THE DIAPASON OCTOBER 2019

The Church of the Redeemer Chestnut Hill, Massachusetts Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

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

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

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IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 10, The Gruenstein Award Whole No. 1319 Last month’s issue unveiled our OCTOBER 2019 new S. E. Gruenstein Award, Established in 1909 honoring the founder and fi rst edi- Stephen Schnurr ISSN 0012-2378 tor of The Diapason. Nominations 847/954-7989; [email protected] are being accepted through January www.TheDiapason.com An International Monthly Devoted to the Organ, 31, 2020, recognizing the scholarly the Harpsichord, Carillon, and Church Music work of a young author who has not advertising inquiries, please contact Jerome Butera (jbutera@ reached her or his 35th birthday as of sgcmail.com; 608/634-6253). The deadline for listings and CONTENTS January 31, 2020. advertising is November 1. FEATURES Submissions must be original Competition: Church of research and essays by the author, In this issue

St. Pothin and the Auditorium-Orchestre 1909 2019 must not have been previously Lorraine Brugh reports on the Olivier Messiaen competition National de Lyon, Lyon, France, 110 June 17–23, 2019 published by any other journal, and of Lyon, France, held in June. Joyce Robinson has interviewed by Lorraine S. Brugh 16 may not be under consideration for Paul Jacobs, providing an update on his busy career. Susan An interview with Paul Jacobs publication by another journal. The Powell reports on the Musforum conference, also held in June, by Joyce Johnson Robinson 18 topic(s) should be related to the organ, church music, harpsi- in Northfi eld, Minnesota. A formidable sisterhood: a review of the 2019 chord, and/or carillon. It is suggested that essays be between Gavin Black, in “On Teaching,” continues his discussion of Musforum Conference, Northfi eld, 2,500 and 10,000 words. For further details, see page 3 of our J. S. Bach’s The Art of the Fugue. In “In the wind . . .,” John Minnesota, June 13–14 September issue. All materials should be submitted to Stephen Bishop takes up the use of the sequencer in modern organ by Susan Powell 21 Schnurr at [email protected]. consoles. Larry Palmer, in “Harpsichord Notes,” celebrates the NEWS & DEPARTMENTS 127th birthday of Herbert Howells. Kimberly Schafer profi les Editor’s Notebook 3 2020 Resource Directory the carillon of Trinity Episcopal Cathedral, San Jose, Califor- Here & There 3 Work on our 2020 Resource Directory continues, the booklet nia, in the bimonthly Carillon Profi le. This month’s Calendar Appointments 4 to be mailed with your January issue. If your business should section features 303 opportunities to enjoy excellence in organ, Carillon Profi le by Kimberly Schafer 9 be listed in the directory and was not included in 2019, please harpsichord, carillon, and choral music! On Teaching by Gavin Black 12 email me with your contact information. If your business was The cover feature for this month is the new Schoenstein & Harpsichord Notes by Larry Palmer 13 In the wind . . . by John Bishop 14 listed in our directory this year, please review your information Co. organ in the Church of the Redeemer, Chestnut Hill, Mas- to ensure it is accurate and complete. Listings are free! Adver- sachusetts. The instrument’s specifi cation is a fascinating study REVIEWS tising opportunities are available for the directory, as well. For in maximizing opportunities with 31 ranks. Q New Organ Music 10 New Recordings 10 New Handbell Music for Christmas 24 Here & There

CALENDAR 25 Events series of organ recitals, Fridays at 12:30 RECITAL PROGRAMS 29 Luther Memorial Church, Madi- p.m.: October 4, Bill Stein; 10/11, Joerg CLASSIFIED ADVERTISING 30 son, Wisconsin, announces Music at Abbing; 10/18, Joby Bell; 10/25, Susan Midday concerts, Wednesdays at noon: Powell; November 1, Kirtsen Santos October 2, Andrew Schaeffer; 10/9, T. Rutschman; 11/8, Brent Johnson. For THE Jared Stellmacher; 10/16, Just Bach; information: https://third-baptist.org. DIAPASON 10/23, John Chappell Stowe; 10/30, OCTOBER 2019 John Behnke; November 6, Andrew Schaeffer; 11/13, Gary Lewis; 11/20, Just Bach; 11/27, Bruce Bengtson; December 4, Andrew Schaeffer; 12/11, John Chap- pell Stowe; 12/18, Just Bach. For infor- St. Paul’s Episcopal Church, Cleveland mation: www.luthermem.org and Heights, Ohio, Holtkamp organ www.justbach.org.

The Church of the Redeemer Chestnut Hill, Massachusetts Cover feature on pages 22–23 October 4, Jay Peterson, with Madelyn St. Paul’s Chapel, Trinity Church Hasebein, soprano; 10/5, Christa Rakich Wall Street, New York, New York, pres- and Jay Peterson, “Remembering Anton COVER ents its weekly Pipes at One recitals on Heiller;” 10/6, Christa Rakich; The Salvatones The Church of the Redeemer, Chestnut Hill, the chapel’s Noack organ, Thursdays at October 18, Erik Wm. Suter, with Massachusetts; Schoenstein & Co., Benicia, California 22 1:00 p.m.: October 3, students of the the men of the choir of St. Paul’s; 10/19, The Salvatones, New York, New Peabody Institute; 10/10, Avi Stein; Steven Plank, works by Scheidt, Fresco- York, directed by Daniel Brondel, 10/17, Colin Lynch; 10/24, George Fer- baldi, Buxtehude, and Couperin; 10/20, announces its 2019–2020 concert Editorial Director STEPHEN SCHNURR gus; 10/31, Julian Wachner; November 7, Karel Paukert with John Orlock, nar- season, the organization’s tenth. All and Publisher [email protected] Marvin Mills; 11/14, Stephen Hamilton; rator, works of Eben. For information: programs will take place as part of the 847/954-7989 11/21, Erik Wm. Suter; December 5, www.stpauls-church.org. Concerts at Malachy’s series at the President RICK SCHWER students of ; 12/12, Janet Actors’ Chapel in Midtown Manhat- [email protected] Yieh; 12/19, Karen Christianson; 12/26, tan and include performances by The 847/391-1048 Victoria Shields; Salvatones Young Voices, directed by Editor-at-Large ANDREW SCHAEFFER January 9, 2020, Donald Meineke; Stephen Fraser: October 6, American [email protected] 1/16, David Briggs; 1/23, Renée Anne Refl ections, including music inspired Louprette; 1/30, Janet Yieh; February by ideals of democracy, equality, liberty, Sales Director JEROME BUTERA [email protected] 13, Avi Stein; 2/20, Jeremy Filsell; 2/27, opportunity, and rights; December 15, 608/634-6253 Julian Wachner; March 12, Geoffrey the Many Sounds of Christmas; May 3, Circulation/ Ward; 3/19, Eric Plutz; 3/26, Janet Yieh; 2020, the Many Sounds of Spring. The Subscriptions THE DIAPASON P.O. Box 300 April 16, Peter Sykes; 4/23, Bradley Salvatones are represented by Seven Lincolnshire, IL. 60069-0300 Burgess; 4/30, Gail Archer; May 14, Eight Artists and have limited availabil- [email protected] Nicole Keller; 5/21, Julian Wachner; ity for performances. For information: Toll-Free: 877/501-7540 Local: 847/763-4933 5/28, Michael Messina; June 11, Ed www.seveneightartists.com. Moore; 6/25, Avi Stein. For information: Designer KIMBERLY PELLIKAN www.trinitywallstreet.org. First Baptist Church, Ann Arbor, [email protected] 847/391-1024 Michigan, announces its 9th Coffee St. Paul’s Episcopal Church, Break Concert Series, Thursdays at 12:15 Contributing Editors LARRY PALMER Cleveland Heights, Ohio, continues Third Baptist Church, St. Louis, Missouri p.m.: October 10, Shin-Ae Chun, organ Harpsichord its second Ars Organi series, featuring (in memory of Marilyn Mason); Novem- BRIAN SWAGER the church’s Holtkamp and Hradetsky Third Baptist Church, St. Louis, ber 7, Edward Parmentier, harpsichord; Carillon organs. A tribute to Anton Heiller: Missouri, announces its Friday Pipes ³ page 4

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

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

Appointments David Baskeyfi eld is appointed to the faculty of the Sacred Music Insti- tute of America, Columbus, Ohio, where he will teach service playing, , and improvisation. The Sacred Music Institute of Amer- ica was developed by Jason Keefer, director and assistant professor of Peace Village campers enjoy the Orgelkids presentation; Sarah Gheorghita sacred music at the Pontifi cal College Josephinum, Columbus, in response Jeannine Jordan presented an Orgelkids experience for the Peace Village camp to a need for organ and vocal training held at the United Church of Christ, Forest Grove, Oregon, on August 15. Spon- David Baskeyfi eld (photo credit: Zoë among church musicians who may not sored by two local Rotary Clubs, Peace Village teaches skills in confl ict resolution, Gemelli) have chosen to pursue a conservatory empathy, creating inner peace, connecting with the natural world, and collaborative course of study. The institute also leadership through engagement in fun daily activities. One of the special activities as teaches Catholic sacred music documents and understanding of resources that part of this year’s Peace Village included a cooperative activity in building and playing can aid full- and part-time music directors in implementing a quality program. the Orgelkids . Following the building of this miniature pipe organ, the Baskeyfi eld brings to the Institute his experience both as a church musician 18 middle and high school students were then given the opportunity to experience and performer. He has been awarded several fi rst prizes in international organ the sanctuary pipe organ through a short concert by Jordan’s student, Sarah Gheor- competitions, as well as the American Guild of National Competi- ghita, and an organ crawl to the chambers. For further information: tion in Organ Improvisation, all with audience prizes. He has two commercial www.promotionmusic.org. recordings to his credit and maintains a schedule as a concert playing repertoire, improvising, and accompanying silent fi lms. He is represented in North America by Karen McFarlane Artists, Inc. For information: ³ page 3 https://www.sacredmusicinstitute.org.

Jeremy Paul Jelinek is appointed principal organist for St. Dominic Catholic Church, Washington, D.C. He accompanies all organ Masses and liturgies with both the Parish Choir and the Chant Schola, and oversees mainte- nance of the historic 1885 Roosevelt Organ. In addition to his work there he is an assisting organist at the Basilica of the National Shrine of the Immaculate Conception, regularly play- ing weekday organ Masses. Jeremy Paul Jelinek After graduating from the Eastman School of Music in spring 2018, Jeremy took some time to explore his interest in the medical fi eld. He fulfi lled a position as intern/medical assistant in neuropsychiatry, and was accepted to Georgetown First Baptist Church, Ann Arbor, Michi- Duke Chapel, Duke University, Durham, University to pursue pre-medical studies. He has discerned that music is gan, Noehren organ North Carolina, Aeolian organ his true devotion as he continues to perform and to build up his repertoire. Jelinek hopes to further pursue his formal musical training, urging forward on December 12, Hyewon Jung, . For Duke University Chapel, Durham, the path to becoming a well-rounded and refi ned professional musician. Q more information: www.fbca2.org. North Carolina, announces its 2019–2020 season of organ recitals: October 13, Christa Rakich; November 10, Timothy Westminster United Church, Win- Olson; January 25–26, 2020, Eric Plutz; nipeg, Manitoba, Canada, announces March 1, Christopher Jacobson; 3/29, organ recitals: October 26, Sebastian Robert Parkins. Heindl; February 9, 2020, Jean-Willy The Chapel’s annual performances Kunz; April 26, Denis Bédard. For infor- of Handel’s Messiah are December 6, mation: http://westminsterchurch.org. 7, and 8. The Duke Bach Ensemble presents its Bach Cantata Series, Octo- ber 27, December 1, February 2, 2020, March 22, and April 11. The Duke Evensong Singers perform October 20, Madison Avenue Presbyterian Church, Basilica of St. Francis Xavier, Dyersville, November 24, and February 23. For New York, New York (photo credit: Lee Ryder) Iowa, Reuter organ further information: https://chapel.duke.edu. Henderson, organ, and students of The Basilica of St. Francis Xavier, Mannes College; 10/27, Andrew Hen- Dyersville, Iowa, announces organ recit- The Saint Andrew Music Soci- derson, organ; November 10, Misuzu als, Sundays at 7:00 p.m.: October 13, ety of Madison Avenue Presbyte- Tanaka, piano; 11/24, St. Andrew Cho- Charles Barland; 10/27, Rev. John Hau- rian Church, New York, New York, rale & Orchestra and gen and Rev. Dennis Quint; November 3, announces its 2019–2020 season, Children’s Chorus; December 15, 15th Nick Schadler; 11/10, Andrew Schaeffer. the organization’s 55th: October 20, annual Carol Sing; For information: xavierbasilica.com. A Tribute to Mendelssohn, Andrew January 12, 2020, Longleash Piano Trio; February 9, Simon Mulligan, works of Bernstein; 2/21, organ stu- dents of Manhattan School of Music; Cathedral Church of St. Paul, Detroit, March 8, Steinberg Duo (violin and Michigan, Pilzecker organ (photo credit: piano); 3/22, Audrey Abela, piano; 3/29, Christian Hooker) St. Andrew Chorale & Orchestra; April 19, Margaret Mills, piano; 4/26, Juil- The Cathedral Church of St. Paul, liard415, works of C. P. E. Bach; May 3, Detroit, Michigan, announces special New York City Children’s Chorus. For music events for 2019–2020: October 27, more information: choral Evensong; November 10, Veterans’ www.mapc.com/music/sams. Day service; 11/15, Jeremy David Tarrant; December 1, Advent procession; 12/13, Musica Sacra, Kent Tritle, conduc- Charles Miller; 12/21, Lessons & Carols; tor, announces its 2019–2020 season January 10, 2020, Jeremy David Tar- in New York, New York: October 21, rant; 1/12, choral Evensong; February 2, works of Machaut, des Prez, and Gre- choral Evensong; 2/21, Tate Addis; 2/23, gorian chant, Cathedral of St. John the choral Evensong; March 6, God’s Trom- Divine; December 23, Handel, Mes- bones (poetry and choral music); 3/22, siah, Carnegie Hall; March 18, 2020, choral Evensong; April 5, choral music AUSTINORGANS.COM works of Bach, Brahms, Bruckner, and for Passiontide; 4/24, Jeremy David Tar- t8PPEMBOE4U)BSUGPSE$5 Rheinberger, Cathedral of St. John the rant, organ works of Bach; 4/26, choral Divine. For further information: Evensong; May 8, choral Evensong; http://musicasacrany.com. ³ page 6

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

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³ page 4 People English song, ‘Sumer is I cumin in;’ Cel- 5/16, spring choral concert; 5/21, choral ebrating “Julius”—A Festal Flourish; Pon- Evensong for Ascension; July 10, Jeremy dering “Augustus”—Serenade for a Sum- David Tarrant; August 14, Jeremy David mer Night; Interlude for “September”—A Tarrant. For information: musical landscape; Ode to “October”— https://detroitcathedral.org. Yearnings; Pondering “November”—Osti- nato on ‘Now Thank we All Our God;’ Second Presbyterian Church, Pondering “December”—I Heard the St. Louis, Missouri, announces its fall Bells on Christmas Day. Couts Music Series, Sundays at 4:00 p.m.: October 27, Michael Unger, organ; November 17, Second Church Chorale and Chamber Orchestra; December 8, Stephen Hamilton Advent Vespers. For information: www.secondchurch.net. Stephen Hamilton performed the fi rst organ concert to be co-sponsored (photo credit: Jean-François by the Aspen Music Festival and Aspen Badias) Community Church in Aspen, Colorado, July 14. To honor Bastille Day, he pre- the predominant language. Fourteen sented his “French Fireworks” program players will be selected among the with music by Alain, Dupré, Franck, registrants. Also planned are visits Langlais, and Messiaen, with Balbastre’s to the Silbermann organ at the St. Marche des Marseillois performed as an Jacobikirche and the 1955 Rudolf von encore. He has been invited to return to Beckerath organ at St. Petrikirche. For perform on the series next season. further information: Future performances include: Octo- www.organpromotion.org. ber 6, Westminster Abbey, , UK; St. Chrysostom’s Episcopal Church, 10/15, Exeter College Chapel, Oxford, Boyd Jones at the organ of St. Katharin- Chicago, Illinois, C. B. Fisk, Inc., organ UK; 10/16, Queen’s College Chapel, en Church, Hamburg, Germany Historic pipe organs Oxford, UK; November 3, Lord of Life St. Chrysostom’s Episcopal Lutheran Church, Sun City, Arizona; Boyd Jones performed organ recitals Church, Chicago, Illinois, announces 11/14, St. Paul’s Chapel, Trinity Church in Germany in July, culminating in a per- its 2019–2020 season of musical events: Wall Street, New York, New York; 11/17, formance of the complete Orgelbüchlein November 1, Josefi en Stoppelenburg; St. Michael’s Episcopal Church, New of J. S. Bach as part of the Hamburger 11/22, Rook—cornetto, sackbut, violin, York, New York. For information: Orgelsommer St. Katharinen “Grosse bass violin, and harpsichord; February www.stephenjonhamilton.com. Orgelzyklen” celebration. The recital 4, 2020, ; March 20, Ars took place at St. Katharinen Church in Musica Chicago; May 22, Hannah de Hamburg on July 21. Priest, soprano, and Michael Pecak, fortepiano, celebrating Beethoven’s birthday. The church also hosts its sum- mer carillon festival, June 7 14, and 21. For information: www.saintc.org.

Conferences and masterclasses The Westfi eld Center for Histori- cal Keyboard Studies and Oberlin Conservatory of Music present a conference celebrating the fortieth anniversary of the Westfi eld Center, Church of the Holy Communion, Lake “Blending Past & Present: Collections Geneva, Wisconsin, 1883 Hook & Hast- and Collectors,” October 23–26, in ings Opus 1144 Oberlin, Ohio. The conference includes Norberto Guinaldo recitals, masterclasses, papers, and Holy Communion Episcopal panel discussions on keyboards, collec- Church, Lake Geneva, Wisconsin, will Norberto Guinaldo has composed a tors, and collections. For information: host a recital on Sunday, November 3, set of pieces, Celebrating the Year: Twelve Colin Knapp info@westfi eld.org. 5:00 p.m., presented by Derek E. Nick- Pieces Based on Each Month’s Name and els. During the event, Jeff Weiler will Peculiarities. The project originated Colin Knapp, organist and director Olivier Latry will teach a fi ve-day present the church’s recently restored from the question of what new pieces of music for First Presbyterian Church, masterclass, “Vierne and His Teach- 1883 Hook & Hastings Opus 1144 to write for key celebratory months like Ypsilanti, Michigan, director of the Ypsi- ers, Franck and Widor,” January 8–12, with a National Heritage Pipe Organ January, July, November, and December. lanti Pipe Organ Festival, and a member 2020, in Hamburg, Germany, utilizing Citation from the Organ Historical Soci- Although the last two, as well as March- of The Diapason’s 20 Under 30 Class of the 1998 Th. Kuhn 3-manual organ in ety. The program will include works by April (Lent-Easter) have been celebrated 2015, orchestrated a concert in memory French Romantic style with 65 ranks at Bach, Paine, Stanley, and Johnson. For by this with multiple composi- of his grandmother Irma A. Howard St. Johanniskirche (Altona, Evangelical information and tickets: https://holycom- tions, some research on the origin of the on June 2. Knapp’s choice of repertoire Lutheran). English is anticipated as munionlakegeneva.com. month’s names yielded information from included not only solo organ works, but unlikely sources—from ancient Rome’s also music for organ plus congregation, pagan gods and goddesses and military mezzo-soprano Sedona Libero, soprano leaders to poets and writers. Mary Martin, harpist Alyssa Nicol, cellist MANDER ORGANS Each piece has double titles so as not Nadine Deleury, bagpiper Thomas Ken- to be “tied” down to a particular month. nedy, and pianist Gale Kramer. Written in a style accessible to most New Mechanical Action Organs organists, some of them could be consid- ered “concert” material, from its musical structure, conception, and originality. All of them could work as preludes, offerto- ries, and postludes. All twelve pieces are available for pur- chase and can be seen (two pages only) and heard (entirely) in the composer’s website: www.guinaldopublications.com. The tiles are: “Janus” Keeper of the ³ St. Peter’s Square - London E 2 7AF - Gate–Music for a wintry Sunday; Con- Katherine Meloan Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 templating “Februa”—When the Sun Continuo Organs [e] [email protected] is Hidden; Pondering “Martius”—A Katherine Meloan presents recitals www.mander-organs.com Quiet Interlude; Ode to “Aprillis”—In and masterclasses: November 8, master- Praise of New Life; “Maia” The bringer class for New World School of the Arts, of Flowers—A Tender Pastoral; Ponder- Miami, Florida; 11/10, recital for Florida Imaginative Reconstructions ing “Juno”—Based on the 13th-century ³ page 8

6 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM UNITING TRADITION AND INNOVATION

The Organ at St. John the Evangelist ST. JOHN, INDIANA

The hybrid organ for St. John the Evangelist Catholic Church The console’s operating system allows for several unique features was designed by Triune Music of Elmhurst, Illinois, and built by not usually found on pipe organs, such as: automatic turn-off a renowned pipe organ builder and Rodgers Instruments. circuits, automatic pedal and melody couplers, self-diagnostic test systems, software upgrades and a solid-state transposer. The organ has five divisions. It features a stunning pipe façade The Rodgers operating system is connected to a tuning sensor housed in an imposing case built from White Oak, to compliment that monitors the temperature of the pipework in order to keep the architectural features of the church. The façade contains pipes the digital stops in tune with the pipe stops at all times. The from the 16’ Principal and 16’ Violone ranks, all of the pipes in the Rodgers console is programmed to accept a large number of façade are speaking pipes. Of particular note are the fl ared brass future pipe ranks as ample space was provided in the original resonators of the dramatic Pontifical Trumpet. This stop speaks casework design. with authority as a solo stop over full organ and is especially useful for weddings and other festive occasions. The vision for this instrument has been driven by its need to serve the church as an integral part of the musical fabric of the Mass, The digital console was built by Rodgers. The custom finished and also going beyond that scope to enable organ, choral and shell is built of American Oak and has an ebony-fi nished interior. liturgical literature of all styles and periods to be performed It meets the standards of the American Guild of Organists with successfully. It brings together technology and art, creating a 32-note pedal board and three 61-note, wood-core keyboards a concept which combines the wonder of electronics with that offer velocity-sensitive keying for orchestral sounds. the magic of windblown pipes.

