benoît- Fairs, Henry, wins special mention of Shenk, Calvert.* Sept 10, 12 du-Lac, Québec, Canada. 3/57,* Dec 28 the jury in Biarritz International Slusser, L. Robert.* Oct 8 Concord United Methodist Church, Organ Competition. Sept. 5 Stubbins, Mary McCall.* Mar 8 Knoxville, TN. 2/32,* Mar 24 Fassang, László,* wins Grand Prix de Appointments Sutton, Ruth Virginia. Oct 8 St. Athanasius Church, Evanston, IL. Chartres. Jan 6 Thomson, Richard E. April 10 2/32,* Oct 32 French, John,* honored at 25th Van Wering, Janny. May 10* anniversary of teaching, Ursinus Col- Belcher, Diane Meredith,* to St. Whitley, Bob G. Oct 8 Zimmer lege. Jan 6–7 Mark’s Church, Philadelphia, PA. Williams, Donald W.* Nov 10 Aldersgate United Methodist Glasgow, Robert,* honored at retire- Nov 6 Church, Wilmington, DE. 4/29,* June ment from University of Michigan Carpenter, Scott,* to Coordinator of 1, 27 School of Music, Ann Arbor, MI. Tannenberg Organ Programs, Old Sept 6, 8 Salem, Winston-Salem, NC. Aug 4 Organ Stoplists Godding, Antone,* completes 35 years Cowan, Ken,* to organ department at at Oklahoma City University. Feb 3 Westminster Choir College of Rider Gustin, Alvin T.,* retires after 37 years University. July 3 Bedient of service to Christ Church, Alexan- Davis, Jo Deen Blaine,* to The Con- Holy Cross Evangelical Lutheran dria, VA. Sept 8 gregational Church, New Canaan, Church, Rocklin, CA. 1/3,* July 24 Han, Ahreum,* wins top honors at CT. Nov 6 Holy Family Parish, Sparta, MI. Music Teachers National Association Dobbs-Mickus, Kelly,* to senior edi- 2/16,* Feb 32 Young Artist Organ Competition, tor, GIA Publications, Chicago, IL. St. Paul United Methodist Church, Seattle, WA. June 4 April 4 Lincoln, NE. 3/59,* Mar 1, 22–23 Jacobs, Paul,* receives Yale School of Engels, Stefan,* to professor of organ, United Methodist Church, Storm Music Distinguished Alumni Award, Hochschule für Musik und Theater Lake, IA. 2/19,* Jan 26 New Haven, CT. Aug 5–6 “Felix Mendelssohn Bartholdy,” Jones, Jacque B., wins 2004 Leipzig, Germany. Sept 5–6 Berghaus Macalester Plymouth United Church Engquist, Jayson Rodovsky,* to Cen- St. Stephen’s Episcopal Church, hymn contest. Nov 6 tral Synagogue, New York, NY. May Wilkes-Barre, PA. 4/87,* Feb 1, 30–31 Karosi, Bálint,* wins 2005 Poister 4–5 Competition, Syracuse, NY. July 3 Glandorf, Matthew C.,* to St. Mark’s Bigelow Marle-Ouvard, Baptiste-Florian, Church, Philadelphia, PA. Nov 6 Lutheran School of Theology at wins improvisation prize in Biarritz Hardwick, Peter,* to Calvin Presby- Chicago, Chicago, IL. 2/31,* June 28 International Organ Competition. terian Church, Toronto, ON, Canada. Sept. 5 June 4 Buzard McGuire, Brett, wins Grand Prix Hart, Kenneth,* to Professor Emeri- St. Bede Catholic Church, Williams- André Marchal interpretation prize in tus of Sacred Music, Southern burg, VA. 3/54,* Oct 1, 30–31 Biarritz International Organ Compe- Methodist University, Dallas TX. tition. Sept. 5 Henderson, Andrew Elliot,* to Madi- Dobson Monnet, Thomas, wins Grand Prix son Avenue Presbyterian Church, Shepherd of the Bay Lutheran André Marchal interpretation prize in New York, NY. July 4 Church, Ellison Bay, WI. 2/23,* Sept 1, Biarritz International Organ Compe- Hettinger, Sharon L. (Simons),* to 27 tition. Sept. 5 St. Andrew’s Episcopal Church, Murray, Thomas,* honored with Gus- Kansas City, MO. May 5 Fabry tave Jacob Stoeckel Award, Yale Horton, Robert,* to assistant professor First Congregational Church, Hunt- School of Music, New Haven CT. of music, Dordt College, Sioux Cen- ley, IL. 2/27,* July 24 Sept 8 ter, IA. Sept 6 The Community Church, Ludington, Obetz, John,* retires from University Houlihan, Christopher,* to Albert MI. 3/27,* Jan 26 of Missouri at Kansas City. Aug 3 Schweitzer Organ Scholar, First Owen, Barbara,* honored with Church of Christ, Congregational, Glück festschrift by the Organ Historical Wethersfield, CT. Mar 4 New York Stake Center, The Church Society. Oct 6 Koch, Adam,* to assisting musician, of Jesus Christ of Latter-Day Saints, Park, David Shin W.,* wins Vernon The Church of the Holy Trinity New York, NY. 2/16,* July 24 deTar Scholarship Competition. Oct (Episcopal), New York, NY. Oct 5 The Church of Our Lady of Loretto, 4 Kuhn, Duane (Dewey),* to Director Cold Spring, NY. 2/11,* Dec 28 THE DIAPASON Partridge, William,* receives Avis of Sales and Marketing, Rodgers Blewett Award from St. Louis AGO Instruments. Feb 6 Hermes Jerome Butera, Editor chapter. Oct 6 Morrison, Alan,* to hold Haas Chari- St. Anthony of Padua Roman 847/391-1045 Reed, Douglas,* celebrates thirty table Trust Chair in Organ Studies, Catholic Church, Cazenovia, WI. 2/13, [email protected] years of teaching, University of The Curtis Institute of Music, June 28 Evansville, Evansville, IN. Mar 6 Philadelphia, PA. April 6 Ruggles, Charles,* celebrates 30 years Quinn, Iain,* to Cathedral Church of Mander Joyce Robinson, Associate Editor of organbuilding. Apr 6–7 St. John, Albuquerque, NM. May 5–6 West Parish Church of Barnstable, 847/391-1044 Szeremany, J. Richard,* honored at Snow, G. R.,* to sales/marketing man- West Barnstable, MA. 2/24,* April 1, 31 [email protected] tenth anniversary as director of wor- ager, Gamble Music Company, ship, music, and the arts, East Liber- Chicago, IL. June 4 web: TheDiapason.com ty Presbyterian Church, Pittsburgh,
JANUARY, 2006 35 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Yoon-mi Lim AGO National Competition Winner Available 2004-2006
Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*
Vincent Dubois Calgary 2002 Recital Gold Medal Winner
David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison
László Fassang Calgary 2002 Improvisation Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie Gold Medal Winner Grand Prix de Chartres, 2004
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 13-24, 2006 Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver The Choir of Saint Thomas Church, NYC John Scott, Director March 1-8, 2007 WEBWEB SSITE:ITE: The Choir of Winchester Cathedral, UK wwwwww.concertorganists.com..concertorganists.coconcertorganists.com Andrew Lumsden, Director October 17-29, 2007
Gillian Weir* Todd Wilson Christopher Young *=European artists available 2006-2007