Please watch and share our video at: PHONE 503.648.4181 www.rodgersinstruments.com/videos EXPERIENCE ELEVATED WEB rodgersinstruments.com

      Here & There

³ page 6 on a French Noël, written in the tradi- International University’s Music Festival, tion of 18th-century compositions for Miami; January 21, 2020, recital at Saint harmonium or orgue de choeur, but also George’s Hanover Square, London, UK; drawing inspiration from César Franck’s 1/22, recital at Temple Church, London. Prélude, Fugue, et Variation. Carillon- Katherine Meloan is represented by eurs—and carillonists—who visit FMP Concert Artist Cooperative (www.concer- will also discover the current gratis tartistcooperative.com). For information: publication of Jesse’s Song: A Hymn www.katherinemeloan.com. Of Peace, scored for two players and a four-octave instrument. Both letter-sized PDF booklet fi les are currently listed Engaging the next on FMP’s home page Bulletin Board at generation www.frumuspub.net. Please note that numerous complimentary issues from previous seasons continue to be acces- Pax Britannica: Organ Music by Victo- sible from FMP’s Download page. rian and Edwardian

MorningStar Music Publishers Ars Organi announces a new organ announces new publications for organ: Be CD: Pax Britannica: Organ Music by Joyful! 12 Postludes on Familiar Hymns Victorian and Edwardian Composers (10-457, $21), by Charles Callahan; (AOR002). Robert James Stover per- Orgelkalendar Deutschland 2020 Theme and Variations on Noël Nouvelet forms on the organ of Trinity College (10-181, $14), by Michael Burkhardt; On Chapel, , . Selec- photography of Jenny Setchell. Each Christmas Night: Five Preludes for Organ tions include works by Elgar, Parry, Stan- month of the year features a photograph (10-098, $13), by Kenneth T. Kosche; and ford, and Ethel Smyth. For information: of an organ in Germany, including the Suite (10-498, $18), by Clay Christiansen. www.arsorgani.com. Klosterkirche of Bamberg, Basilika St. For further information: Martin, Weingarten, and St. Marien, www.morningstarmusic.com. Lübeck. For information: Organbuilders www.butz-verlag.de. Recordings

Connor Reed (photo credit: Stefanie Reed)

The Young Organist Collab- orative, centered in Portsmouth, New Hampshire, awarded its annual Penn Brown Memorial Scholarship for Church of the Blessed Sacrament, advanced organ study to Connor Reed Wichita, Kansas, conceptual illustration of Bow, New Hampshire, who also won for Berghaus organ the competition last year. Qualifi ed applicants completed a judged audi- Berghaus Pipe Organ Builders, tion for the scholarship conducted on Inc., Bellwood, Illinois, has been selected the Létourneau Opus 75 at St. John’s Neresheim Abbey organ by Church of the Blessed Sacrament, Episcopal Church, Portsmouth. The Wichita, Kansas, to replace their exist- Penn Brown scholarship pays for 24 les- Fugue State Films announces a new ing pipe organ. Berghaus removed the sons of advanced study and is named in CD, Bach Is the Father, We Are the Chil- 17 ranks of pipework from the Kilgen honor of the late C. Pennington Brown. dren (FSRCD015, £14.50), the fi rst solo organ in September and will use them in For information: www.stjohnsnh.org/ Seven Variations on a French Noël recording by Peter Holder, sub-organ- the new instrument that will eventually young-organist-collaborative. ist at Westminster Abbey. The recording contain 31 ranks in four divisions. Dur- Fruhauf Music Publications will features the 1797 Johan Nepomuk Holz- ing this phase of the project, the builder offer three complimentary scores in the hay organ at the abbey of Neresheim in will restore the existing pipework, make Publishers course of the 2019–2020 season, one southern Germany. Holder plays music tonal enhancements, and construct an Dr. J. Butz Musikverlag announces each for organ solo, choir and organ, by J. S., W. F., and C. P. E. Bach, as well all-new façade, casework, main slider its Orgelkalender Deutschland 2020 and for carillon. The fi rst title, available as Ernst, Rinck, and Mozart. For infor- chests, , steel supports, winding, (€9.90), a monthly calendar featuring the in October, is a set of Seven Variations mation: www.fuguestatefi lms.co.uk. blowers, and three-manual console with a Peterson ICS-4000 control system. A Solo division and Solo Trumpet will be added at a later date. For information: Penny Lorenz Artist Management www.berghausorgan.com. presents St. Mark’s Episcopal Church, , Pennsylvania, recently undertook a restoration of its historic pipe organ. Aeolian-Skinner Opus 948 (1936–1937) was designed and voiced by G. Donald Harrison, president and tonal director of Aeolian-Skinner. The instru- ment includes two older divisions in the chancel—the Screen division that dates from about 1906 and the String division, built in 1922 at the Wanamaker organ shop. An Antiphonal organ was added Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux to the instrument in 2002 and included ranks of pipes as well as digital stops. In the recent project, the Antiphonal For Organ Recitals & Workshops, organ was revised by eliminating digital Please Contact: voices and adjusting the tonal quality of the pipework to achieve a better blend with the chancel organ. Ranks of Penny Lorenz pipes were acquired from dismantled Aeolian-Skinner organs (Saint Thomas 425.745.1316 Church, Fifth Avenue, and Saint Paul’s [email protected] School, Concord, New Hampshire), www.organists.net both designed and voiced by G. Donald Harrison, to create a complete chorus. A Aaron David Miller Jack Mitchener Flauto Mirabilis stop by E. M. Skinner was moved from the Antiphonal organ to the chancel organ.

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

Carillon Profi le Trinity Episcopal Cathedral, San Jose, California Meneely & Co., West Troy (now Watervliet), New York; Petit & Fritsen, Aarle-Rixtel, Netherlands; and Meeks, Watson & Com- pany, Georgetown, Ohio The carillon of Trinity Episcopal Cathedral in San Jose, California, began as a set of fi ve bells cast by Meneely & Co. of West Troy (now Watervliet), New York, in 1879 and 1880. Two more bells were added by the same founder in 1905, and these seven bells were connected to a chime stand. In 1960, Petit & Fritsen of the Aarle-Nixtel, Neth- erlands, cast two more bells. Then in 1976, Petit & Fritsen enlarged the instrument to a total 18 bells as part of the church’s bicentennial celebration. In 2016, as the fi rst phase of expanding the instru- The carillon console at Trinity Episcopal Cathedral ment to a 43-bell carillon, the chime was enlarged to a (photo credit: Paul Archambeault) 24-bell carillon with the addition of six more bells cast by Meeks, Watson & Company of Georgetown, Ohio. Trinity Episcopal Cathedral, San Jose, California church functions, and public concerts on the main The company also retuned the original Meneely bells (photo credit: Paul Archambeault) federal holidays. Q and installed a bell frame and transmission system. —Kimberly Schafer, PhD They provided a new carillon console with space for up Today the carillon is performed on by David Founder and Partner, to 43 bells. The recent expansion was made possible by Anthony, Paul Archambeault, Greg Calkins, Shane Community Bell Advocates, LLC numerous donors to the church’s bell fund, which has Patrick Connolly, Sarah Nunes, Julie Pifer, Sophia www.communitybelladvocates.com been ongoing for over 30 years for this specifi c project. Tao, and Janet Vong. It is heard for Sunday services, [email protected]

DISCOVEDISCOVER R 21st21st CENTURY CENTURY ORGANIN NORTH BUILDI AMERICA NG IN NORTHORTH AAMERICAMER

St. Mark’s Episcopal Church, Philadel- phia, Pennsylvania, Aeolian-Skinner or- gan (photo credit: Len Levasseur) BUILDER MEMBERS: SUPPLIER MEMBERS:

Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. Emery Brothers of Allentown, Penn- Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources sylvania, took on the restoration of the Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products chancel organ. The process of reinstalla- Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems tion was managed by long-time curator Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation Steve Emery. Repairs and revisions of Casavant Frères Patrick J. Murphy & Associates the Antiphonal organ were carried out Dobson Pipe Organ Builders Parsons Pipe Organ Builders by Foley-Baker Inc., of Tolland, Con- Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. necticut. The resulting instrument com- C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. prises 114 ranks of pipes. For informa- Foley-Baker, Inc. Taylor & Boody Organbuilders tion: www.saintmarksphiladelphia.org. Paul Fritts & Co. Organ Garland Pipe Organs, Inc. A. Thompson-Allen Michael Proscia Organbuilder, Inc., Bowdon, Georgia, announces a commission from Alps Road Presby- terian Church, Athens, Georgia, to replace the church’s two-manual Schantz APOBA provides a simple way for you to take console with a rebuilt three-manual advantage of the expertise of the top people in Schantz console with ivory keys. When the organ was built and installed in 1982, WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of it was prepared for two mutation stops several generations who have preceded them. 2 3 (2 ⁄3′ Nasat and 1 ⁄5′ Terz). Proscia will provide these ranks as well as expand the existing divisions by including a 4′ Oboe Call today for APOBA’s Pipe Organ in the Swell and an 8′ Holz Gedeckt and 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV 4′ Nachthorn in the Great. The Pedal division will receive a ′ ′ 16 Quintaton, an extension of the 8 11804 Martin Rd. Quintade of the Positiv. The new Positiv Please watch and share CONTACT division will include: 8′ Quintade, 8′ Sal- :DWHUIRUG3$ ′ ′ ′ our short video at: US izional, 4 Copula, 2 Principal, 1 Octave, ZZZDSREDFRPYLGHR 800-473-5270 III , and 8′ Rohr Schalmey. The DSREDFRP control system will be provided by the Peterson Electro-Musical Products, Inc., Alsip, Illinois. For information: www.prosciaorgans.com. Q

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

New Organ Music Keys used range from two sharps to form, others are through composed, and chiel,” is introduced in the fi rst verse and Sonatas for Organ Manuals; Six three fl ats, only the fi fth being in minor. still others are multi-sectional. Key range is in 6/8 time. A pedal point with a quirky, Fugues; and 32 Voluntaries and Full The Italianate infl uence is to the fore; the is quite limited, not exceeding three fl ats highly repetitive melody in the left hand Pieces, by William Herschel, edited rhythmic in the subjects of num- and three sharps for major keys; thirteen accompanies the rather charming tune by David Baker and Christopher bers 2–6 works well enough, although pieces are in C major and six in G major, in the right hand. There is no indication Bagot. Fitzjohn Music Publica- the contrapuntal structure is even looser with only two pieces in a minor key that the melody is to be played on a sepa- tions, £10.00, £10.00, and £14.00 than many fugues by contemporaries. (numbers IV in D minor and XXII in E rate manual, and the writing of the parts respectively per volume. Available Lengths vary from 86 to 162 measures. minor). Number XI entitled “Arbitrary is such that it could be performed on a from: www.impulse-music.co.uk/ No registrations are given for the fugues, Modulations” certainly wanders far from one-manual organ. fi tzjohnmusic. but thick chords in the left hand and dou- its C-major opening and close! The second verse, in two parts, breaks Following on from the two volumes bling of octaves in extended arpeggios, Three manuals are indicated in many up the melody with the right hand of pieces for full organ by Herschel particularly in “Sonata 3,” will need to be of the pieces. These pieces frequently beginning and becoming more and more (reviewed in The Diapason, May 2018, considered by today’s players. The only call for solo stops, such as the Cornet, elaborate with faster-moving notes. The p. 14), three more volumes of pieces dynamic indications include “Swell” in Hautboy, Trumpet, Flute, , left hand enters four measures later and taken from autographs by the composer fugue number 3—although the return to and, occasionally, Bassoon. These keeps more strictly to the tune. In both are now available, thus completing the the Great is not indicated, nor are other tuneful pieces may display occasional of these verses the phrases of the tune set of fi ve volumes comprising the known places suitable for potential interludes amateur traits, but they are well worth are carefully delineated. solo organ works. The fi rst volume con- on the Swell—and in fugue number 5 studying and playing. The third verse, in a quasi adagio, is tains the collection of sonatas, of which both p and f appear. The sign tr appears As with the two volumes devoted to very hymn-like, nominally in four parts, 24 were planned, but numbers 11–20 are in several places, and there is plenty of the “Pieces for Full Organ,” these three but with some interesting imitation. The missing or were never composed. All are scope for adding further ornaments. In volumes are also in landscape format, fi nal verse is a toccata with a repeating in binary form with keys used ranging both collections those bass notes that the shorter sonatas are conveniently motive in the right hand. The left hand from three fl ats to three sharps, with only exceed the modern compass will need to printed so that each piece fi ts onto a fac- plays the melody, and the pedal has number 5 being in a minor key. Numbers be taken an octave higher on the pedals ing double-page spread, thus eliminating only occasional staccato entries. In this 5 and 8 are both in 6/8; the other twelve with 16′ tone, and some deft footwork page turns, but the rather longer fugues verse, as in the other three, there are sonatas are in common time. will be required in those passages in will require assistance. The font size has no dynamic markings. The performer The texture includes chordal passages eighth notes. These fugues will test the been increased, resulting in fi ve systems could use softer and play the as well as two-part writing, and there is player rather more than the 32 pieces per page for the sonatas and four for the melody on a separate manual. a rhythmic mixture within most of the and sonatas. fugues. As with Herschel’s other com- The third movement is marked “Pasto- pieces. There are no specifi c registrations The fi nal volume includes 32 “Vol- positions, the player will need to decide rale mit einem Orgelpunkt.” This move- or indications for manuals provided, and untaries and Full Pieces.” Each piece how to deal with bass notes outside the ment has a pedal point on low C that most of the pieces have no dynamic indi- here is actually entitled “Preludium” or compass of modern instruments and the sounds throughout. The manual parts, cations, but p and f appear occasionally. “Praeludium,” 33 items included in this quite frequent left-hand octaves. The as Cooman says, “explore sounds based The sign tr appears quite frequently, and substantial landscape-format volume, comprehensive introduction to each vol- on the harmonic series.” These parts there are very occasional appearances of as pieces from another manuscript ume gives details about Herschel’s musi- are varied, at times quite dissonant, with the sign for a turn with a stroke through are used to fi ll the gaps of those not cal career, discusses the pieces in the several returns to the opening melody. it, the interpretation of which varies included in the title-bearing manuscript. specifi c volumes in some detail, and also Once again Cooman has not designated from method book to method book. An appendix presents a full version of provides specifi cations of instruments dynamics. This adagio movement is per- Lengths range from 44 to 103 measures. “Organ Pieces, Set 2, no. 7.” Most are known to Herschel in Bath and Halifax. haps most effective on a soft combination. These pieces contain some writing that in one movement, but six are in two —John Collins The fi nal movement is “Toccata péri- does not lie happily beneath the hands movements, with a change of tempo Sussex, England gourdine.” It is a very “energetic toccata” and are formulaic to a degree, but are and meter. Tempo is indicated in the to be played on a forte registration. In generally not over demanding, and some fi rst twelve pieces (four of which are San Andreas Suite, by Carson the center of the toccata, well marked, at least are still suffi ciently interesting to in two sections), with only three of the Cooman. Zimbel Press, Subito Music is another old melody from the area of merit playing as voluntaries or in recitals. one-movement pieces marked “Vivace,” Corporation, 2017, #80101406, Périgord, France. This tune is marked The second volume contains six fugues the others being headed “Andante” or $15.95. Available from: mf, a gentle break before the opening as per the title page of the autograph, “Andantino.” The second movement is www.subitomusic.com. toccata section is resumed. although each piece consists of an intro- invariably an Allegro, and numbers 22 This suite is dedicated to Cooman’s Carson Cooman indicates that the duction headed “Sonata” in 3/4 time and 30, both two-movement pieces, are friend, Hamburg organist and composer movements may be played together or (numbers 1–3, 5, and 6) or 6/8 (number the only others to be marked with tempi. Andreas Willscher. Since Willscher has separately. At nineteen minutes in total 4), of which only numbers 1, 2, and 6 are For the remaining pieces the editors ties to the Périgord region of France, the length, it makes a most effective suite. marked “Adagio.” The other introductions have suggested tempi. There is a variety music makes reference to that area as There are some diffi cult places in the are also slow, followed by a movement of time signatures (3/4, 4/4, 2/4, and cut well as Willscher’s Christian name. With score, but not enough to give it a “diffi cult” marked “Fuga” (except for number 3, time) and textures—including some the saint’s name day used in its American rating. I am well pleased with the effect of which has no marking). Number 1 in 6/8 is thick chords in the bass. The pieces range spelling, it also harkens to the old Span- this music and recommend it highly. marked “Presto” and is in sixteenth notes from about 40 to 115 measures and con- ish missionaries of California. —Jay Zoller throughout; the remaining fi ve do not tain frequent registration indications and The suite has four movements. The Newcastle, Maine carry tempo indications and are all in 4/4. expression marks. Some are in binary fi rst, “Carillon (in festo S. Andreae apostoli),” features the ringing pattern of bells in a pedal ostinato. Except for a New Recordings short center section where the ostinato Salome’s Dance: Robert Parkins appears in the soprano, then in the alto plays the Aeolian Organ, Duke line, its repetition continues unabated in University Chapel, Durham, North the pedal for the duration of the move- Carolina. Loft LRCD-1147, 2019, ment. The effect is hypnotic—loud bells $18.98. Available from: pealing for all to hear! www.gothic-catalog.com. The second movement, “Versets on a Toccata in D Minor, op. 59, no. 5, Melody from Périgord,” consists of four Fugue in D Major, op. 59, no. 6, Max verses. The melody, “Quel bru faï dïn lou Reger; Air and Fantasy (from Suite No. 1), Florence Price; Variations on a Quiet Theme, Kent Kennan; The Pen- A. E. Schlueter Pipe Organ Co. sive Moon (from Celebrations of God in Nature), Robert Ward; Toccata on Veni Emmanuel, Adolphus Hailstork; In Memory—H.H.L., Noel’s Psalm (A Sonata for Organ), Dan Locklair;

 New Instruments  Tonal Additions  Rebuilding  Maintenance  New Consoles  Tuning How can we help you? 800-836-2726 www.pipe-organ.com

10 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM Reviews

Im Abendrot (from Four Last Songs), with this magnifi cent instrument. Parkins American composers Florence Price, The next works begin in a quieter Salome’s Dance (from Salome, op. 54), has specialized in early Iberian keyboard Robert Ward, Adolphus Hailstork, and mood. Florence Price (1887–1953) Richard Strauss, arr. Robert Parkins. music, having written on performance Dan Locklair. Together they cover a was a composer, pianist, organist, and The Kathleen Upton Byrns McClen- practices in early Spanish keyboard fair amount of stylistic ground. The teacher, active in Chicago, Illinois, don Organ—Aeolian Organ Company music and made recordings (Early Ibe- title Salome’s Dance suggests to me whose music bore the stamp both of her Opus 1785 (1932) in the chapel of Duke rian Organ Music, Naxos; and Iberian images of whirling dance, waving veils, European-tradition training and her University, Durham, North Carolina—is and South German Organ Music, Cal- and sensuous moves. These elements African-American roots. The two selec- a four-manual, 103-rank instrument of cante). Of late his focus is on the German can be noticed throughout the record- tions on this disk from her Suite No. 1 late-Romantic design. Foley-Baker, Inc., Romantic organ and its literature. ing—but even if this were not intended for Organ demonstrate the important of Tolland, Connecticut, renovated the This recording presents an inter- as a thread linking all the works, the infl uence of blues, through rhythm, organ in 2008, a project that included esting compilation of works, with program is nonetheless most satisfying. syncopation, and harmonies, within a a new console built by Richard Hough- the thread of German Romanticism The disc opens with No. 5, “Toccata traditional structure. ten and one new rank, the 8′ Festival running through all of them—either in D Minor,” and No. 6, “Fugue in D In the peaceful “Air,” Parkins’s Trumpet. The organ was featured on the because the composers themselves Major,” from Max Reger’s Orgelstücke, nuanced playing highlights the spiritual- cover of The Diapason in April 2012; were of the German Romantic tradi- op. 59. The multi-sectional toccata alter- sounding harmonies and demonstrates the renovation was discussed at length tion, or because the composers’ musical nates melodic fl ourishes with muscular softer combinations and stops (strings in this article (https://www.thediapason. educations were connected to teachers chordal sections, and quiet passages; the and Vox Humana). He switches gears for com/cover-feature-80). with links to German Romanticism. fugue begins ever so softly and builds the assertive, dramatic “Fantasy,” which Robert Parkins is the university organ- In the former group we have Reger in intensity, demonstrating full organ, is punctuated throughout by a swash- ist and professor of the practice of music and Strauss (whose works open and softer foundations, strings, and the buckling motive. at Duke, and thus is intimately familiar close the program), and in the latter majestic pedal division. ³ page 24

ST. GEORGE EPISCOPAL CHURCH, THE VILLAGES, FLORIDA

“Our former organ was twenty-fi ve years old. It was adequate in its day; but suff ered from signifi cant electronic failure and decreased performance. Th e leaders at St. George Episcopal Church evaluated our music program and decided that we should add upon our strong music tradition. Not only would we continue to off er inspiring music during our liturgy, we would introduce a superb musical series to our community, off ering a well-rounded music program to be part of our outreach activities. Our Organ Task Force explored all possibilities, ultimately turning their attention to Allen Organ. We discovered an Allen Organ was a superb organ, considering both our budget and space availability. Evaluating Allen’s instruments, we fi nally chose the Rudy Lucente Designer Series RL-66a. Th e RL-66a is a three-manual instrument with 66 voices, a multitude of contemporary GeniSysTM Voices, and St. George added Antiphonal Pipes, giving us the best of both worlds! Plus, the instrument is beautiful, its custom woodwork perfectly matches our lovely décor. Th is instrument is perfect for our Sunday morning preludes, postludes, hymns and chants. It also has the versatility to serve as a wonderful concert instrument! Its multiple stop lists allow it to be that perfect sounding English or North German Organ, even the French Romantic and the great American Aeolian Skinner Organ. Organists have performed Bach, Widor, Messiaen, and Elgar on the RL-66a. Premier organists such as Rudy Lucente and Hector Olivera, were pleased with the organs’ versatility and the way it is perfectly voiced for our church. At a recent local American Guild of Organists event, we were proud to showcase our organ, and the audience and guest artists were highly impressed. We look forward to hearing fi ne church music and experiencing wonderful concerts from now and into the next generation!” Th e Very Rev. John Kelly, Rector St. George Episcopal Church, Th e Villages, Florida Excellence Is Worth More www.allenorgan.com

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 11 On Teaching By Gavin Black

The Art of the Fugue, part 5 think there is value in asking the question. a break. Plays lasting ninety minutes with being more academic—more of a treatise This month I continue my discussion I believe that one answer that is highly no intermission have become more and or exposition about something—than the about the process of performing Johann personal and signifi cant, but that also risks more common. But as I ask people about music itself gives us any reason to think Sebastian Bach’s The Art of the Fugue. sounding cliché, is that it relates in part to this—concert patrons among my friends, that it is. In fact the younger generation The connection of all of this to teaching the quest to understand what it means to students, etc.—I get a pretty strong con- circa 1750 might well have seen it as old- is tangential, perhaps, but very real. As experience the arc of a life, and thereby to sensus that an intermission is a necessity. fashioned in a way that seemed to make part of the act of working on a project come to terms with death. Of course, The I am very reluctant to go along with that, it into something academic. C. P. E. that is especially important and challeng- Art of the Fugue has a special role in this so I am confl icted. Perhaps some per- Bach certainly seems to have revered his ing to me, I fi nd myself trying to delve regard due to its unfi nished nature. formances will include an intermission father. But he also lived surrounded by more deeply, accurately, and honestly The longer a work of art is, and the while some will not. musical aesthetics that would have been into understanding what is most impor- more compelling its shape, the more it foreign to his father. If J. S. Bach himself tant and meaningful to each student. feels to me like a place—perhaps a place Playing a work as had meant to call this work something Yet it can be hard to fi gure out what into which one can escape for a while. if improvising very different, say The Mysteries of is important to oneself and why. In my (That is signifi cant even without anything I have written in previous columns Harmony or Grand Passacaglia in D recent attempts to look closely at that, I from which to escape. The sense of being that it can be useful to pretend that Minor or The Strife of the Gods, would have noticed that a majority of the art- elsewhere for a while is enticing and you are improvising the piece that you we see the piece differently? Would the work that I care about the most is either refreshing in and of itself.) I grew up in are performing. This is not a literal tradition (quite weak now, but prevalent big in scale or possesses a convincing New Haven, Connecticut, and spent a lot idea, since I am not a particularly adept for many years) of thinking that this work overall arc that gives it a spacious feeling of time as a small child roaming around improviser, yet it is an image or a way was only suitable for study, not for per- regardless of the literal size or length. some of the buildings of . of mentally organizing the quest for formance, ever have formed? That arc is a signifi cant part of what is Many of these structures are maze-like spontaneity. How does that relate to The We do not really know how much any artistically important about the work. and are imbued with a strong feeling of Art of the Fugue? After all, the piece child understands about the work or I recently made a list of the fi ve spe- being places unto themselves, hidden is so complex contrapuntally, and we indeed the character of a parent. It is cifi c artistic entities that mean the most and self-contained. This was perhaps know that Bach worked on it over a long convenient to assume that what C. P. E. to me or have meant the most to me over especially so to a child for whom they period, so we can safely assume it was Bach says about J. S. Bach, or what he my life. This was not in connection with are frighteningly big. This shaped some not improvisatory in origin. Yet, it might implied by engraving a certain title on a The Art of the Fugue project, though of my taste in architecture, but I believe be all the more necessary to try to have piece, is valid. No one would suggest that coincidentally, they all have this quality. it spilled over even more powerfully into that improvisatory feeling as a corrective it be arbitrarily dismissed. But it is just Just for the record, the fi ve entities are, my taste in music and in theater. It is to the tendency to be over-awed by that not accurate or intellectually rigorous to in no particular order, as follows: The Art relevant to all of the works of art I men- structure, formality, and complexity. assume that it is correct or that it could of the Fugue; Handel’s Messiah; Hamil- tioned above, but most especially to Sleep It is a myth that improvisatory means not be misleading. I know that when I ton (the current Broadway musical); the No More. It is also a source of my love for unstructured, free, or rhapsodic. Impro- myself try to understand the work or the Jethro Tull album-length song Thick as a golf, since a golf course is also this sort of visation can be of that sort, but it can also intentions of anyone of an older genera- Brick; and the off-Broadway immersive place. (If you count the movements of be highly structured, contrapuntal, well tion whom I knew well, I am under very theater piece Sleep No More. All are in The Art of the Fugue one particular way, planned motivically or harmonically. A strong internally derived pressure to the category I have described. Each of the number comes out the same as the few times over the years I have heard an make the kind of narrative out of that you reading this could probably make number of holes on a golf course.) improvisation that was begun by a player story that I would like it to be or that I such a list; it would surely be very differ- I am fi nding (or re-confi rming for who did not know how long the improvi- can in some way admire or relate to. I ent from mine. The same is true for each myself) that because of my propensity or sation needed to be, but who ended up resist that, but I do not think that I can of our students. But I could also make a craving for long structures, it actually is producing an experience that seemed escape from it. A composer’s children list of moments, bits of music or theater not a challenge for me to play from one to have a convincing overall shape. It and students belonged to a different or other narrative, say no more than ten end of The Art of the Fugue to the other. seemed to me listening as if the expec- generation from that composer and grew or fi fteen seconds long, that are in them- Encompassing the whole of it in my tations shaped by the beginning deter- up with different artistic assumptions. selves deeply important to me. focus seems to be the aspect of working mined the rest, including the timing of Presumably a work of art that moves on it that comes the most naturally to me. the end. How is that even possible? Of Talking about study through time, like music or a play, cannot The challenge—the part where I have to course, I am only reporting my reaction, I have found myself slightly more have a convincing and important overall be honest with myself and not let myself not anything scientifi c or measurable, inclined to look over The Art of the Fugue arc unless each constituent part of that indulge any laziness—is making sure and I do not have recordings of these away from an instrument than I normally arc is convincing in itself. Some of those that that overall shape is as convincing to moments to study objectively. But those do with music that I am working on. All of constituent parts may be the ones that audience members as it is to me. This is a experiences have always been in the the analytical work that I do with pieces strike a given person as especially intense, place where the questions I posed above back of my mind as a paradox that prob- is usually done at a keyboard, teasing out important, or moving. Others may be just about details become critical. ably has something to say about musical voices and actually playing them, looking part of the moment-by-moment fl ow. shape. I will return to this next month in at aspects of harmony, rhythm, melody, Something about the relationships of To have an intermission or discussing the state of my thinking about and so on, either while playing them or those details to one another, ones that are not: that is the question . . . the structure of The Art of the Fugue. in a position to play on the spur of the adjacent in time and ones that have to rely Here is a consideration that arises After practicing on different harpsi- moment any or all of what I am trying to on memory to be connected, has to be from the length of this work taken in chords recently I have noticed that in analyze. Why am I spending time with convincing in order for the overall arc to conjunction with the desire to make the the four-voice mirror fugue there are my Art of the Fugue score in front of me be convincing. Is it important to think, in overall shape convincing and powerful: passages in parallel tenths, a rarity in at a table or seated in a comfy chair? I shaping each detail, about how it relates intermission. I do not yet know exactly Bach and other Baroque keyboard music. am not sure. Should I suspect myself of to the overall arc? Or is it possible to how long my performance of The Art of However, these passages disappear when being subconsciously infl uenced by the trust that if each detail comes out the way the Fugue will be. I am sure that in my one voice is in the pedals, so their exis- age-old classifi cation of the piece as one that you want it to (on its own terms) the graduate school performance the music tence as an unavoidable technical matter suitable for study? I do not quite think so. overall shape will take care of itself? Does itself took about an hour and forty-fi ve is harpsichord-specifi c; and I can reach I believe it is two things: that I want or 1 this differ from one piece to another? Are minutes, in addition to an intermission. those notes on a harpsichord with a 6 ⁄4′′ need to spend more time thinking about 1 there many possible ways of dealing with Subsequent performances have varied in octave, but not on one with a 6 ⁄2′′ octave! the piece than I can or should spend play- this effectively, and do these arise out of length. My recording on two harpsichords So as a very practical matter, this defi nes or ing, and that I am just plain interested in and then shape the interpretive stance with George Hazelrigg used faster tempi limits what instruments I can successfully it. I think that some of the time that I am of different performers? It seems that, still. It lasts about 78 minutes and just fi ts use for an Art of the Fugue performance spending reading The Art of the Fugue among other things, it would have to vary on one CD. I think that my planned solo on harpsichord. This is another example, sitting in a chair is taking the place not of from player to player, based on different harpsichord performances will be some- specifi c to me, of the ways in which this practicing it more, but of reading a novel fundamental feelings about the relative where in between. It is rare for a classical work is playable, but just barely. or the newspaper! Needless to say, I am importance of overall arc and moment- concert lasting over an hour and a half to rethinking the ways I encourage my stu- by-moment experience. lack an intermission. On the other hand, It’s all in the name. dents to study away from the instrument! Why is the overall arc so important? I an intermission interrupts the fl ow of the There is no evidence that the name Next month I will write more about do not have one specifi c answer, though I piece signifi cantly. But so will listeners’ The Art of the Fugue or its original in the structure of The Art of the Fugue, in impatience and need for a physical and German, Die Kunst der Fuge, came particular, the ways in which the overall mental break. We go to movies that are from J. S. Bach himself, or that he even shape makes sense even though the longer then that, without needing to take encountered it. It is found on the title piece is incomplete and even though The Sound of Pipe page of the fi rst edition, published under we are not certain about the order of The Diapason and Raven CDs the supervision of members of Bach’s the movements. Q Organs innermost circle. It is entirely possible make the perfect holiday gift! that the choice of that title refl ected To be continued. M. McNeil something that they knew about what J. S. 191 pages hardbound Bach intended or wanted. But it is also Gavin Black, director of the Princeton possible that it did not: that he had not Early Keyboard Center, Princeton, New now on sale at Amazon books said anything about a title by the time he Jersey, is preparing performances on $29.95 died, and that therefore they just had to Bach’s The Art of the Fugue on both come up with something. harpsichord and organ for the next two

www.thediapason.com/subscribe I believe that the name has tended to concert seasons. He can be reached by move us toward thinking of the work as email at [email protected].

12 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

and piano. The half of the collection transcriptions of one’s own, should any of chosen—“Lambert’s Fireside,” “Fel- the other movements be special favorites. lowes’s Delight,” “Hughes’s Ballet,” “My And fi nally, two suggestions for those Lord Sandwich’s Dreame,” “De la Mare’s of us who play the organ: a gentle, lovely Pavane,” and “Sir Hugh’s Galliard”—are two-page “Cradle Song,” Howells’s con- my favorites, too, and I hope to program tribution to the Organists Charitable them, using harpsichord, later during the Trust Little Organ Book: eleven pieces 2020 season. (The pieces are published in for solo organ from the nineteenth to one volume by Oxford University Press; the twenty-fi rst centuries, selected and the arrangements are by Patrick Shan- edited by Martin Neary, published by non.) That these pieces were favorites of Novello (2010). And, reminiscent of his the composer is evident, both from his close friendship with Ralph Vaughan Wil- own mouth, and from yet another source, liams, Howells’s Master Tallis’s Testament, thanks to Christopher Palmer. In his very another ravishingly lovely creation, and comprehensive book, Herbert Howells: A another indication of how comfortable he Centenary Celebration (London: Thames felt dealing with the harmonies of Eliza- Publishing), I noticed on page 458 a listing bethan music. Q of three arrangements for and piano from the RCM Library Howells manu- Comments and questions are wel- The Lambert photo of Herbert Howells at “Lambert’s Clavichord” from the fi rst scripts: “My Lord Sandwich’s Dream,” come. Address them to lpalmer@smu. edition of Lambert’s Clavichord “Sir Hugh’s Galliard,” and “De la Mare’s edu or 10125 Cromwell Drive, , Pavane”—it might lead one to make some Texas 75229. Celebrating Herbert Howells (with a faint pencil signature below Born on October 17, 1892, Herbert the photograph of Howells and the Howells lived until February 23, 1983. clavichord built by Lambert, who was a While he was seeking information famous photographer, and autographed needed to write his book on Domenico also by the composer, who numbered Scarlatti, Ralph Kirkpatrick found each volume and signed his name in bold Sacred Music Institute several Scarlattis listed in a Spanish black ink). I acquired my prized copy of telephone directory, phoned them, this deluxe edition (number 8) at a Lon- of America, LLC and discovered that they were, indeed, don antiquarian bookshop in 1981. The descendants of the great master. Imitat- hardbound volume is the perfect size for Certification Tracks in Organ, Choral Conducting, ing that search for knowledge, I found a clavichord’s music desk: 10 inches wide 1 Howells’s address and phone number in by 6 ⁄4 inches high, exactly one half the Director of Music/Organ, and Cantoring the phone directory for greater London height of the later trade print edition. and made my telephone call to his Barnes Very briefl y, the reason that Howells home during a visit to the UK in 1974. I composed all twelve of the keyboard have often thought that Mrs. Howells, pieces was that, in gratitude for his being by this time hard of hearing, may have the next-to-youngest composer photo- thought that I was Herbert’s biographer, graphed and included in Lambert’s 1923 Christopher Palmer, when she directed publication, Modern British Compos- me to contact her husband in his studio ers (from Elgar, born 1857, to Howells at the . I made and Goossens, born 1893), he wrote an appointment for the next day, and, the fi rst piece (“Lambert’s Fireside”) with the utmost delight, spent one of the while at the photographer’s home and Sacred Music Institute most stimulating and memorable visits of decided to invite his fellow composers of America, LLC a lifetime, one that initiated a foundation to create a similar gift for Lambert and for several subsequent meetings, and his clavichords. All of them responded ultimately resulted in my commission- in the affi rmative, but a year or more Our Mission: “Quality music in every church!” ing the Dallas Canticles for St. Luke’s later, no other musical offering had been Episcopal Church in Dallas, Texas, received, so Herbert decided to write the only set Howells composed for an the remaining eleven pieces himself. For enrollment information and more: American parish church. As our friend- Each is dated, and each has a designated ǁǁǁ͘ƐĂĐƌĞĚŵƵƐŝĐŝŶƐƟƚƵƚĞ͘ŽƌŐ ship blossomed he also transferred to musical fi gure in the title (not necessarily [email protected] me the copyright for his glorious Dallas one of the photographed composers). “Magnifi cat” and “Nunc Dimittis,” and All of the identities spoken to me by (614) 395-7783 we had quite a prolifi c correspondence Dr. Howells are confi rmed by the “other about the various legal matters involved. Palmer,” Christopher (1946–1995), who One of my reasons for wanting to died at age 48, but left an amazingly large speak with Herbert was that he had list of compositions and studies of musical never responded to my written questions fi gures. In his 1978 Novello small book, OUR FACULTY & STAFF: About the program: dĂŝůŽƌĞĚƚŽŵĞĞƚƚŚĞŶĞĞĚƐŽĨƚŚĞ* about the persons named in each of the Herbert Howells: A Study, CP’s listings Dr. Jason Keefer ŝŶĚŝǀŝĚƵĂů twelve pieces that comprise Lambert’s of the Lambert’s Clavichord titles agree Program Director, Organ/Sacred Music Topics * ŶƟƌĞƉƌŽŐƌĂŵ͕ŝŶĐůƵĚŝŶŐůĞƐƐŽŶƐ͕ Clavichord, the fi rst contemporary with my 1974 verbatim ones from the ĂǀĂŝůĂďůĞŽŶůŝŶĞ music for the instrument to be published composer himself, except for one: the ƌ͘ZĞďĞĐĐĂďďŽƩ Organ/Hymnology * KŶͲƐŝƚĞůĞƐƐŽŶƐĂƌĞĂǀĂŝůĂďůĞƚŽƚŚŽƐĞ in the twentieth century. I wrote about dedicatee of “Sargent’s Fantastic Sprite.” ŝŶƉƌŽdžŝŵŝƚLJƚŽŽŶĞŽĨŽƵƌŝŶƐƚƌƵĐƚŽƌƐ Jeremy Bankson his generous answers in The Diapason Howells told me that it was meant for Sir ŽŵƉŽƐŝƟŽŶͬƌƌĂŶŐŝŶŐ A degree in music is not required issue of December 1974 (pages 7 and Malcolm Sargent, the conductor; how- * ƌ͘ĂǀŝĚĂƐŬĞLJĮĞůĚ 8), but there have been some interest- ever, in Christopher’s copy of the score (as KƌŐĂŶͬKƌŐĂŶ/ŵƉƌŽǀŝƐĂƟŽŶ Subjects and options ing addenda in various publications quoted in the Novello volume) Howells ŵŵĂŶƵĞůĂĞĂŶ include: since that time, and what better way to wrote: “There never was another Sargent Business Manager KƌŐĂŶ͗ƚĞĐŚŶŝƋƵĞ͕ƌĞƉĞƌƚŽŝƌĞ͕ celebrate the 127th occurrence of HH’s save the painter.” So one might choose * Mari Kay Dono ĐƌĞĂƟǀĞƐĞƌǀŝĐĞƉůĂLJŝŶŐ͕ natal day than to share this information? a favorite, or mention dual remem- Cantor Program Liaison/ ŝŵƉƌŽǀŝƐĂƟŽŶ͕ĂĐĐŽŵƉĂŶŝŵĞŶƚ͕ The fi rst mention of Howells’s neo- brance, since both the composer and Basic Cantor Training ĂŶĚĐŽŶĚƵĐƟŶŐĨƌŽŵƚŚĞĐŽŶƐŽůĞ Elizabethan keyboard works came author have passed on. I rather think the ƌ͘ZŝĐŚĂƌĚ&ŝƚnjŐĞƌĂůĚ sŽŝĐĞ͗ƚĞĐŚŶŝƋƵĞ͕ƌĞƉĞƌƚŽŝƌĞ͕ĂŶĚ KƌŐĂŶͬ/ŵƉƌŽǀŝƐĂƟŽŶ * during my very fi rst year of harpsichord music could suggest the painter, but . . . cantoring study with Isolde Ahlgrimm in Salzburg who knows? Dr. Jason Hiester ŚŽƌĂů͗ĐŽŶĚƵĐƟŶŐĂŶĚƌĞƉĞƌƚŽŝƌĞ sŽŝĐĞͬŽŶĚƵĐƟŶŐ * (1958–1959). In 1961 I acquired my fi rst Music by Howells is never far from * History of Sacred Music and copy of Lambert’s Clavichord (Oxford my various music desks, and much ŵŝůLJ>ĂƉŝƐĂƌĚŝ ,LJŵŶŽůŽŐLJ Music Theory/ University Press). It is a reprint in larger of the inspiration for this column was History of Sacred Music * Music Theory format of the original printing, which through a chance fi nding of a score that WŚŝůŽƐŽƉŚLJŽĨŚƵƌĐŚDƵƐŝĐĂŶĚ Steven Nanni * was a deluxe limited edition of 175 hard- I had forgotten: Six Pieces from Lam- Voice Sacred Music Documents bound copies autographed by Lambert bert’s Clavichord, arranged for oboe *'ƌĞŐŽƌŝĂŶĂŶĚŶŐůŝƐŚŚĂŶƚ ZĂĐŚĞůWĂƌĨĞŶĐŚƵŬ /ŶƚĞƌƉĞƌƐŽŶĂůZĞůĂƟŽŶƐŚŝƉƐ Voice * *hŶĚĞƌƐƚĂŶĚŝŶŐĞŶŽŵŝŶĂƟŽŶƐ EŝĐŚŽůĂƐ:ŽŚŶ^ƚĞůƚnjĞƌ ^ĞůĞĐƟŽŶŽĨDƵƐŝĐĨŽƌƚŚĞ>ŝƚƵƌŐLJͬ Organ * Service Jennifer Whitehead ĐĐĞƐƐŝďůĞĂŶĚYƵĂůŝƚLJKƌŐĂŶDƵƐŝĐ Voice * *ĐĐĞƐƐŝďůĞĂŶĚYƵĂůŝƚLJŚŽƌĂůDƵƐŝĐ

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

Control freaks snaking through the car and a CPU some- A little over a year ago, I bought a where deep in the bowels of the vehicle, slightly used 2017 Chevrolet Suburban. and I imagine that the most expensive It replaced a 2008 Suburban that I drove repairs I will face down the road will be 250,000 miles. I prefer buying cars that correcting cranky electronics. have 10,000 or 15,000 miles on them because I think the fi rst owner absorbs One thing leads to another. the loss of the “new car value,” and I get I am thinking about electronic controls to buy a fancier car for less money. The because I was amused recently by a post fi rst Suburban was black. Wendy thought on Facebook by Damin Spritzer1 who Tony Soprano while I thought Barack wrote, “Does anyone else have anxiety Obama. My colleague Amory said “Spe- dreams about Sequencers? Laughs cial Agent Bishop” when I arrived at his weakly and makes more coffee.” There house to pick him up. But the funnier ensued a fl urry of responses, some thing was that while sitting in an on- thoughtful and provocative, some ridicu- street parking spot in New York City in lous, and some downright stupid. This the big black car, people would open the conversation brought to my mind several back door and get in, thinking I was the themes I have developed over the years limo they had ordered. That happened about the advances of pipe organ control several times, and each time brought a systems and various colleagues’ reactions good shared laugh. to the relevance, convenience, and pitfalls I like to have big, comfortable cars of new generations of this equipment. because I drive a lot (between 1985 and In the late 1980s, I took over the care 2018, I drove six cars a total of nearly of the heroic Aeolian-Skinner organ at 1,250,000 miles, which is an average of The First Church of Christ, Scientist about 38,000 miles a year), and because (The Mother Church), in Boston, Mas- I carry big loads of tools, organ compo- sachusetts. With 237 ranks and well over nents, and, um, boat stuff. I can put an 13,000 pipes, this was quite a responsibil- eight-foot rowing dinghy in the back of ity. Jason McKown, then in his eighties, the Suburban and close the door. The who had worked personally with Ernest new Suburban gets about forty percent Skinner in the 1920s, was retiring after more miles to the gallon. But the biggest decades of service, and before I arrived, difference is the electronics. the church had contracted with another Sitting at a stoplight facing uphill, organ company to install a solid-state I move my foot from the brake to the switching and combination system. accelerator to start moving, and a sign on Jason’s comment was simple, “This is for the dashboard lights up, “Hillside brake you young guys.” I was present to help The Skinner console at Woolsey Hall, Yale University, New Haven, Connecticut assist active.” I am told that I am Driver with that installation, and, of course, was #1 for the auto-set feature for seats and responsible for maintaining it. That was organ in 1952. That huge organ is played settings are advanced during perfor- mirrors (and steering wheel and pedals). before the days of effective lightning regularly by dozens of different people, mance by repeatedly pressing a piston or I am told when my phone connects to protection, and whenever there was a and one might expect that a combination toe stud labeled “Next.” In addition, some Bluetooth or when Wendy’s phone is thunderstorm, we had to reprogram the system with multiple levels would have systems allow the organist to program not present in the car. I am told when Crescendo memory. I had a helper who been installed promptly there. But at which pistons would be “Next,” so some the rain sensor is operating the wipers. memorized that huge list of stops, and I fi rst, Joe and Nick resisted that change, make all the buttons have that function, I am told when my tire pressure is low. could trust her to drop by and punch it in. correctly insisting that the original equip- while others choose buttons that are easy I am told when I am following a car too Marie-Madeleine Durufl é played a ment built by Ernest Skinner’s people to reach and diffi cult to miss. closely. And to the amusement of friends recital at Boston’s Trinity Church for the must be preserved as a pristine example There is a steep learning curve in and family, and a little excitement for 1990 convention of the American Guild of that historic art and technology. gaining profi ciency with sequencers. It me, the driver’s seat buzzes when I get of Organists. A few days before she was However, along with Yale’s teachers, is easy enough to punch a wrong button close to things like Jersey Barriers, trees, to arrive to prepare for her performance, they understood that the change would or to fail to insert an intended step, so or other cars. It sounds like the gabbling the solid-state combination system in the be a big advantage for all involved, double-checking before performing of eider ducks when they are rafting organ stopped working and the organ including the durability of the organ is advised. And malfunctions happen, together in big groups at sea. went dead. The company that built the itself. Knowing that the cotton-covered leaving a performer stranded with an The feature I like best is Apple Car- system sent a technician with a bale of wire used in Skinner organs would soon unintended registration in the heat of Play. When my phone is plugged into the spare cards, and we worked through two be no longer available, they proactively battle. In thirty-six hours, Dr. Spritzer’s charger, my Apple icons show up on the nights to get the organ running again, purchased a big supply. At their request, post attracted 135 “Likes” and 185 dashboard touchscreen giving me easy just in time for Madame Durufl é to work Richard Houghton devised a plan that responses from organists who have had and safe access to Apple Maps, Google her magic. added 256 levels of solid-state memory those magic moments. The brilliant Maps, hands-free messaging, and phon- The Newberry Memorial Organ in while retaining the original combina- performer Katelyn Emerson chimed in, ing. I can activate Siri with a button on Woolsey Hall at Yale University is one tion action and retaining the original “When the sequencer jumped no fewer the steering wheel and place a call or of the great monuments of twentieth- electro-pneumatic actions to operate the than 16 generals on the third to last record a reminder, so I have no excuse century organbuilding. With more than drawknobs and tilting tablets as pistons page of Liszt’s Ad nos, and I landed on for forgetting things. One of the icons is a 165 voices and over 12,500 pipes, it is were pushed and settings engaged. nothing more than an 8′ Gamba, I had my Audible account so I can listen to my high on the magic list of the largest Skin- Houghton was sensitive to all aspects nightmares for weeks.” Reading that, I library of ebooks as I drive. ner organs, and Nick Thompson-Allen of the situation, and the 1928 console thought, “If it can happen to her, it can I expect there is a downside to all these and Joe Dzeda have been its curators still functions as it did ninety-one years happen to anyone.” gadgets. Any organbuilder knows that for over fi fty years. Nick’s father, Aubrey ago, while serving the procession of Here are a few other replies to Dr. there is a whopper of a wiring harness Thompson-Allen, started caring for the brilliant students and performers who Spritzer’s post: use that organ for lessons, practice, and “No music was written for sequencers, Confident pedal work performance. The addition of the new so I don’t use them.” equipment was accomplished with great “Didn’t have to dream it. I lived it.” comes with practice and skill in the spirit of Mr. Skinner under “When forward and back are unla- Joe and Nick’s supervision. Neat bundles beled brass pedals one inch apart, only the right shoes of green and red cotton-covered wire mayhem will ensue.” wrapped in friction tape connect the “I just stick to mechanical action.” on the hundreds of circuits of the console to the “You know, I’m a sequencer phobic. new unit, just as if it had been installed I’ve had situations where I hit it and it pedals by Mr. Skinner’s workers in 1928. A side zipped up fi ve pistons.” benefi t was the elimination of countless “Petrifi ed of the things . . . . Yes, that’s x Men’s & Women’s hours spent resetting pistons as each why I never use them.” organist took to the bench, hours lost Any colleague organbuilder who has with suede soles and heels for valuable practice, hours when the or might consider installing a sequencer x Whole & Half huge blower was running to support that in an should jump on mundane task. Facebook (or get a friend to help you), Sizes in 3 Widths fi nd Dr. Spritzer’s post, and read this x Quick & Easy Next string of responses. Returns The sequencers to which Dr. Spritzer There are two basic ways that piston was referring are accessory functions of sequencers work. One is that you set all OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET the more advanced solid-state combina- the pistons you need, and then set them 44 Montague City Rd Email: [email protected] tion systems that allow an organist to set in a chosen sequence. You can reuse Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes sequences of pistons whose individual individual settings as often as you would

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

charm—it must have been quite a chore to maintain a brigade of organ pumpers to get through performances of Widor’s organ symphonies). Louis-James Alfred Lefébure-Wély was the organist there when the instrument was new, but Cavaillé-Coll realized that he was not the equal of the instrument and champi- oned Widor as the next titulaire. Widor exploited the vast tonal resources of that great organ transforming the art of organ playing, inspired and enabled by Cavaillé-Coll’s technological innovations. Ernest Skinner, with his comprehen- sive combination-actions, helped enable innovative artists like Lynwood Farnam develop new styles of playing. Widor the factory and next-day shipment of and Farnam were apparently not above replacement parts to correct problems. Three-manual practice organ, Univer- using complex and newly developed § The eight-foot dinghy (photo credit: Wendy sity of Washington, Organ Clearing controls to enhance their command of Strothman) House (photo credit: John Bishop) their instruments. Their organbuilders I could repair almost anything in my demanded it of them. fi rst car. There were two carburetors, a like, and there is no meaningful limit to Double Artiste to include a third inde- I fi rst worked with solid-state com- mechanical throttle, a manual choke, the number of steps in a saved sequence. pendent unifi ed division and provided a binations in the late 1970s. Those sys- and an ignition rotor. When you open You can go back and edit your sequence, three-manual drawknob console with a tems were primitive, and excepting the the hood of my Suburban, you see adding or deleting settings mid-way comprehensive solid-state combination revolutionary availability of two levels some plastic cowls and some wires and through. This is sometimes referred to action that includes a sequencer. The of memory, they had pretty much the assume there is a cast engine block down as the “American” system. organ allows students to develop pro- same capabilities as traditional electric in there. To start the car, I step on the The “European” system is a little dif- fi ciency using a sequencer in the safety and electro-pneumatic systems. As the brake and push a button. The key must ferent. It runs through General pistons of a practice room. It also features two systems got more complex, they were be present, but it stays in my pocket. If in order, then scrolls up to the next level independent expression boxes. sensitive to fl ukes like lightning strikes, I leave the key in the car and shut the of memory and runs through them again. and their developers worked hard to doors, the horn gives three quick toots, The scrolling continues through all the The old-fashioned way improve them. Recently I commented telling me that the car knows better than levels. This seems limiting, because it The Illinois organbuilder John-Paul to a colleague that we all know that Mr. to lock the doors. But I suppose someday specifi es exactly the order in which you Buzard drives “Bunnie,” his Model A Skinner’s systems could fail. A hole in it will smirk, toot twice, and lock me out. must set pistons, and if you want to Ford, across the picturesque country- a piece of leather could mean that the Next. Q return to a setting, you have to program side, sometimes alone, and sometimes Harmonic Flute would not set on divi- another piston the same way. In both in the company of fellow members of sional pistons. He agreed but replied Notes styles, there is typically an LED readout a club of Model A owners. It looks like that a good organ technician with a 1. Dr. Damin Spritzer is assistant professor of organ at the American Organ Institute of on the console showing the current step a ton of fun and great camaraderie, properly stocked tool kit could open up the University of Oklahoma, Norman, artist in the sequence, and which piston it is, especially as club members help each the machine and fi x the problem in an in residence at the Cathedral Church of St. and if there isn’t, there should be. other through repairs. Nevertheless, I hour or so. Some organbuilders are now Matthew in Dallas, Texas, and an active inter- national recitalist. You can read more about If there are so many pitfalls, why will bet he uses a vehicle that is more up profi cient with electronic repairs, while her at http://www.ou.edu/aoi/about/directory/ bother? One of the great things about to date in the context of daily life. I am others of us rely on phone support from spritzer-bio. the state of the pipe organ today is not an expert, but I am guessing that the that there are so many brilliant play- Model A would be taxed if pressed into ers who concertize around the world. the mileage-hungry travel routines of an If you perform on twenty or thirty active organ guy. The Michelin radial different organs each year, especially tires on my whiz-bang Suburban are those with big complicated consoles, much better suited for endless hours at, you might take comfort in fi nding um, eighty miles-per-hour than the 4.75

handy gadgets that are common to x 19 tires on the Model A. 2020 many of them. If you are adept and In 1875, E. & G. G. Hook & Hastings comfortable using sequencers, you built a spectacular organ with seventy do not have to go fi shing around a big stops and 101 ranks (Opus 801) for the complex console looking for Swell 1, Cathedral of the Holy Cross in Boston, Great to Pedal, General 22, Positiv to Massachusetts. The company’s workshop 1 Great 5 ⁄3′, Great 6, All 32′ Stops Off. was within walking distance, and Frank You just keep hitting “Next.” Some con- Hastings reveled in taking potential soles are equipped with “Next” buttons clients to see it. It was equipped with up high, so your page-turner can press a pneumatic Barker lever to assist the it. (If you need that kind of help, maybe extensive mechanical keyboard and you should try the autoharp.) coupler actions, ten registering composi- Summer

Some teachers discourage the use of tion pedals, and a fourteen-stop Pedal Experience the brilliance of the Kotzschmar sequencers. Stephen Schnurr, editorial division, complete with four 16′ fl ues, a director and publisher of The Diapason, 12′ Quint, and a 32′ Contra . Organ and the beauty of Maine wrote that he “forbids” his students to Anyone familiar with the construction of use them in public performances at Val- such organs knows that represents about Portland Municipal Organist James Kennerley paraiso University where he teaches. He an acre of windchest tables. on the Kotzschmar Organ confi rmed my guess, that he is encourag- Thirty-one years later, in 1906, the ing them to “stand on their own two feet” Ernest M. Skinner Company built a and learn to play the organ seriously “the four-manual, eighty-four-rank organ Guest Artists: Katelyn Emerson, Peter Krasinski and old-fashioned way.” That reminds me of (Opus 150) for the Cathedral of Saint Olivier Latry, Organiste Titulaire Notre-Dame de my apprenticeship in Jan Leek’s work- John the Divine in New York, New York. shop in Oberlin, Ohio, where he made That organ had electro-pneumatic action Family Concert, Windchest Tours, Fun Group Events sure I could cut a piece of wood straight throughout, pitman windchests, and an along with Portland’s thriving restaurant scene. and square by hand before teaching me electro-pneumatic combination action the use of the super-accurate stationary with pistons and a . That machines. Further, Schnurr believes it is a quantum leap in pipe organ technol- is important that students do not rely ogy in thirty-one years. on sequencers so heavily that they are Look back to the iconic Cavaillé-Coll bamboozled when faced with a console organ at St. Sulpice in Paris, France, www.foko.org that does not have one. After all, I would built in 1860. This was likely the most guess that well over half of all organs do advanced instrument of its time, and not have piston sequencers. the myriad original mechanical and Looking at the other side of the issue, pneumatic registration machines are still a few months ago, the Organ Clearing in use. We can reproduce how Widor, AUGUST 20-23 House installed a practice organ at the Dupré, and countless other genius play- the date Save University of Washington, specially ers managed that massive instrument Summer 2020 intended to expose students to the (although the presence of an electric latest gadgets. We expanded a Möller blower takes away some of the original

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 15 Competition report

Olivier Messiaen Competition Church of St. Pothin and the Auditorium-Orchestre National de Lyon, Lyon, France June 17–23, 2019

By Lorraine S. Brugh

Prelude nine judges, seven men and two women, Auditorium-Orchestre National de Lyon, Lyon, France, and its organ (photo credit: Gary Filled with sunshine and warm temper- held forth in front of the altar, conve- Brugh) atures, June 17 in Lyon was a day Olivier niently blocking the console from view. Messiaen would certainly have approved. The contestants sat in the nave, watching Olivier Messiaen, “Alleluias sereins in 2013 by Michel Gaillard, Manufac- The cavernous dark room of the Church and listening to each other play. The six d’une âme qui désire le ciel,” from ture Bernard Aubertin. The auditorium of Saint Pothin would have also certainly candidates, chosen from a fi eld of seven- L’Ascension is today the only large organ room in met with the master’s approval, its mosaic teen applicants, were required to choose France outside Paris. dome crowning the apse and the organ a prelude and fugue of Marcel Dupré Thomas Kientz, France The 2019 competition featured a fi lling the entire east end of the nave. and a piece of Messiaen. The contestants Olivier Messiaen “Dieu parmi nous”, newly commissioned work by Phillippe The simple, modern organ case with and their repertoire were: from La Nativité Hersant, a compulsory work in the dark red and brown wood, crowned with Marcel Dupré, Prelude and Fugue in competition’s fi nal round. Mr. Hersant white and gold molding, did not give away Fanny Cousseau, France G Minor, opus 7, number 3 was present at the competition, serv- what was inside. The organ was built by Marcel Dupré, Prelude and Fugue in ing as a jury member alongside several Joseph Merklin et Cie in 1876. It was G Minor, opus 7, number 3 Eszter Szedmák, Hungary international Messiaen performers and completely renovated in 2004 by Daniel Olivier Messiaen, “Offrande et Olivier Messiaen, “Alleluias sereins scholars. Through the works of Hersant, Kern Manufacture d’Orgues of Stras- Alleluia fi nal,” from Le Livre du d’une âme qui désire le ciel,” from Messiaen, and others, the competition bourg. While Merklin built a two-manual Saint-Sacrement L’Ascension offered a range of high level yet acces- instrument, it is now three manuals. Marcel Dupré, Prelude and Fugue in sible organ literature to the audience. The resonance of Saint Pothin, with Yanis Dubois, France G Minor, opus 7, number 3 The competition was part of two weeks its two to three second reverberation, Marcel Dupré, Prelude and Fugue in of programming that showcased the created an ideal aural space for the fi rst F Minor, opus 7, number 2 The Olivier-Messiaen Competition, instrument for family outings, festive round of the competition, which featured Olivier Messiaen, “Dieu parmi nous,” originally created in 1967 as a con- concerts, and high-profi le recitals. the works of Marcel Dupré and Olivier from La Nativité temporary piano festival, was held in Olivier Latry served as president of the Messiaen. The ability to time an entrance Paris until 2007. Now, in 2019, Bruno jury. On the day after the competition’s following a rest or fermata became a Charlotte Dumas, France Messina, director of the Isère Agency fi nal round I asked him about his relation- distinguishing feature of the performers. Marcel Dupré, Prelude and Fugue in for Artistic Dissemination (AIDA), is ship to the competition’s revival. “I wasn’t Some were able to make the music just G Minor, opus 7, number 3 responsible for recreating it in the spirit involved in the planning of the competi- fl ow out of the reverberation; others were Olivier Messiaen, “Alleluias sereins allowed by the artistic project of Mai- tion from the beginning,” he explained: too eager to get on with the music. d’une âme qui désire le ciel,” from son Messiaen, the artist’s residence in Others like Bruno Messina and Claude More than fi fty people gathered for L’Ascension Matheysine. The Auditorium-Orchestre Samuel were central to transforming the this opening round of the competition. National de Lyon has become the home event. I didn’t have to do anything with The usual motley crew of organists and Jacobus Gladziwa, Germany for this new international interpreta- that; I was just asked to be president of enthusiasts, mostly over sixty, eagerly Marcel Dupré, Prelude and Fugue in tion competition for the organ, under the jury. The repertoire choices were also not mine, which was nice because it gave awaited the fi rst candidate. A panel of B Major, opus 7, number 1 the chairmanship of Claude Samuel, me new eyes and new ears. The planners founder of the Olivier-Messiaen Com- eventually decided to make a competition petition, former director of music at for the organ, created out of the piano Radio France, and author of interview competition of twenty years ago. I think it’s more about the relation between Messiaen books with the composer. and the Trocadéro organ from the Palais du The organ in the auditorium of Lyon Chaillot that is the connection with Lyon was originally installed in Paris, built for than anything else. On that organ Messiaen the 1878 World’s Fair. It was situated in played and dedicated some of his works when it was at the Palais du Chaillot. That the large concert hall in the (former) connection as well has made a sort of com- Palais du Trocadéro and was the fi rst parison between the piano, the organ, and Aristide Cavaillé-Coll organ to be installed the competition. in a French concert hall. The instrument was inaugurated with concerts in which Intermezzo Charles Marie Widor played the premiere Where but in France could one walk of his Symphony No. 6 for Organ. into a laundromat at 8:30 in the morning The organ was modernized and reas- and meet someone who had attended sembled for the Exposition Internatio- ’s organ concert two nale of 1937, part of the renovation of nights before? As I struggled to fi gure out the Palais du Trocadéro into the Palais how to make the washer start, a French de Chaillot. Many works have had their woman came to my aid and guided me premiere on this instrument, includ- through the complex maze on the wall ing Messiaen’s Les Corps Glorieux, to get soap and pay for the washer. As performed by the composer himself on we waited interminably for our clothes April 15, 1945. to dry, we struck up a little conversa- The organ was moved and installed in tion. Little was the only possibility as my Lyon in 1977 and most recently rebuilt French was un peu. I told her I was here for an organ festival, and she said she 0LOQDU2UJDQ had just attended an organ recital two &RPSDQ\ nights before. “Thierry Escaich,” I asked? “Oui, madame.” She and her husband are /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV /LNHQHZ$XVWLQDFWLRQV admirers and friends of Escaich and have 6ROLG-VWDWHV\VWHPV www.ruffatti.com ([FHOOHQW7UXPSHW(Q&KDPDGHV known him for nearly thirty years. She

--GHQQLV#PLOQDURUJDQFRP told me Escaich was instrumental in the ZZZPLOQDURUJDQFRP 2013 project to renovate the organ.

16 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM Liesbeth Schlumberger, Benoît Mernier, Background: Catherine Massip, Olivier Latry, Philippe Hersant, Leo Samama, Edgar Thomas Kientz, Yanis Dubois, Fanny Olivier Latry, Thomas Lacôte, Edgar Krapp; foreground: Thierry Escaich awarding the second prize to Thomas Kientz Cousseau, Eszter Szedmák (photo credit: Krapp (photo credit: Claire Delamarche) (photo credit: Bertrand Gaudillere-Item) Bertrand Gaudillere-Item)

Then, when the notes and rhythms are cor- I premiered a new organ/orchestra piece rectly done, the performers can make their with the Philadelphia Symphony, there was own interpretive decisions with things like incredible pressure. I think it’s the same registration, rubato, agogic, etc. But all of kind of thing. I haven’t judged before, but that should not interfere anymore with this I think it’s the same way. Any competition, fi rst step; notes and rhythms have to be kept. or a jury exam for a doctoral degree even in other fi elds than music would require the We closed the conversation with Latry same thing. I think it is part of the skill to musing about the importance of compe- be able, in spite of the stress of the perfor- titions. I found that he had some surpris- mance, to go to another dimension in those situations. Most people stay at the level of ing comments: the composition, ‘playing the notes,’ but I’m not a great fan of competitions. Usu- they really need to go further. The jury ally I refuse to adjudicate a competition. members are looking for something ‘more.’ The difference this time was that it fea- I’m speaking about that other dimension tured the music of Messiaen, for which I needed for a complete, successful, and have a deep affection. Who am I to judge touching performance. someone? Why would my judgment be better than someone else’s? How can I say I was taken by these words from one that one player is better in music than an- of the world’s greatest players. The other one? Unfortunately that is the only combination of high expectation and way for young musicians to become known. a calling to give new young organists a I think we need new ways for young Background: Thomas Lacôte, Thierry Escaich, Leo Samama, Edgar Krapp, Benoît musicians to be known. What can we do to venue to be heard impressed me. The Mernier, Thomas Kientz, Yanis Dubois; foreground: Aline Sam-Giao (executive man- create a venue for them? There are certain combined need for heeding the com- ager of the Auditorium-Orchestre National de Lyon) congratulating Fanny Cous- young players that we know, and many that poser’s intentions and adding one’s own seau (photo credit: Bertrand Gaudillere-Item) we don’t. In fact I would like to imagine expressiveness and interpretation calls some kind of meeting (not called a compe- tition) where we can invite ten to sixteen for the highest level of musicianship. Her husband arrived and we chatted a Sortie young players, and we all listen to them. The fact that no fi rst prize was awarded bit more about the unusual duo concert On the day following the fi nals, the Then, after their performances, we could was evidence to me of the need for we heard with Escaich and comédien competition was complete, and the organize some masterclasses on the pieces all of us who teach young organists to they played, telling them what we liked, Lambert Wilson. They said Wilson is one judges presented an afternoon concert. what we didn’t, what could be improved, encourage and support, while, at the of the most celebrated actors in France, As I had already left Lyon, I spoke with etc. Towards the end I might say, ‘I really same time, keep the bar high for the and what an honor it was for him to per- Olivier Latry by phone and asked about love what they do,’ and I might relay that next generation. Q form in Lyon. As the husband picked up the results of the judges. The judges name to someone who would not know of this young player. the laundry bags, he said, “Well, we all awarded no fi rst prize. The second The pressure created in that kind of Lorraine Brugh is professor of music have to get back to daily life sometime.” prize was awarded to Thomas Kientz, meeting, even without being a competi- and Kruse Organ Fellow at Valparaiso the third prize to Yanis Dubois, the tion, however, is very important. When we University, Valparaiso, Indiana. She create a performance situation, the pres- Allegro assai Messaien prize to Fanny Cousseau, sure is part of the whole situation. It needs recently served as director of the uni- The second round of the competition the audience prize presented to Eszter to be part of the player’s strategy to handle versity’s study abroad program in Cam- moved to the auditorium, where the now Szedmák, and the contemporary prize it. On various occasions, for example, when bridge, England. fi ve fi nalists each played a 20–25 minute to Yanis Dubois. As to why there was program. This time there were two move- no fi rst prize, Latry explained, “I really ments of a Bach trio sonata, a compulsory must confess that some of my colleagues Messiaen piece from Livre d’Orgue, and in the jury and I were disappointed in a contemporary work. It was beginning the playing in the fi nal round, which to feel like a marathon to me, as fi ngers was not as strong to me as the previous fl ew through the fast movements, care- rounds. The performances were not at fully playing Messiaen’s many and intri- the level of an international competi- cate bird calls. The performers worked tion. In order to continue the level of through their technically demanding the competition, we need to raise the literature quite deftly. At the conclusion level of the fi rst prize.” of this round, four fi nalists were chosen to I asked him about the rigor of the com- compete in the fi nal round. petition, its pressures, and the amount of literature required of the players. He Final responded, “I must say that it was not The four fi nalists played again at the that strenuous, compared to Chartres or auditorium with a combination of com- . It was normal. When we play pulsory and chosen works: literature for a concert tour it is normal • In exitu Israel, a compulsory piece for us to have three hours in our fi ngers, composed by Philippe Hersant, com- sometimes more. So the rounds were missioned by the Olivier Messiaen 1½ hours of playing. That is normal for Competition; someone who wants to make a career as • a piece or pieces by Olivier Messi- a concert organist.” aen of eight to fi fteen minutes in length In noting the importance of expres- chosen by the candidate; these pieces siveness in playing French literature, I can have been played in the quarterfi nal asked how much the technicalities mat- and semifi nal rounds (the quarterfi nal ter, for example, the micro-rhythms in round by recording, the semifi nal round Messiaen. Latry replied: at St. Pothin); “superb musicianship, masterly technique and savvy programming … Archer’s • a composition written between With Messiaen, one cannot avoid the sweeping assurance and stamina enable you to hear the music behind the virtuosity.” notes and the rhythms. This is the basis of 1830 and 1945 chosen by the candidate. his music. They are givens, and Messiaen is — GRAMOPHONE (JAN 2018) — This repertory must not have been specifi c about that. It is important to follow MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com played in a previous round. those and not change them at that level.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 17 Interview

An interview with Paul Jacobs

Paul Jacobs with the Cleveland Orchestra (photo credit: Roger Mastroianni, courtesy of The Cleveland Orchestra)

By Joyce Johnson Robinson

aul Jacobs’s name fi rst appeared in the cancel; besides, I wouldn’t receive it [the PNovember 1998 issue of The Diapa- award] anyway. Well, I was wrong about son, which noted that he won fi rst prize that! This honor was something good in the Young Professional Division of the not only for me, but for the entire organ Albert Schweitzer Organ Competition in profession, for organ playing to be recog- its inaugural year. His marathon perfor- nized by such a mainstream institution. mance in Chicago of the organ works of Olivier Messiaen was described in detail Do you think it’s led to additional by Frank Ferko (“An Extraordinary Musi- opportunities, or brought more cal Odyssey: Paul Jacobs’ Messiaen Mara- attention? thon,” The Diapason, April 2002, Vol. On some level, perhaps. But I don’t 93, No. 4, pages 14–15). Over a decade believe that any one accolade or accom- ago, The Diapason presented an inter- plishment is a silver bullet, which is what view with Jacobs, which focused on his I tell my students. Young musicians, development as a musician and his views understandably, want to be successful and of music within American culture (“Chal- recognized immediately for their work, lenging the Culture: A Conversation with but there isn’t just one ingredient that’s Conductor Osmo Vänskä, composer John Harbison, and Paul Jacobs after a perfor- Paul Jacobs,” The Diapason, February going to make this happen—one has to mance with the Minnesota Orchestra (photo credit: Tim Rummelhoff) 2006, Vol. 97, No. 2, pages. 22–25). commit for the long haul and be patient. Jacobs has become a vocal champion of Intense dedication to the art form—pur- always been important to me. As time doing this? Right now it seems to be the organ and of art music, as evidenced suing it for the right reasons—is crucial, progressed, I was increasingly invited just you. by interviews and articles in such publica- because this isn’t always an easy or lucra- by important orchestras to perform with I know, it’s true; but this is also tions as The New Yorker, Wall Street Jour- tive path. But if you genuinely love music, them, something that has brought tre- something that I’ve worked very hard nal, and The New York Times. He is the it will sustain you through diffi cult, even mendous satisfaction. to achieve. None of this has occurred only organ soloist to have won a Grammy discouraging, times. If you tenaciously without extraordinary effort, not to men- Award, and is recognized as a musician of persist in the journey, your vocation to You’ve worked with such important tion occasional frustrations. To begin unique stature through his performances music will eventually bear fruit. conductors as Pierre Boulez, Charles with, it takes a bold willingness to want in each of the fi fty United States and People have approached me over the Dutoit, Yannick Nezet-Seguin, to understand the world of orchestras— around the world, as well as his perfor- years—many who have stable work and a Michael Tilson Thomas, and Franz entirely different from the organ com- mances with major orchestras, including healthy paycheck—and expressed some Welser-Most. Many conductors munity—its structure and needs, and Chicago Symphony Orchestra, Cleveland degree of envy that I can make a living haven’t worked very closely with what its audiences expect. And usually Orchestra, Philharmonic, doing what I actually love to do. It’s a organ soloists. Is this correct? these audiences do not comprise the National Symphony, Philadelphia Orches- reminder that shouldn’t be taken lightly: That’s right. Let me consider how to same people who attend organ recitals. tra, and San Francisco Symphony, to name making beautiful music for others is a best phrase this—my desire is for organists Additionally, organists must be capable just a few. Jacobs also serves as chair of the rare joy and a privilege. Be grateful for to be taken as seriously as other musicians. of overcoming any idiosyncrasies of a organ department at the Juilliard School the music that has been bequeathed But we must earn respect; it doesn’t come given instrument, quickly overriding in Manhattan. Last season Jacobs toured to us, that is under our care to pass to automatically. And we have to deliver at any problems, which are bound to arise in Belgium, Luxembourg, and Germany future generations. We’re the custodians the highest artistic level—consistently, given the non-standardized nature of with the Philadelphia Orchestra. of timeless works of art and must be fully every time—while always remaining our instrument and everything that this We were able to discuss his work and dedicated to studying and sharing them fl exible to the fl uid circumstances of live entails. Frankly, the conductor and hun- thoughts during a visit of his with the with the world in any way that we can, performance. We also have to be easy to dred or so musicians on stage don’t give a Chicago Symphony Orchestra in May of large and small. work with, personally speaking. hoot about the very legitimate problems 2018, and present an edited version of Several conductors have indicated to organists face; an organist must simply his comments here. Collaborations me that they’ve had less than fl attering be able to deliver with the same ease and How did this all get going with experiences with organists in the past. confi dence as they do, no questions asked. The Grammy orchestras?2 Sometimes organists do not help them- Joyce Johnson Robinson: Your Oh, I’ve always had a strong desire to selves or the art form, which is marginal- Some of the new works that you’ve awards include a Grammy award— collaborate with other musicians. The ized enough already. I think it’s crucial premiered, such as Wayne Oquin’s the fi rst and only organ soloist to organ can be—but need not be—a lonely that organists become more self-aware Resilience, were written for you or receive a Grammy award.1 instrument. There’s an abundance of fi ne of the quality of their playing and how with you in mind.3 Paul Jacobs: The Grammy was repertoire for organ and various combi- they relate (or not) to other people, par- Some of them were, yes. I’m always entirely unexpected. I was shocked by nations of instruments. As a student, I ticularly those not in their own fi eld. looking for composers who are eager the nomination and utterly convinced played a good deal of chamber music, to write effectively for the organ and that it would never materialize. so much so that, as an undergraduate, What do you think about the growth encourage my students to do the same. I was inspired to double-major in both of your work with orchestras, and To survive, an art form must evolve and You didn’t even go to the ceremony. organ and harpsichord, primarily for these new and pieces that each generation must contribute to it; It would have been diffi cult to attend, the opportunity to play continuo. This are being written for organ and therefore, it’s important to encourage because I was performing with an orches- cultivated relationships with many musi- orchestra? Do you see this start- living composers—composers of our tra the same weekend and didn’t want to cians who weren’t organists, which has ing to spread, with other organists time—to consider the instrument and BACH AT NOON

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18 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM At Hamburg Elb Philharmonie, before Philadelphia Orchestra concert (credit: Jan Regan) WQXR Bach Organ Marathon with students, current and former

Christopher Rouse, Paul Jacobs, and Yannick Nezet-Seguin (photo credit: Jessica Griffin, Philadelphia Orchestra) Teaching class at the Oregon Bach Festival (photo credit: Athena Ortmann) its unique expressive potential. Maybe however, we do not know. But there is ourselves as friendly colleagues and play them quite differently. Today in the not every piece of new music is going to defi nitely some very genuine interest in peers. Yes, we can learn from them, but world, some of the fi nest organists—and stand the test of time, but a few will. And the organ; the Shanghai Conservatory just they can also learn from us. organbuilders—are Americans. And sometimes contemporary music con- instituted its fi rst classical organ major Some American buildings in which America continues, rightly, to recognize nects with certain listeners in a way that degree. Of course, a problem is that organs are situated might be more mod- extraordinary European talent; now, we’d the old warhorses do not. there are few churches to employ trained est in scale than the imposing, reverber- appreciate a similar open-mindedness. organists. Nonetheless, it was encourag- ant cathedrals of . This could be And what about future recordings? ing to witness what is happening on the just one reason that refl exively prompts Teaching Recently released on the Hyperion other side of the world, and to experience some organists to esteem what occurs on Paul Jacobs remains the chair of the label is a recording made with the Utah fi rsthand Chinese culture, which has the other side of the Atlantic more favor- organ department at the Juilliard School, Symphony of Saint-Saëns’ ever-popular retained some traditions and values that ably. It’s true, some American churches a position he assumed at age 26, one of “Organ” Symphony. Also to be released we’ve lost or forgotten in the West—civil- or halls might possess a different acous- the youngest faculty appointments in later next season on the Harmonia ity, a profound respect for one’s elders and tic or aesthetic character, but this doesn’t the school’s history. Former students Mundi label is Samuel Barber’s Toccata teachers, common courtesy and decorum. mean that the organs within them are of his now occupy notable positions. In Festiva, performed in Switzerland with Surprisingly, I actually returned to New any less valuable or effective, if they’re academia, Isabelle Demers, noted con- the Symphony. And I’m excited York after a sixteen-hour fl ight feeling used properly. A Cavaillé-Coll and a cert organist, serves as organ professor by another recording project with somewhat relaxed, and this sense of calm Skinner can be equally magnifi cent, but at Baylor University; Christopher Hou- Giancarlo Guerrero and the Nashville remained with me for a few days. Shang- the organist must be willing and able to lihan, also an active concert organist, Symphony, one which will include Hin- hai’s population is a staggering twenty- demith’s rarely heard Organ , three million people, and New York, by Horatio Parker’s Organ Concerto, and contrast, is a mere eight million. Yet, in Wayne Oquin’s Resilience. many ways, Shanghai felt calmer than New York, or many other large American

International Touring cities, for that matter. Despite the tre- Having performed on fi ve continents, mendous activity of Shanghai, one isn’t including his recent European tour, bombarded by honking horns or aggres- Jacobs traveled to China to perform and sive pedestrians or motorists. Rather, a to serve as president of the jury for the Confucian attitude seems to pervade daily country’s fi rst-ever international organ life. The Chinese just fi nd their place in festival and competition, held at the Ori- society and work into it. Overall, it strikes ental Arts Centre in Shanghai. me as a quieter, more serene culture, despite such a large population. What are your impressions of the organ world in China? You’ve done a good deal of interna- There is an exciting and increasing tional touring, including in Europe. Proud builders of the curiosity about the organ among Chinese In your experience, how do the pipe organ kit musicians and audiences alike. Some- American and European organ cul- thing that I experienced in Shanghai was tures relate to one another? that the audiences comprise primarily Of course, I love Europe. How could young people—to identify gray hairs is one not? Its culture has given the world follow us on actually tricky! Children and their par- Dante, Rembrandt, and Wagner. And facebook! ents and young adults routinely fi ll the there’s an undeniable indebtedness concert halls in China. that American organists, in particular, acknowledge toward Europe—the Photo courtesy of Eric Harrison Can you explain that? spectacular historic instruments and the Not entirely, but it’s inspiring to wit- impressive traditions and performers ness the emergence of an organ culture that have emerged over generations. 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA in the world’s most populous country. Just However, I think we have reached a t 800 625-7473 [email protected] as we’ve seen in other Asian countries in point in time when American organ- Visit our website at www.letourneauorgans.com recent decades, now we observe some- ists need not feel subservient toward thing similar in China. Where it will lead, the Europeans; rather, we should view

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 19 Interview

Composer Wayne Oquin, Yannick Nezet-Seguin, with Paul Jacobs (credit:Jan Regan)

churchly doors onto a broader landscape provides time for thought, refl ection, that includes all of these things. and inspiration. I don’t think it’s our job I recall hearing my high school organ to “change the world”—whatever that teacher, George Rau, who studied at means, anyway; it’s impossible, in fact. Fontainebleau one summer with Nadia But I do believe it’s our duty to live in Boulanger, say that, in the past, it was such a way that sets an edifying example almost expected for serious organists to to those whom we encounter each day, After honorary Doctor of Music degree ceremony, with high school organ teacher go and study with a European master, bestowing in our personal interactions George Rau and piano teacher Susan Woodard and that would “validate” them. But this an increased love for music and sensitiv- is not the case anymore. Of course, I ity to beauty in life. This we must do. holds the Distinguished Chair of Chapel same. Many of them are already making a would never discourage a student from Thomas Murray, John Weaver, Lionel Music at Trinity College, Hartford, Con- positive impact. Another imposing hurdle spending time in Europe—this would Party, as well as going back to my high necticut; David Crean serves as profes- organists face beyond “organ versus clas- be very valuable. It’s simply no longer school teachers, George Rau and Susan sor of organ at Wright State University sical music” is the larger cultural problem obligatory, however, in the formation of Woodard—they’ve each set a sterling and is also a radio host. (at least as I see it) of the enveloping a fi ne musician. example, not only regarding excellence Students of Jacobs also hold positions secularization of our society, which I in musicianship, but also in how to treat at prominent churches: in New York believe will continue to increase the We now have our own master people with sincerity and empathy, City, Michael Hey is associate organist already formidable challenges to the arts, teachers. never losing sight of the larger picture. at Saint Patrick’s Cathedral, Benjamin and certainly to classical musicians—not Yes, and master builders. America Our ultimate goal shouldn’t be mere Sheen is associate organist at Saint only to organists whose primary employer has its own impressive, rich tradition, so professional success. I remain exceed- Thomas Church, Fifth Avenue, Ryan happens to be religious institutions. This, there’s no reason to possess an inferiority ingly grateful to have been infl uenced by Jackson is director of music at Fifth Ave- of course, is an all-encompassing topic, complex, subconsciously or otherwise. these generous and caring individuals, nue Presbyterian Church, and Raymond one that can elicit impassioned points We now boast of some of the most ver- and hopefully I succeed at passing along Nagem serves as associate organist of the of view; nevertheless, it needs to be dis- satile organists and organbuilders in the similar wisdom to my own students. Cathedral of Saint John the Divine; in cussed openly and honestly, especially by world, pursuing different styles, doing I remember saying to John Weaver at Orange County, California, David Ball dedicated young musicians. different things, but many with the high- some point, “You know, John, I’ll never is associate organist at Christ Cathedral est degree of artistic integrity. be able to repay you for all that you’ve (formerly Crystal Cathedral). Other Beyond the decline of traditional done for me.” And he said, “Well, you Jacobs students include Greg Zelek, the church music, what do you think are Further thoughts can’t, so don’t try. But do it for somebody recently appointed principal organist of some of the challenges facing young What’s next on your agenda? else.” That’s the way to look at it. We’ll the Madison Symphony and curator of organists? I anticipate another exciting season never be able to adequately repay our the Overture Concert Series in Madi- I am concerned by the inward- of music-making, of course, always con- mentors, but they don’t care. They just son, Wisconsin, noted performing and looking attitude that some organists have tinuing to expand my repertoire. In addi- hope we will pass it on. Q recording artist Cameron Carpenter, adopted. There is a sense of parochial- tion to the recording projects previously and Chelsea Chen, a successful concert ism that often suffuses the profession, mentioned, I anticipate offering a special Joyce Johnson Robinson is a past editor organist and composer.4 In addition to and it’s time to break out of that mold. In series of French recitals in New York, of THE DIAPASON. Juilliard, for the past six years Jacobs has some quarters of teaching, the primary then joining several American orchestras also directed the Organ Institute of the concern is that the students learn the as well as ones in Germany and Poland. Notes Oregon Bach Festival. “correct” way to play and interpret music I’m also looking forward to playing the 1. In 2011 Paul Jacobs received a Grammy Award for Best Instrumental Soloist Perfor- from a panel of “experts.” How stifl ing! organ at Maison de la Radio in Paris and mance (without orchestra) for his record- In your teaching, have you noticed Many young organists spend their entire dedicating the Hazel Wright organ at ing of Messiaen’s Livre du Saint-Sacrement any changes in students over the careers seeking their approval, at the the new Christ Cathedral in California, (Naxos), the fi rst time that a solo recording years, either in the way they’re pre- same time showing disregard and even among other adventures. of classical organ music has been recognized by the Recording Academy. Other awards pared, or outlooks? disdain for other dedicated musicians include the Arthur W. Foote Award of the Yes. The students with whom I work who might choose to do things a bit dif- Do you get any break during the Harvard Musical Association in 2003, and tend to be less naive, perhaps, than when ferently. The world of organists seems, at summer? an honorary Doctor of Music degree from I was their age. Part of this, perhaps, times, to be made up of fi efdoms, each Yes. There are pockets during the Washington and Jefferson College, Washing- ton, Pennsylvania, in 2017. comes from their experience of living guarding its own camp. There’s often a summer that are a bit lighter, thankfully, 2. Jacobs has also collaborated with dra- in New York City. And I wonder, too, if lack of unity, which contributes to a cer- particularly in August—but much of this matic soprano Christine Brewer; touring to- technology has had something to do with tain amount of unnecessary infi ghting. period is spent preparing repertoire for gether, they also recorded Divine Redeemer this—social media and interconnected- All this makes it diffi cult to reel in new the upcoming season. At least these days (Naxos 8.573524). ness, everything out in the open, no lovers for organ music. are not so rigorously structured; the hours 3. Jacobs’s work with new music includes premieres of works by Christopher Rouse, secrets kept. Many young organists are The insularity of our profession is can be taken more leisurely. But I long Samuel Adler, Mason Bates, Michael Daugh- savvy, perceptive, and hard-working. But a problem. This needs to be said. Too for uninterrupted time to read, refl ect, erty, Wayne Oquin, Stephen Paulus, Chris- I’ve also found it necessary to stimulate many organists are stuck exclusively in and think about life. (Dostoevsky’s The topher Theofanidis, and John Harbison, discussion about the problems young the organ world. To my mind organists Brothers Karamazov has been on my among others. organists face, some of which they them- need to step out of the organ loft. We reading list for some time!) It’s tempt- In October 2017, Jacobs, the Philadelphia Orchestra, and Nézet-Séguin presented the selves could help resolve. For example, should regularly visit museums, attend ing, when the gerbil wheel is spinning East Coast premiere of Wayne Oquin’s Resil- it’s my belief is that there’s an unfortunate the opera, the symphony, and cham- faster and faster, to neglect one’s spiritual ience for organ and orchestra. Commissioned separation between the organ world and ber music concerts, befriending other growth. But I believe that a true creative by the Pacifi c Symphony as part of their the broader world of classical music, musicians who are not organists. Read artist must take special care of his or her American Music Festival, Resilience received its world premiere on February 4, 2016, at the which is something that I’ve attempted literature, explore architecture, paint- soul, which is different from a person’s Segerstrom Center for the Arts, Costa Mesa, to rectify through my own work, and ing, and philosophy. I feel the need for physical and mental health. California. The work is a 13-minute call and strongly support my students to do the the organ world academy to open its response between organ and orchestra and is How do you recharge? Do you go dedicated to Paul Jacobs and conductor Carl St. Clair. home to Pennsylvania? Jacques Stinkens 4. On November 22, 2014, Jacobs and his A. Thompson-Allen Co., LLC Orgelpijpenmakers B.V. Yes, I defi nitely spend some time current and former students from Juilliard 11 Court Street sinds 1914 there, and it will be refreshing to be with presented the complete organ works of J. S. New Haven, Connecticut 06511 Flues - Reeds family, both immediate and extended, as Bach in an 18-hour marathon concert at St. 203.776.1616 Your personal wishes are in good hands Peter’s Lutheran Church in Manhattan, pre- well as old friends. I remain deeply fond sented by the country’s largest classical radio www.thompson-allen.com www.stinkens.nl of the outdoors, taking long walks in [email protected] station, WQXR. Many of the time slots in the the woods, which purifi es the spirit and six-hour event sold out.

20 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM Conference report

A formidable sisterhood: a review of the 2019 Musforum Conference Northfi eld, Minnesota, June 13–14

By Susan Powell Katie Moss, Susan Powell, and Martha Barth

eld on St. Olaf College’s beautiful Nadia Boulanger to Cecilia McDowall— Hhilltop campus in Northfi eld, Min- but how formidable my own contempo- nesota, June 13–14, the 2019 Musforum rary colleagues are. Rubis Bauer, Black, conference was “for, about, and by and Handford are cultivating careers women.” Participants from around the at the top of our fi eld, and their perfor- country ranged from those at the peak of mances were brilliant. Handford inspired their careers to young artists still studying me with passing descriptions of her own at collegiate and graduate institutions. practices as a teacher and performer. For I had the privilege of being one of example, she demands that her majors three performers in a recital showcasing bring a self-taught piece of serious reper- young women. I thought it only fi tting to toire appropriate for use as a church vol- program a piece by Libby Larsen, who untary to every weekly lesson, resulting I fi rst encountered during my studies at in an acquisition by the end of four years St. Olaf College. Returning to my alma of an anthology of learned music large mater to work and network was a heady enough to supply them with voluntaries experience. As I have refl ected on the for an entire year of services. I have since conference this summer, I have grown begun to develop my own repertoire in a Catherine Rodland, Shelly Moorman-Stahlman, and Nicole Keller increasingly grateful for the opportunity similar way. for friendships old and new and for the Lyn Loewi’s keynote lecture, “From behind the score to the march he had shared her passion for South America lasting impression of the depth and tal- the Exiled Edges: Women Composers written when he traveled home to attend through a tango by Francisca Gonzaga; ent of women in my fi eld, past and pres- and the Episcopal Church,” presented the ceremony. Known to us as Prelude and Nicole Keller’s stunning perfor- ent. The music I encountered has taken us with the results of her yearlong experi- in F Major, it is every bit as compelling mance of Florence B. Price’s Suite No. root in my sense of my own emerging ment as interim director of music at Saint as the works of her brother. Fanny was 1 for Organ concluded the entire con- career and inspired me to intentionally John’s Cathedral in Denver, Colorado, a world-class musician during an epoch ference. Our intention as members of honor the work of women, whether during which she programmed composi- when women were not even given con- Musforum is to promote each other and in selecting choral anthems by Cecilia tions by female composers on average sideration as professionals. to serve each other, encouraging our col- McDowall and Judith Weir, program- once per week. We came away with an That epoch has given way to a new leagues while enriching the world with ming recital repertoire by Judith Bing- extensive resource list and a more accu- one, and there is important work to be an increasing awareness of the work of ham and Jeanne Demessieux, or study- rate picture of the immense scope of the done even as we celebrate the progress this formidable sisterhood. Q ing the compositions of Melissa Dunphy work of composers like Elizabeth Poston, that has afforded increasing recognition and Odile Pierre as I hone my own craft. a prolifi c composer known widely for only and opportunity to women in our fi eld. Susan Powell, composer, conductor, The days of the conference were a single anthem, Jesus Christ the Apple There is still a signifi cant gender dispar- and organist, is passionate about mak- jam-packed from morning to night with Tree. (If you would like access to this list ity in our churches and academies, and ing artistically robust music accessible lectures, recitals, and lecture-recitals, or other resources from the conference, Musforum hopes to be a rallying point to amateur and developing musicians breaking only for meals together and you will fi nd them available on Musfo- and a clarion voice. Our third biennial through engaging performances, com- a few opportunities for conversation. rum’s website, www.musforum.org.) conference closed with a gala recital munity ensembles, and new composi- WindWorks, an all-female quintet of One of the fi rst moments of the con- featuring three performers, bookended tions. She is currently pursuing graduate local music professors, and See Change ference was Nancy Ypma’s account and fi lled with outstanding music by studies at Indiana University’s Jacobs Chamber Choir, a new women’s choral during her lecture-recital of Fanny women. Catherine Rodland opened School of Music, where she lives with her ensemble from the Minneapolis area, Mendelssohn’s wedding march. Fanny the evening with new compositions by husband Mike (a fellow organist), and provided a delightful opportunity for us wrote it on the very eve of her wedding, Mary Beth Bennett and Augusta Read their three children, Jacob, Meredith, to hear collaborative music. While we since her brother Felix accidentally left Thomas; Shelly Moorman-Stahlman and Joshua. organists can be uniquely solitary crea- tures, we are almost invariably tasked with the nurturing of communal song through work with congregations and choirs. Presentations on these aspects of our profession were a highlight of the graduate study in conference for me. During Therees Hibbard’s interactive lecture, “Creating organ performance Community through Singing,” we sang at Yale Institute of Sacred Music and Yale School of Music selections from the new Justice Choir Songbook with their composer, Abbie Betinis. The following afternoon, I had the opportunity to converse with hymn-poet Susan Cherwien after her overview of women hymn writers. I felt lucky to get to meet a writer whose texts I have long wanted to set. Lecture-recitals were the main compo- nent of the event. Marie Rubis Bauer, who commissioned Dan Locklair’s Win- dows of Comfort, presented an ambitious program, shaped around the way women have inspired and participated in organ culture over half a millennium. Earlier that morning, immediately following Karen Black’s polished and virtuosic lecture-recital on the music of Pamela Decker, Kathrine Handford presented us with an impressive list of women who Yale Institute of Sacred Music, 406 Prospect Street, New Haven, CT 06511 have contributed to the corpus of organ tel 203.432.9753 · ism.yale.edu/musicprograms literature in twentieth-century France [email protected] alone. I was struck not only with how formidable all these fi gures were—from

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

Schoenstein & Co., Benicia, California The Church of the Redeemer, Chestnut Hill, Massachusetts Two perspectives Sterling Anglican music program, perfect acoustics, an engaged parish— heaven-on-earth for an organbuilder, but only if the right people are on board to help. Many of our projects have been aided by excellent professional consultants, but this one might not have happened at all without the steady hand of Sean O’Donnell. He was mentor, orga- nizer, and problem solver. In addition to all the usual issues such as navigating the changing of the fabric of a beloved archi- tectural gem to accommodate the organ, his diplomatic skill was an immense help to the rector in convincing the parish of the need for change even though the existing instrument was relatively new. We were very pleased when the parish extended Sean’s engagement to supervise all of the architectural, electrical, and mechanical preparations for our instal- lation. A highly experienced and skilled organ technician, he knew exactly what we needed. He also followed the time- honored practice of the best organ con- sultants—leaving the musical decisions entirely to musician and builder. —JMB The Church of the Redeemer, Chestnut Hill, Massachusetts

The consultant’s role little guidance, a community can easily options. Through all of this the organs A great voicer is very much in the Next to the church building itself, a acquire a fi ne pipe organ well suited to were demonstrated by the same organ- same musical plane as a fi rst chair pipe organ is usually the most valuable their current and future needs, and even ist, using the same set of pieces drawn member of the woodwind section in one and longest-lived asset a church will have. enjoy the process. from Redeemer’s repertoire. of the Big Five symphony orchestras. A Acquiring or restoring one is a daunting It was a great joy to work with Church Choosing from among the organ- great conductor in a great concert hall is task that has not likely been undertaken of the Redeemer. They embraced the builders who so eagerly shared their nothing without great players. Just like in recent memory, or even within living challenges and myriad details with enthu- knowledge and creativity was the next artistic musicianship, requires memory. There are a great many goals to siasm and dedication as they worked challenge, and the committee ulti- skill, practice, experience, and, most of discern, details to attend, and challenges through whether to restore or rebuild mately commissioned the instrument all, good musical taste. Timothy Fink, an to meet—to help with this process, the their existing instrument, acquire a vin- from Schoenstein & Co. From start to all-round skilled organbuilder, heads our community will often hire a consultant. tage instrument, or, as they ultimately fi nish it was important to ensure that pipe shop and shares voicing duties with The consultant’s role is not to do this decided, commission a new instrument. potential builders understood both the Mark Hotsenpiller, our head voicer. work for the community, but to provide There was much to learn, and the possibilities and the limitations of the —JMB the education, information, and tools the fi rst part of the process was a series of project, and that the organ committee community needs to create an instrument listening exercises, starting in their own had mastered the architectural and A voicer’s vision that will serve their needs far into the church so that folks who sit in the same structural issues, scheduling and bud- The Church of the Redeemer pos- future. The overall process is iterative: seats every Sunday (like so many of us) gets, subcontracts and side jobs, and the sesses a fabulous room for church music. defi ning project goals will be followed could listen from the organist’s perspec- many, many other details comprising a The nave’s acoustic properties enhance by exploring instruments that meet those tive, from the choir’s perspective, and project of this magnitude. sound in a way that leaves the listener goals, but that exploration will inform, from various places in the nave. We even With the solid support of the rector, overwhelmed, overjoyed, and ultimately refi ne, and even change those goals. had a set of test pipes that we were able Fr. Michael Dangelo, organist Michael sonically satisfi ed. What a treat for an As the project comes into tighter to install in two different instruments to Murray, and the church staff, and with organbuilder’s commission. focus, the consultant recruits qualifi ed hear how much the room affected their the hard work and dedication of the The room into which any organ fi rms to submit proposals, ensuring that sound. From there we branched out, organ committee chaired by the inde- sounds is its resonator. A guitar has a the fi rms understand the unique needs listening to organs in a variety of styles fatigable Leslie Horst, The Church of body, a piano has a soundboard, but and goals of the church. As the propos- by current and historic builders. After the Redeemer has acquired a beautiful the organ needs a room. The quali- als are evaluated, the consultant guides each listening session, the organist and new pipe organ, supremely well suited to ties that make this one so lovely are: the committee by providing resources to the committee spent a few minutes list- their style of worship. More importantly, cubic volume, proportions, materials clarify concepts that may be unfamiliar, ing words or short phrases describing the it was a project they entered into with of construction, and shape of refl ect- and by making sure that all aspects of instrument: words like clarity, mystery, confi dence and excitement and com- ing surfaces. The room is of modest the project have been clearly addressed. clean, fl exible, warm, etc. As they devel- pleted with pride, looking forward to size allowing an organ of modest size There are many musical options avail- oped a vocabulary, we began to discuss generations of worship enhancing music. to fi ll it with sound. The proportions able, and many talented organbuild- which of those attributes they wanted in —Sean O’Donnell are classic (the architecture is based on ers. With the right information and a their pipe organ, and focused on those Consultant English Gothic), meaning they are not

Schoenstein & Co.

GREAT (Manual II) SWELL (Manual III, enclosed) CHOIR (Manual I, enclosed) PEDAL 16′ Double Diapason 61 pipes 16′ Lieblich Bourdon (ext 8′) 12 pipes 8′ Dulciana 61 pipes 32′ Double Open Wood† 12 pipes 8′ Grand Diapason (Ch) (unenclosed) 8′ Unda-Maris (TC) 49 pipes 16′ Open Wood 32 pipes 8′ Open Diapason No. 1 61 pipes 8′ Horn Diapason 61 pipes 8′ Lieblich Gedeckt 61 pipes 16′ Open Diapason (Gt) 8′ Open Diapason No. 2 61 pipes 8′ Stopped Diapason 61 pipes 4′ Dulcet (ext 8′) 12 pipes 16′ Lieblich Bourdon (Sw) 8′ Open Diapason No. 3 12 pipes 8′ Echo Gamba 61 pipes 4′ Lieblich Flute (ext 8′) 12 pipes 8′ Open Bass (ext 16′ Open) 12 pipes 2 (ext 16′) 8′ Vox Celeste 61 pipes 2⁄3′ Nazard (fr Lieb Ged) 8′ Dulciana (Ch) 8′ Harmonic Flute 49 pipes 4′ Gemshorn 61 pipes 8′ Corno di Bassetto 61 pipes 8′ Stopped Diapason (Sw) (Sw Horn Diapason bass) 2′ Flageolet 61 pipes 4′ Harmonic Flute (Gt) 8′ Bourdon 61 pipes 2′ Mixture (III–IV) 192 pipes 8′ Grand Diapason 29 pipes 32′ Contra Posaune 12 pipes 4′ Principal 61 pipes 16′ Contra Posaune 61 pipes (unenclosed, ext Ped 16′ Open) (ext Sw 16′) 4′ Octave (ext 16′) 12 pipes 8′ Cornopean 61 pipes 8′ Tuba (unenclosed) 61 pipes 16′ 12 pipes 2′ Fifteenth 61 pipes 8′ Posaune (ext 16′) 12 pipes 8′ Tuben II (Swell)† (ext Ch 8′ Tuba) 2′ Mixture (III–IV) 187 pipes 8′ Oboe Horn 61 pipes 8′ Trumpet (Great) 16′ Posaune (Sw) 8′ Trumpet 61 pipes Tremulant Choir Sub Octave 8′ Tuba (Ch) 8′ Corno di Bassetto (Ch) Swell Sub Octave Choir Unison Off Gt & Ped Combinations Coupled Cymbelstern Swell Unison Off Choir Super Octave †Stopped quint pipes 1–5, open pipes 6–12. Swell Super Octave † Draws Sw Cornopean and Posaune Resultant 1–5

22 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM The Pedal Open Wood 32′ serves as two stops. The 8′ portion is named Grand Open Diapason 8′ “No. 6” and is comparable in scale to the Great No. 1 but on higher wind pressure. Its noble solo demeanor demands independent appearance on the Great and Choir manuals. The 32′ and 16′ portions form the Pedal Open Wood producing a stunningly solid foundation for the entire organ. With space diminishing, the organ’s fl ute stops are at a minimum but still well represented. Two harmonic fl utes are provided. The Great Harmonic Flute 8′ soars down the nave to listen- er’s delight. The Swell Flageolet 2′ has harmonic trebles imparting its sound with both blending and power qualities expected of English full Swell effects. Three stopped fl utes are available: one on the Great at 8′, one on the Swell at 16′ and 8′, and one on the Choir at 8′, 4′, 2 and 2 ⁄3′. They fi nd their distinction by varying the scale and construction. The Great Bourdon 8′ is the largest scale but made of metal. The next smaller scale is in the Swell and is made of wood with pierced stoppers. The Choir Leiblich Gedeckt is smallest in scale and made of metal with narrow chimneys. Of course, space was left for the very necessary strings and celestes. The bite Console Open Wood pipes at the west end and warmth of the Swell Gamba 8′ com- bines seamlessly its neighbor stops. Add exaggerated in one dimension. Heavy this arrangement giving the organist musical variation. This gives the musi- the complementary full compass Celeste masonry construction assures that the some hearing distance from the organ. cian exacting control over the tonal 8′ (maybe a coupler or two), and heaven entire frequency spectrum is refl ected Between these two the choir’s singers center of the organ. Choruses can be is in sight. Just for contrast, the expressive and the variability of the refl ecting are arranged in the traditional academic thinned or fattened, stop combinations Choir Unda-Maris 8′ gives an added sonic surfaces breaks up these refl ections, style. Finally, 32′ and 16′ octaves of the adjusted for power, or the Diapasons dimension to the organ’s palate. While delighting our ears. Pedal Open Wood are located at the can simply be appreciated for their bringing the organ to a decrescendo The result of these properties is back wall of the nave and the south sublime solo qualities. The No. 3 is also another color can be receded to delight- a room with an ideal reverberation transept. This was done out of necessity available at 16′ and 4′, further extend- ing the listener with unexpected beauty. period—not a long reverberation period. since there was no room in the cham- ing the possible combinations. Sitting Six ranks of reeds were somehow The musical magic happens in the mil- ber for these large pipes. Much care above these stops is a proper Principal incorporated into this organ. Three types liseconds immediately after the sound is was taken to harmonize these beauties 4′ and Mixture 2′. These reduce in of trumpets, a tuba, and two color reeds produced. The length of time the high with their surroundings. Sonically, they scale as the pitch rises assuring that provide an extensive color palate. The energy lingers is Early Decay Time. This provide a thrilling musical “push” to the these higher pitches are suggestions of Great Trumpet 8′ leans toward a French is the portion of the refl ected sound to organ’s ensemble. the fundamental. quality, assuring it will stand up with all which our musical minds respond. The Tonally, the organ was commissioned The Swell Horn Diapason “No. 4” is those Diapasons. The Swell Posaune nave at Church of the Redeemer refl ects to function in the Anglican tradition. Mr. similar in scale to the Great No. 2, but and Cornopean represent a time-tested sound at nearly the full frequency spec- Murray’s love of English Victorian and with narrow tuning slots and higher wind Schoenstein combination. This uses a trum for a generous portion of the total Edwardian tone provided focus to this pressure. These attributes give it a dis- bright, larger Cornopean at 8′ with the reverberation time. scheme. It is in our tradition to provide tinct quality that bends musically to the smaller, darker Posaune at 16′ and 8′. The projection of sound into the room new organs with plenty of foundation, closing of the Swell shades. It supports (The 16′ octave and a 32′ extension, all is important, too. The organ chamber but the multiple diapasons in the scheme a Gemshorn 4′, a tapered principal. Its under expression, are available in the is a modestly proportioned room in an might appear to be excessive. The idea hybrid tone quality allows chameleon- Pedal.) The musical possibilities with elevated position at the nave’s crossing. here was to use a variety of Diapason like abilities when combined with other this arrangement are endless. The fi nal The short side of its rectangular shape tone for musical subtlety, not power. The Swell stops. Finishing the chorus is a bit to sweeten the organist’s orchestra- is open to the chancel with the long side acoustical environment highlights the Mixture 2′, small in scale and carefully tions, both stops can be drawn together open to the nave. It too is constructed subtle difference in timbres. pitched such that it will be properly sub- on the Choir manual as the Tuben 8′. of substantial masonry materials assur- To make sense of this list of Diapa- dued with the shades closed. Countering this effect is a proper Tuba ing all sound frequencies are refl ected sons consider the following: the Great The Choir Dulciana 8′ “No. 5” is the 8′—unenclosed. Its 16′ extension in the out of the chamber. Here we located Open Diapason No. 1 is the tonal cen- smallest of the Diapasons but with a Pedal employs wood resonators of pow- the Great, Swell, and some of the Pedal ter of the organ. It possesses the larg- wider mouth. Its subdued yet singing erful full and dark character. organs. Below the chamber and in a est scale and mouth width and easily quality coupled with its expressive loca- The Oboe and Corno di Bassetto are space between the chancel and a side supports the chorus set above. Num- tion next to the singers begs them to the color reeds. The Swell Oboe Horn 8′ chapel, we located the Choir organ. The bers 2 and 3 progress smaller in scale sing along. Add the 4′ Dulcet and a mini combines with the fl ue stops yet retains console resides on the opposite side of and mouth width providing subtlety of chorus is formed. the piquant treble quality necessary for solo passages. The Corno di Bassetto 8′ features well in its ability to render chordal effects along with piano solo melodies. Church of the Redeemer, Chestnut Hill, Massachusetts Rounding out the tonal palate is the Schoenstein action system. Each pipe is Intermanual couplers Mechanicals TONAL FAMILIES controlled by its own valve. This allows Swell to Great Solid state capture combination action: Diapasons 12 48% the transmission of entire ranks to Swell to Choir 100 memories Open fl utes 2 8% another division without the use of cou- Choir to Great 52 pistons and toe studs Stopped fl utes 3 12% Great to Pedal 5 reversibles Strings 2 8% plers. Each division is designed to stand Swell to Pedal Programmable piston range Chorus reeds 4 16% for its purpose. However, by carefully Choir to Pedal Record/playback system Color reeds 2 8% selecting stops to be playable on another 25 100% division or extending beyond their Notes TONAL ANALYSIS Intramanual couplers read through Inter- Three manuals, 25 voices, 31 ranks assigned range opens a huge door to new manual couplers; for example thus: when the PITCH SUMMARY Electric-pneumatic action tonal possibilities. It unlocks the musical Swell Super Octave coupler is drawn, Swell 16′ and below 3 12% value already built into the organ. ′ stops will sound at Unison and Super Octave 8 16 64% Builder’s website: https://schoenstein.com —Timothy Fink pitch on the Great if Swell to Great is drawn. 4′ and above 6 24% Church website: www.redeemerchestnuthill. Manual Sub Octaves do not couple to the 25 100% org Schoenstein & Co. Pedal. —Jack M. Bethards Schoenstein & Co.

Photo credit: Louis Patterson

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 23 Reviews

³ page 11 Two Parkins transcriptions of works by Five Shakespeare Songs. That is as far as New Handbell Music for Kent Kennan (1913–2003), familiar Richard Strauss close the program. Par- any connection to Finzi goes. The work’s Christmas to many as author of The Technique of kins had previously transcribed selections harmonic language more closely relates Fantasy on Ukrainian Bell Carol, Orchestration, was a student of Howard from Strauss’s Elektra and recorded them to that of Danish composer Carl Nielsen, arranged for 3, 4, or 5 octaves Hanson at Eastman and taught composi- on the unrestored Duke Chapel organ with its modal infl ection and confl icting of handbells, with optional brass tion at the University of Texas at Austin. (German Romantic Organ Music, Gothic tonalities. The fi nal inspiration for the quintet (or organ) and timpani, by His only work for organ, Variations on G-49096, 1998). “Im Abendrot” (from work comes from two mosaics found in Brian Childers. Choristers Guild, a Quiet Theme, offers in its fi ve short Four Last Songs), given a registration or near Ravenna, Italy. The composer CGB1013, $5.50; keyboard/full movements an opportunity to hear a vari- with lustrous touches, is a serene, peace- describes the fi rst movement, “Tableau,” score, CGB1012, $14.95; organ score ety of moods, from angular to pensive, ful song whose text looks forward to “rest, as “measurably cool” leading to a fi ery (substitute for brass), CGB1034, from darkness to triumphant light, with and sleep—is this perhaps death?” The “Toccata” for the second portion. $6.95; reproducible brass parts, the full range of the Aeolian on display. fi nal track, “Salome’s Dance” (from the The Three Hymn Tune Fantasias CGRP44, $15.95, Level 4 (D). Robert Ward (1917–2013), composer one-act opera Salome), is an atmospheric date from 2013 and are based on This exciting seasonal favorite is a great of the Pulitzer-Prize-winning opera The piece that reaches a frenzied conclusion. English hymntunes. The Prelude and way to usher in the Christmas spirit with Crucible, served as a professor of music This recording provided a great deal of Fugue on ISTE CONFESSOR exploits the a grand sound including a fast, urgent at Duke from 1979–1987, having previ- listening pleasure—a satisfying program of tune’s Dorian mode and makes use of tempo, challenging rhythms for the ring- ously taught at Juilliard and Columbia. works both more and less familiar, played organum-styled writing, giving the work ers, and a fl air that brings the piece to a In “The Pensive Moon” (from Cel- sensitively and demonstrating the range a medieval feeling. The fugue pays hom- dramatic fi nish. The brass (or organ) and ebrations of God in Nature), the quietly, and beauty of Aeolian Opus 1785. Robert age to Bach through a series of unfolding timpani only add to the festivity. mysteriously sensuous solo voices of Parkins has done an estimable job, and expositions, reminiscent of the Fugue in varied colors wind over the lush Aeolian this recording is highly recommended. E-fl at Major that closes the third volume The Herald Angels Sing, arranged for strings—absolute beauty. —Joyce J. Robinson of the Clavierübung. The contemplative 3–5 octaves of handbells and piano, Adolphus Hailstork, professor of Niles, Illinois Improvisation on SLANE displays the by Joel Raney. Agape (a division of music and composer-in-residence at intense lyricism in Pott’s compositional Hope Publishing Company), Code Old Dominion University in Norfolk, Francis Pott Organ Works, Christian style combined with his penchant for No. 2896, $5.25, full score and piano Virginia, has composed for solo instru- Wilson, organist. ACIS Productions, unusual harmonic progressions. part 2896D, $10.95, Level 2 (M). ments, ensembles, orchestra, as well as APL67065, 2018. Available from: The set concludes with the Toccata on This medley of “angel” Christmas car- three operas. His works for organ include www.amazon.com. KING’S LYNN, a rarely heard tune from the ols features “Hark! The Herald Angels Two Studies On Chant Melodies, which Francis Pott, well known in choral medieval era (the tune appears in Ralph Sing,” “Angels We Have Heard on High,” are settings of Pange Lingua and Divi- music circles, arguably should be a house- Vaughan Williams’s edition of the 1906 and “Angels from the realms of Glory.” num Mysterium. This recording features hold name among organists. His rich English Hymnal). Here, Pott displays There are some wonderful musical another chant-based work, Hailstork’s harmonic language, often based on modal contrapuntal mastery as the tune makes moments in this piece as the composer muscular Toccata on Veni Emmanuel, scales with unusual chromatic infl ections, appearances in retrograde and inversion. weaves these melodies together. which anchors the chant melody in the and his highly technical yet comfortable The fi nal piece, La Chiesa del Sole, pedal to support the sweeping lines and keyboard writing makes his music chal- was commissioned for Thomas Trotter’s Angels and Shepherds, arranged for chordal interjections, all in 5/8 time. It lenging and rewarding for the performer, inaugural recital on the new Stoller organ 3 octaves of handbells, with opt. F3, is a thrilling work, and Parkins gives it a while still accessible for the listener. in Manchester Cathedral. According to D7, and F7, by Michael Burkhardt. vigorous performance on full organ. Christian Wilson’s new recording of four the composer, the work may be “sum- MorningStar Music Publishers (a Dan Locklair, music professor at Wake of Pott’s compositions, dating from 1981 marized as a free fantasia and an ensuing division of ECS Publishing Group), Forest University in Winston-Salem, to 2013, provides a wonderful introduc- movement which starts as a fugue but MSM-30-170, $4.50, Level 2 (M-). North Carolina, was commissioned to tion to the composer’s organ music. Will- gradually transmutes into a triumphant The arrangement is based on a Pol- write The Aeolian Sonata to celebrate son performs on the organ of the Chapel toccata.” The energy in the piece comes ish and a French carol. This is part of the Duke Chapel Aeolian’s seventieth of St Augustine, Tonbridge School, UK. from the rhythmic and dynamic tension. the “Hearts, Hands and Voices” series anniversary. The lovely movement heard The opening work, Toccata (1991), is One hears very clearly the confl icting conceived to use with children, but is here, In Memory—H.H.L., was written in full of athletic keyboard feats as well as chords and tonalities favored by the appropriate for any group. There is a memory of the composer’s mother, Hester Pott’s signature use of confl icting tonali- composer. The work is dedicated to the lesson plan provided suggesting various Helms Locklair. Noel’s Psalm (A Sonata ties, though never acceding to bi-triadic memory of John Scott, a university class- techniques and practice methods. This for Organ) was premiered in Duke Cha- harmony. Composed in two parts, the mate of the composer. music is creatively written and will pro- pel, as a commission by a Duke alumna in “Introduzione” is very dramatic, while The four-manual, 67-stop Marcussen vide a lovely piece for the holiday season. memory of her brother, Noel Kinnamon the “Toccata” is full of virtuosic writing. and Son organ used for the recording (an English professor who counted Lock- Pott’s use of a 7/8 meter provides a great dates from 1995 and offers performer How Still We See Thee Lie, arranged lair as one of his students), whose poetry deal of forward momentum and energy. Christian Wilson an extremely varied for 3, 4, or 5 octaves of handbells, inspired the sonata’s four movements The two-movement Mosaici di tonal palette from which to choose. The with optional 2 octaves of hand- (“Chaconne,” “Scherzo,” “Aria,” and Ravenna was composed for the fi rst inventive music, the versatile instrument, chimes, by Dan R. Edwards. Choris- “Dance”). This substantial work should Gerald Finzi Trust Memorial Award and the skilled and energetic perfor- ters Guild, CGB1068, $4.95, Level fi nd a place in the repertoire, and the competition, which Pott won, and is his mance make this a must-have recording. 2+ (M). performance here provides a fi ne “cook’s earliest organ piece (1981). The work’s —Steven Young Combining “O Little Town of Bethle- tour” of the Aeolian’s sonic personality. theme comes from the last of Finzi’s Bridgewater, Massachusetts hem” with “It Came Upon the Midnight Clear” is accomplished in an expressive and beautiful setting here. Alternate rhythms and special effects, along with the addition of the handchimes, only add to the beauty of the piece.

All Is Well, arranged for 3–5 octaves of handbells, by Lloyd Larson. Agape (a division of Hope Publishing Company), Code No. 2895, $5.75, Level 2+ (M). This contemporary setting by Michael W. Smith and Wayne Kirkpatrick encap- sulates the simplicity and beauty of the music and the text. Dynamic nuance brings the arrangement a sense of the spirit of that holy night. This setting may also serve as the accompaniment for sev- eral of the choral settings the publisher has available.

How Great Our Joy!, arranged for 3 octaves of handbells, by Linda Scholes. Agape (a division of Hope Publishing Company), Code No. 2891, $5.25, Level 2+ (M-). This old choral gem comes to life in this lively arrangement. The music is full of stopped techniques from beginning to end and brilliantly captures the spirit of the shepherds’ excitement. —Leon Nelson Vernon Hills, Illinois

24 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Frederick Teardo, harpsichord; Cathe- Park Ridge Presbyterian Church This calendar runs from the 15th of the month dral Church of the Advent, Birmingham, AL Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline 12:30 pm Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ 26 OCTOBER Bloomingdale, IL recitals unless otherwise indicated and are grouped Jeremy Filsell; Princeton University Cha- within each date north-south and east-west. •=AGO pel, Princeton, NJ 7:30 pm chapter event, • •=RCCO centre event, +=new organ dedication, ++= OHS event. 27 OCTOBER Choral Evensong; St. John’s Episcopal, Christopher Babcock Michael J. Batcho Information cannot be accepted unless it West Hartford, CT 5 pm specifi es artist name, date, location, and hour in Andrew Henderson; Madison Avenue Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Presbyterian, New York, NY 3 pm order; please do not send duplicate listings. Craig Williams; Cadet Chapel, West Point, Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume NY 2:30 pm MILWAUKEE responsibility for the accuracy of calendar entries. Johann Vexo, French Mass; Georgetown University, Washington, DC 9 pm David Goode; First Presbyterian, Virginia UNITED STATES Beach, VA 4 pm East of the Mississippi Duke Bach Ensemble, Bach, Cantatas 22, Dean W. Billmeyer 156, 166; Duke University Chapel, Durham, NC 5:15 pm 15 OCTOBER Thomas Gaynor; Hyde Park Community University of Minnesota Karen Beaumont; King’s Chapel, Boston, United Methodist, Cincinnati, OH 4 pm MA 12:15 pm Jack Mitchener; Christ Lutheran, Louis- Minneapolis 55455 • [email protected] Nathan Laube; Girard College Chapel, ville, KY 5 pm Philadelphia, PA 8 pm Christopher Houlihan; Samford Univer- sity, Birmingham, AL 2 pm 17 OCTOBER Choral Evensong; Cathedral Church of St. Colin Lynch; St. Paul’s Chapel, Trinity Paul, Detroit, MI 4 pm AVIN LACK Byron L. Blackmore Church Wall Street, New York, NY 1 pm Nicholas Schmelter, with piano; St. Paul’s G B Rossini, Petite Messe Solennelle; St. Ignati- Episcopal, Flint, MI 4 pm Princeton Early Keyboard Center Crown of Life Lutheran Church us Loyola Catholic Church, New York, NY 8 pm Stephen Buzard; First Presbyterian, Deer- Choral Evensong; Cathedral Church of the fi eld, IL 4 pm 732/599-0392 Sun City West, Arizona Advent, Birmingham, AL 5:30 pm www.pekc.org 623/214-4903 28 OCTOBER 18 OCTOBER Johann Vexo; Georgetown University, Erik Wm. Suter, with choir; St. Paul’s Epis- Washington, DC 5:30 pm copal, Cleveland Heights, OH 7:30 pm David Jonies; Presbyterian Homes, Evan- Andrew Schaeffer; Zion Lutheran, Apple- ston, IL 1:30pm ton, WI 7 pm THOMAS BROWN Carson Cooman 29 OCTOBER UNIVERSITY 19 OCTOBER James Kennerley, silent fi lm, The Battle- PRESBYTERIAN CHURCH Composer and Concert Organist Christophe Mantoux; St. Thomas Church ship Potemkin; Merrill Auditorium, Portland, CHAPEL HILL, NORTH CAROLINA Harvard University Fifth Avenue, New York, NY 3 pm ME 5:30 pm www.carsoncooman.com Steven Plank; St. Paul’s Episcopal, Cleve- Nicholas Schmelter, with piano; First ThomasBrownMusic.com land Heights, OH 4 pm Presbyterian, La Grange, IL 6:30 pm Andrew Peters; St. Paul UCC, Belleville, IL 7 pm 30 OCTOBER John Behnke; Luther Memorial Church, Your professional card 20 OCTOBER Madison, WI 12 noon ELBERT ISSELHORST Monica Czausz; Congregational Church Sylvia Marcinko Chai; St. Louis King of D D could appear here! (UCC) of Salisbury, Salisbury, CT 3 pm France Catholic Church, St. Paul, MN 12:35 Peter Richard Conte, with Andrew Ennis, pm Professor Emeritus Contact: [email protected] fl ügelhorn; First Church of Christ, Hartford, University of Iowa–Iowa City CT 4 pm 31 OCTOBER or 608/634-6253 Andrew Henderson, with students, works Olivier Latry, with Boston Symphony Or- of Mendelssohn; Madison Avenue Presbyte- chestra, Strauss, Festival Prelude, Scriabin, rian, New York, NY 3 pm Poem of Ecstasy; Symphony Hall, Boston, Meredith Baker; Cadet Chapel, West MA 8 pm Point, NY 2:30 pm Mark Steinbach; Brown University, Provi- STEVEN EGLER JOHN FENSTERMAKER Scott Dettra; St. Mark’s Episcopal, Phila- dence, RI 11:59 pm Central Michigan University delphia, PA 4 pm Julian Wachner; St. Paul’s Chapel, Trinity School of Music TRINITY-BY-THE-COVE Organized Rhythm (Clive Driskill-Smith, Church Wall Street, New York, NY 1 pm organ, & Joseph Gramley, percussion); Nicholas Schmelter, with piano; First Mt. Pleasant, MI 48859 Macedonia Lutheran, Burlington, NC 4 pm Congregational (UCC), Oshkosh, WI 12 noon [email protected] NAPLES, FLORIDA Duke Evensong Singers; Duke University Chapel, Durham, NC 4:30 pm 1 NOVEMBER Karel Paukert; St. Paul’s Episcopal, Cleve- Olivier Latry, with Boston Symphony Or- land Heights, OH 4 pm chestra, Strauss, Festival Prelude, Scriabin, Norberto Nicholas Schmelter; Christ the Good Poem of Ecstasy; Symphony Hall, Boston, Shepherd Catholic Church (St. Helen cam- MA 6 pm Susan Goodson Guinaldo pus), Saginaw, MI 4 pm Craig Williams; Octave Hall, Macungie, PA Johann Vexo; Loyola University, Chicago, 7:30 pm Emanuel United Church of Christ His Music IL 3 pm See—Listen—Buy 2 NOVEMBER Manchester, Michigan 21 OCTOBER Olivier Latry, with Boston Symphony Or- www.GuinaldoPublications.com Musica Sacra; Cathedral of St. John the Di- chestra, Strauss, Festival Prelude, Scriabin, vine, New York, NY 7:30 pm Poem of Ecstasy; Symphony Hall, Boston, John Deaver; Trinity Episcopal, Covington, MA 8 pm A Professional Card in KY 7 pm 3 NOVEMBER STEPHEN HAMILTON 22 OCTOBER Craig Williams; Cadet Chapel, West Point, The Diapason VOCES8; St. James’s Episcopal, West NY 2:30 pm For rates and digital specifi cations, recitalist–clinician–educator Hartford, CT 7 pm Choral Evensong; St. John’s Episcopal, Hey-Liberis Duo (Michael Hey, organ, Hagerstown, MD 5 pm contact Jerome Butera www.stephenjonhamilton.com & Christiana Liberis, violin); Overture Hall, Choral Evensong; St. Paul’s Episcopal, 847/391-1045; [email protected] Madison, WI 7:30 pm Delray Beach, FL 5 pm David Higgs; St. Sebastian Catholic 23 OCTOBER Church, Akron, OH 4 pm Johann Vexo; St. Paul’s United Methodist, Johann Vexo; Independent Presbyterian, Rochester, MI 7:30 pm Birmingham, AL 4 pm David Herman Agnieszka Kosmecka; Cathedral of St. Nicholas Schmelter, with piano; Brookfi eld John the Evangelist, Milwaukee, WI 12:15 pm Congregational UCC, Brookfi eld, WI 3 pm John Chappell Stowe; Luther Memorial Gail Archer; Basilica of Our Lady of Sor- Trustees Distinguished Professor Emeritus of Music and University Organist Church, Madison, WI 12 noon rows, Chicago, IL 3 pm The University of Delaware Q [email protected] Durufl é, Requiem; St. Giles Episcopal, 24 OCTOBER Northbrook, IL 7 pm Christian Lane; Wheaton College, Norton, MA 8 pm 5 NOVEMBER George Fergus; St. Paul’s Chapel, Trinity Oratorio Society of New York, Durufl é, Church Wall Street, New York, NY 1 pm Requiem, Rachmaninoff, All-Night Vigil; Ca- Gail Archer Byrd, Great Service; Church of St. Luke in thedral of St. John the Divine, New York, NY the Fields, New York, NY 8 pm 7:30 pm organist Robert Bates; Warner Concert Hall, Ober- Steven Adams; Campbellsville University, www.gailarcher.com lin Conservatory, Oberlin, OH 7:30 pm Campbellsville, KY 12:20 pm Lorraine Brugh, Ph.D. Professor of Music 25 OCTOBER 6 NOVEMBER Vassar College David Enlow; St. Michael’s Episcopal, Johann Vexo; Church of the Redeemer, Barnard College, Columbia University University Organist New York, NY 7:30 pm Chestnut Hill, MA 7:30 pm [email protected] Valparaiso, Ind. Robert McCormick; Grace Episcopal, Al- Nicholas Schmelter; St. Paul’s Episcopal, (212) 854-5096 exandria, VA 7:30 pm Flint, MI 1 pm valpo.edu Lynne Davis; St. Paul’s Episcopal, Green- Charles Sullivan; Cathedral of St. John Promotion 219.464.5084 ville, NC 7:30 pm the Evangelist, Milwaukee, WI 12:15 pm SOZO Media Andrew Schaeffer; Luther Memorial Nicholas Schmelter, with piano; First [email protected] [email protected] Presbyterian, Caro, MI 12 noon Church, Madison, WI 12 noon

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 7 NOVEMBER 19 NOVEMBER New York, NY Syracuse, NY 13203-2816 Marvin Mills; St. Paul’s Chapel, Trinity Olivier Latry; College of the Holy Cross, Church Wall Street, New York, NY 1 pm Worcester, MA 7:30 pm (315) 471-8451 www.andrewhenderson.net St. Thomas Church Choir centennial con- Jazz Vespers; Duke University Chapel, cert; St. Thomas Church Fifth Avenue, New Durham, NC 7:30 pm York, NY 7:30 pm Edward Parmentier, harpsichord; First 20 NOVEMBER Baptist, Ann Arbor, MI 12:15 pm Cathedral Choir; Cathedral of St. John the Richard Barrick Hoskins Divine, New York, NY 7:30 pm Brian Jones 8 NOVEMBER Marijim Thoene; First Presbyterian, Ann Director of Music & Organist Scott Lamlein; St. Mark’s Chapel, Storrs, Arbor, MI 4 pm Director of Music Emeritus CT 7 pm St. Chrysostom's Church RINITY HURCH Nicole Simental; Emmanuel Episcopal, Chicago T C Chester Parish, Chestertown, MD 7:30 pm 21 NOVEMBER Erik Wm. Suter; St. Paul’s Chapel, Trinity [email protected] BOSTON Katherine Meloan, masterclass; New World School of the Arts, Miami, FL 1 pm Church Wall Street, New York, NY 1 pm Stephen Buzard; Bower Chapel, Moorings 9 NOVEMBER Park, Naples, FL 7:30 pm David Hurd, masterclass; Braddock Street Choral Evensong; Cathedral Church of the KIM R. KASLING JAMES KIBBIE United Methodist, Winchester, VA 9:30 am Advent, Birmingham, AL 5:30 pm Aaron Tan; Central Michigan University, D.M.A. The University of Michigan Chelsea Chen; First United Methodist, Cor- al Gables, FL 7 pm Mount Pleasant, MI 11 am masterclass, 7:30 St. John’s University Ann Arbor, MI 48109-2085 pm recital 734-764-1591 FAX: 734-763-5097 10 NOVEMBER Collegeville, MN 56321 Aaron Tan; Church of Christ Congregation- 22 NOVEMBER email: [email protected] al, Newington, CT 4 pm Nicole Simental; St. Paul Catholic Cathe- Matthew Cates; Cadet Chapel, West Point, dral, Pittsburgh, PA 7:30 pm NY 2:30 pm Craig Cramer; Westminster Presbyterian, Alan Morrison; Haddonfi eld United Meth- Charlottesville, VA 7:30 pm David K. Lamb, D.Mus. odist, Haddonfi eld, NJ 7 pm Nicholas Schmelter; First Presbyterian, Karen Schneider Kirner Craig Cramer; St. Paul Catholic Cathedral, Caro, MI 12 noon Director of Music Pittsburgh, PA 3:30 pm Director, Notre Dame Handbell Choir Nathan Laube; Fourth Presbyterian, Chi- Trinity United Methodist Church Nathan Laube; Zion Lutheran, Baltimore, cago, IL 7:30 pm Assistant Director, Notre Dame Folk Choir New Albany, Indiana MD 3 pm University of Notre Dame Todd Wilson; Williamsburg Presbyterian, 24 NOVEMBER 812/944-2229 Williamsburg, VA 4 pm Timothy Olson; Duke University Chapel, Ken Cowan; First Parish Church, Concord, Durham, NC 5:15 pm MA 3 pm Robert McCormick, Evensong recital & St. Andrew Chorale & Orchestra and New service; Mulberry Street United Methodist, York City Children’s Chorus; Madison Avenue Macon, GA 4 pm Presbyterian, New York, NY 3 pm Katherine Meloan; Werthheim Performing Canterbury Choral Society, Bach, Christ- A.S.C.A.P. mas Oratorio; Church of the Heavenly Rest, FELLOW, AMERICAN GUILD OF ORGANISTS Arts Center, Miami, Florida 4 pm Jonathan Moyer; Warner Concert Hall, New York, NY 4 pm 345 SADDLE LAKE DRIVE Oberlin Conservatory, Oberlin, OH 4:30 pm Isabelle Demers & Bradley Hunter Welch; ROSWELL-, GEORGIA 30076 Jean-Baptiste Robin; Cathedral of the First Presbyterian, Lancaster, PA 2 pm (770) 594-0949 Blessed Sacrament, Detroit, MI 4 pm Aaron Tan; Shadyside Presbyterian, Pitts- Veterans’ Day Service; Cathedral Church of burgh, PA 3 pm St. Paul, Detroit, MI 4 pm Duke Chapel Choir, Evensong Singers, Stefan Engels; Reyes Hall, Notre Dame Vespers Ensemble & Chamber Orchestra; University, South Bend, IN 4 pm Duke University Chapel, Durham, NC 4 pm Haydn, Little Organ Mass; Christ Episco- Marilyn Mason 11 NOVEMBER pal, Bradenton, FL 11 am Shin-Young Lee; University of the South, Nicholas Schmelter; Trinity Episcopal, June 29, 1925–April 4, 2019 Sewanee, TN 7:30 pm Bay City, MI 4 pm Requiescat in pace 12 NOVEMBER 25 NOVEMBER Manhattan School of Music Chamber Choir; Michael Unger, with cello; Trinity Episco- Manhattan School of Music, New York, NY 7:30 pm pal, Covington, KY 7 pm

A two-inch Professional Card in The Diapason 13 NOVEMBER 27 NOVEMBER Gary Lewis; Luther Memorial Church, Thanksgiving Evensong; Emmanuel Epis- Madison, WI 12 noon copal, Chester Parish, Chestertown, MD 6 pm For information on rates and specifi cations, contact Jerome Butera: Bruce Bengtson; Luther Memorial [email protected] 608/634-6253 14 NOVEMBER Church, Madison, WI 12 noon Kevin Birch; Wheaton College, Norton, MA 7:30 pm 28 NOVEMBER Stephen Hamilton; St. Paul’s Chapel, Trin- Karen Beaumont; Milwaukee Catholic ity Church Wall Street, New York, NY 1 pm Home, Milwaukee, WI 2 pm Mark Edwards, harpsichord; Cathedral Church of the Advent, Birmingham, AL 7:30 29 NOVEMBER LARRY PALMER pm Advent Lessons & Carols; Church of the PHILIP CROZIER Transfi guration, Orleans, MA 4:30 pm CONCERT ORGANIST Harpsichord – Organ 15 NOVEMBER Hey-Liberis Duo (Michael Hey, organ, & 30 NOVEMBER ACCOMPANIST Christiana Liberis, violin); First United Meth- Advent Lessons & Carols; Church of the Professor of Music, Emeritus odist, Saratoga Springs, NY 7:30 pm Transfi guration, Orleans, MA 4:30 pm 3355 Queen Mary Road, Apt 424 Benjamin Sheen; St. Paul’s Episcopal, Ray Cornils; Methuen Memorial Music Wilmington, NC 7:30 pm Hall, Methuen, MA 7 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Jeremy David Tarrant; Cathedral Church of St. Paul, Detroit, MI 7:30 pm Canada Nathan Laube; First Presbyterian, Jackson, UNITED STATES (514) 739-8696 Recitals — Lectures — Consultancies MS 7:30 pm West of the Mississippi Olivier Latry; Signoret-Brulatour House, [email protected] New Orleans, LA 6:30 pm [email protected] + 214.350-3628 18 OCTOBER Joby Bell; Third Baptist, St. Louis, MO 16 NOVEMBER James Kennerley; Merrill Auditorium, Port- 12:30 pm land, ME 7:30 pm Janette Fishell; Christ Episcopal, Little Rock, AR 7:30 pm 17 NOVEMBER Isabelle Demers; First United Methodist, Ken Cowan; Church of the Transfi guration, Wichita Falls, TX 7 pm Orleans, MA 7:30 pm Susanna Valleau; Christ Episcopal, Ta- The Diapason Stephen Hamilton; St. Michael’s Episco- coma, WA 12:10 pm pal, New York, NY 3 pm Christopher Houlihan; St. Mark’s Episco- Brian McCarthy; Cadet Chapel, West pal Cathedral, Seattle, WA 7:30 pm Point, NY 2:30 pm 2020 Resource Directory Thomas Gaynor; First Lutheran, Carlisle, 20 OCTOBER PA 3 pm Aaron David Miller, hymn festival; First • The only comprehensive directory for the organ and Joshua Stafford; St. Mark’s Episcopal, Presbyterian, Kirkwood, MO 4 pm Philadelphia, PA 4 pm Todd Wilson, recital & silent fi lms; Trinity church music fi elds Diane Meredith Belcher; St. Stephen’s Downtown Lutheran, , TX 2:30 pm Pro-Cathedral, Wilkes-Barre, PA 4 pm Gail Archer; St. Matthew Episcopal Cathe- • Includes listings of associations, suppliers, and the Peter Richard Conte, organ, & Andrew dral, Laramie, WY 3 pm products and services they provide Ennis, fl ügelhorn/organ; St. Matthew Luther- Christopher Houlihan; Sonoma State an, Hanover, PA 4 pm University, Rohnert Park, CA 3 pm Olivier Latry; St. Ann’s Church, Washing- David Hatt, works of Widor; Cathedral of ton, DC 3 pm St. Mary of the Assumption, San Francisco, Reserve advertising space now! Jillian Gardner; Washington National Ca- thedral, Washington, DC 5:15 pm CA 4 pm Deadline: November 1 Aaron Tan; First Presbyterian, Richmond, VA 7:30 pm 21 OCTOBER Josiah Hamill; Duke University Chapel, David Goode; Episcopal Church of the To reserve advertising space, contact Jerome Butera Durham, NC 5:15 pm Transfi guration, Dallas, TX 7:30 pm + Isabelle Demers; Dunwoody United 608/634-6253; [email protected] Methodist, Dunwoody, GA 4 pm 22 OCTOBER Naomi Rowley; Loyola University, Chicago, Christophe Mantoux; St. Stephen Presby- IL 3 pm terian, Fort Worth, TX 7:30 pm

26 Q THE DIAPASON Q OCTOBER 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 23 OCTOBER 7 NOVEMBER Southminster Presbyterian Church Christophe Mantoux, masterclass; St. Aaron Tan; Third Church of Christ, Scien- Stephen Presbyterian, Fort Worth, TX 9 am tist, Dallas, TX 7:30 pm SHORT HILLS Arlington Heights, IL 60005

25 OCTOBER 8 NOVEMBER Christophe Mantoux; Augustana Luther- Brent Johnson; Third Baptist, St. Louis, an, St. Paul, MN 7 pm MO 12:30 pm Susan Powell; Third Baptist, St. Louis, MO Ken Cowan, Handel, Saul; Wortham The- Tiffany K. Ng, PhD DEREK E. NICKELS, DMA 12:30 pm ater Center, Houston, TX 7:30 pm University Carillonist | New Music Performer Church of the Holy Comforter Ken Cowan, Handel, Saul; Wortham The- ater Center, Houston, TX 7:30 pm 10 NOVEMBER The University of Michigan, Ann Arbor Kenilworth, IL 60043 • Adam Pajan; University of Nevada Las Andrew Schaeffer; Basilica of St. Francis [email protected] Vegas, Las Vegas, NV 7:30 pm Xavier, Dyersville, IA 7 pm soundcloud.com/carillonista (847) 251-6120 • [email protected] Brink Bush; First Presbyterian, Kilgore, TX 27 OCTOBER 8 pm Rev. John Haugen & Rev. Dennis Quint; Raúl Prieto Ramírez; St. James Episco- Basilica of St. Francis Xavier, Dyersville, IA pal, Los Angeles, CA 6 pm ANDREW SCHAEFFER 7 pm Amanda Mole; St. Mark’s Episcopal, Jeffrey Schleff, Ed.D. Michael Unger; Second Presbyterian, St. Berkeley, CA 6:05 pm Luther Memorial Church (ELCA) Organist – Teacher – Consultant Louis, MO 4 pm Durufl é, Requiem; Grace Cathedral, San Ken Cowan, Handel, Saul; Wortham The- Francisco, CA 11 am Madison, Wisconsin David Troiano; Cathedral of St. Mary of the Sulphur Public Schools, Sulphur, OK ater Center, Houston, TX 2 pm [email protected] Christophe Mantoux; Trinity Lutheran, Assumption, San Francisco, CA 4 pm United Disciples Christian Church, Richardson, TX Lynnwood, WA 7 pm Gail Archer; First Presbyterian, Fairbanks, Recitals — Hymn Festivals [email protected] Alexander Ffi nch; Cathedral of St. Mary of AK 7 pm the Assumption, San Francisco, CA 4 pm 11 NOVEMBER 30 OCTOBER Clive Driskill-Smith; St. Luke’s United JOHN SCHWANDT Christophe Mantoux; Mormon Taberna- Methodist, Kilgore, TX 10 am cle, Salt Lake City, UT 7:30 pm Walt Strony; First Presbyterian, Kilgore, STEPHEN SCHNURR TX 8 pm Saint Paul Catholic Church American Organ Institute 1 NOVEMBER University of Oklahoma Christopher Young; Bethany Lutheran 12 NOVEMBER Valparaiso, Indiana College, Mankato, MN 7 pm Raúl Prieto Ramírez; Concordia Univer- aoi.ou.edu Kirsten Santos Rutschman; Third Baptist, sity, Irvine, CA 7:30 pm St. Louis, MO 12:30 pm Christophe Mantoux; California Lutheran 13 NOVEMBER University, Thousand Oaks, CA 7:30 pm John Walthausen; First Presbyterian, Kilgore, TX 10 am ROBERT L. 2 NOVEMBER Jared Cook; St. Luke’s United Methodist, Ken Cowan, Handel, Saul; Wortham The- Kilgore, TX 2 pm SIMPSON Mark Steinbach ater Center, Houston, TX 7:30 pm Christian Elliott, silent fi lm, For Heaven’s Christ Church Cathedral Brown University Stephen Hamilton, workshop; Lord of Life Sake; First Presbyterian, Kilgore, TX 8 pm 1117 Texas Avenue Lutheran, Sun City, AZ 9:30 am Houston, Texas 77002 Douglas Cleveland; St. Andrew’s Episco- 14 NOVEMBER pal, Port Angeles, WA 3 pm Eric Plutz; St. Mark’s Episcopal Cathedral, Shreveport, LA 10 am 3 NOVEMBER Jan Kraybill; St. Mark’s Episcopal Cathe- ] Nick Schadler; Basilica of St. Francis Xavi- dral, Shreveport, LA 2 pm Joe Utterback er, Dyersville, IA 7 pm Scott Dettra; First Presbyterian, Kilgore, David Wagner Jillian Gardner; Christ Church Cathedral, TX 7:30 pm ]] ] Houston, TX 4:15 pm www.jazzmuze.com DMA Chelsea Chen; South Dakota State Uni- 15 NOVEMBER www.davidwagnerorganist.com versity, Brookings, SD 2:30 pm Shin-Young Lee; Catalina United Method- 203 386 9992 Stephen Hamilton; Lord of Life Lutheran, ist, Tucson, AZ 7 pm Sun City, AZ 3 pm Christophe Mantoux; St. John’s Lutheran, 16 NOVEMBER Sacramento, CA 2 pm • Craig Cramer; Subiaco Abbey, Subiaco, Benjamin Sheen; Grace Cathedral, San AR 10 am Francisco, CA 4 pm Kevin Walters KARL WATSON Raymond Hawkins; Cathedral of St. Mary 17 NOVEMBER of the Assumption, San Francisco, CA 4 pm Chelsea Chen; First Presbyterian, Roch- M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH Frederick Swann; St. Margaret’s Episco- ester, MN 4 pm pal, Palm Desert, CA 3:45 pm, Choral Even- Second Church Chorale & Chamber Or- Rye, New York WOODBRIDGE, NJ song 4 pm chestra; Second Presbyterian, St. Louis, MO Jane Parker-Smith; Walt Disney Concert 4 pm Hall, Los Angeles, CA 7:30 pm Alan Morrison; First Christian, Jefferson City, MO 4 pm 6 NOVEMBER Shin-Young Lee, Bradley Hunter Welch Alan G Woolley PhD Ken Cowan, Handel, Saul; Wortham The- & Philippe Lefebvre; Meyerson Symphony RONALD WYATT ater Center, Houston, TX 7:30 pm Center, Dallas, TX 2:30 pm Musical Instrument Research Amanda Mole; Memorial Church, Stanford Gail Archer; Woodburn United Methodist, Edinburgh Trinity Church University, Stanford, CA 7:30 pm Woodburn, OR 3 pm [email protected] Galveston

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

1940 - In Germany . . . delight in the sounds of some of O the instruments that Barone will be visiting during the A two-inch Professional Card in The Diapason PIPEDREAMS tour in Germany this week. C For information on rates and specifi cations, contact Jerome Butera: T 1941 - Perriolas . . . the American Classic Organ as interpreted by Roy Perry, featured in selections from the 2018 East [email protected] 608/634-6253 Texas Pipe Organ Festival. 2 1942 - Organ History at Notre Dame . . . Olivier Latry joins 0 0LFKDHO%DURQHWRUHÀHFWRQWKHOHJDF\RISHUIRUPHUVDQG ArtistArtist Spotlights Spotlightspotlight s 1 composers associated with France’s famous Cathedral. 9 Artist Spotlights 1943 - A Fugue Too Many? . . . can there ever be a surfeit of are available on Your professional card these characterful, complex and compelling treasures? The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

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

Raúl Prieto Ramírez; California Polytechnic David Cassan; Jesuitenkirche St. Michael, Katelyn Emerson; Swiss Church, London, Gregor Simon; Münster, Obermarchtal, State University, San Luis Obispo, CA 3 pm München, Germany 8 pm UK 5 pm Germany 5 pm Krzysztof Urbaniak; Munster, Basel, Swit- Evert Groen, Thomas Schermuly & 19 NOVEMBER zerland 6 pm 3 NOVEMBER Bernhardt Brand-Hofmeister; Evange- Shin-Young Lee; Arborlawn United Meth- Anna-Victoria Baltrusch; Neumünster, Markus Willinger; Dom, Rottenburg a.N., lische Oranier-Gedächtnis-Kirche, Wies- odist, Fort Worth, TX 7 pm Zürich, Switzerland 6 pm Germany 5 pm baden, Germany 7 pm Jürgen Banholzer; Heilig Geist Kirche, 22 NOVEMBER 23 OCTOBER Schramberg, Germany 5 pm 17 NOVEMBER Jens Korndörfer; Augustana University Jürgen Sonnentheil; St. Michaelis, Ham- Martin Hagner; Aureliuskirche, Calw- Baptist-Florian Marle-Ouvrard; Basi- Chapel, Sioux Falls, SD 7 pm burg, Germany 7:30 pm Hirsau, Germany 7 pm Holger Gehring; Kulturpalast, Dresden, lika St. Gereon, Köln, Germany 5 pm Michael Butterfi eld; St. Marylebone, Lon- Elmar Lehnen, with trombone; Willibror- 23 NOVEMBER Germany 8 pm don, UK 4 pm Jens Korndörfer, masterclass; Augustana Martin Baker; Westminster Cathedral, di-Dom, Wesel, Germany 6 pm University Chapel, Sioux Falls, SD 9 am London, UK 7:30 pm 6 NOVEMBER Christian Schmitt; Kathedrale, Dresden, 20 NOVEMBER 24 NOVEMBER 24 OCTOBER Germany 8 pm Axel Flierl; Kreuzkirche, Dresden, Ger- Nathan Laube; Wesley United Methodist, Merit Eichhorn & Frédéric Champion; Thomas Trotter; Marchmont House, Ber- many 8 pm Muscatine, IA 4 pm Dom St. Petri, Bremen, Germany 7 pm wick, UK 5:30 pm Gail Archer; First Congregational, Boulder, 21 NOVEMBER CO 3 pm 26 OCTOBER 8 NOVEMBER Michael Villmow; Abteikirche, Brauwei- Jin Kyung Lim, with Amabilis Ensemble; Josef Still; Kathedrale St. Sebastian, Mag- Brahms, Ein Deutsches Requiem, Berlins- ler, Germany 8 pm Cathedral of St. Mary of the Assumption, San deburg, Germany 7:30 pm ki, Tetragrammaton; Erlöserkirche, München, Francisco, CA 4 pm Ansgar Schlei; Willibrordi-Dom, Wesel, Germany 5 pm 22 NOVEMBER Germany 7:30 pm Christoph Schoener; St. Michaelis, Ham- Olivier Latry; St. Basil’s Catholic Church, INTERNATIONAL Jane Watts; Bloomsbury Central Baptist, burg, Germany 7:30 pm Toronto, ON, Canada 9 am masterclass, London, UK 4 pm Mozart, Requiem, Pergolesi, Stabat Mater; 7:30 pm recital Nathan Laube; Église des Saints-Martyrs St. Pankratius-Kirche, Gütersloh, Germany 15 OCTOBER Canadiens, Québec City, Québec, Canada 7:30 pm 23 NOVEMBER Stephen Hamilton ; Exeter College Cha- 7 pm Bach, St. John Passion; Cathedral, Laus- Holger Gehring, with trumpet; Dom, Al- pel, Oxford, UK 1 pm Sebastian Heindl; Westminster United anne, Switzerland 8 pm Church, Winnipeg, MB, Canada 2:30 pm tenberg, Germany 2 pm Matthias Mück; Kathedrale St. Sebas- 16 OCTOBER 9 NOVEMBER Daniel Beilschmidt; Frauenkirche, Dres- 27 OCTOBER tian, Magdeburg, Germany 7:30 pm Brahms, Ein Deutsches Requiem, Berlins- Cathy Lamb; Victoria Hall, Hanley, UK den, Germany 8 pm Jan Weinhold, Bach, Art of the Fugue; Jae- ki, Tetragrammaton; Erlöserkirche, München, Kristin von der Goltz; Jesuitenkirche St. gersborg Kirk; Jaegersborg, Denmark 4 pm 12 noon Germany 5 pm Paul Carr; Wesley Methodist, Chester, Michael, München, Germany 8 pm Rheinberger, Mass in f; Dom, Altenberg, Christoph Schoener; St. Michaelis, Ham- Stephen Hamilton; Queen’s College Cha- Germany 10:30 am burg, Germany 7:30 pm UK 12:45 pm pel, Oxford, UK 1 pm Matthias Roth; Dom, Altenberg, Germany Robert Wolfe; St. Albans Organ Theatre, 11:45 am St. Albans, UK 7:30 pm 24 NOVEMBER 17 OCTOBER Christian Sprenger; Dom, Altenberg, Ger- Andreas Meisner, with soprano; Dom, Ruben Sturm; Dom St. Petri, Bremen, many 2:30 pm 10 NOVEMBER Altenberg, Germany 9 am Vincent Vogelsang; Liebfrauenkirche, Germany 7 pm Brahms, Ein Deutsches Requiem, Berlins- Andreas Meisner; Dom, Altenberg, Ger- Gerard Brooks Hamm, Germany 6:30 pm ; St. John the Evangelist, ki, Tetragrammaton; Erlöserkirche, München, many 2:30 pm Upper Norwood, UK 7:30 pm Nathan Laube; St. Joseph Oratory, Mon- Mozart, Requiem; Jesuitenkirche St. Mi- tréal, Québec, Canada 3:30 pm Germany 5 pm Wolfgang Seifen; Basilika St. Gereon, chael, München, Germany 4 pm 18 OCTOBER Köln, Germany 5 pm Ioanna Solomonidou; Basilika St. Ge- Daniel Zaretsky; Jesuitenkirche St. Mi- 30 OCTOBER Alexander Ivanov; Matthäuskirche, Stutt- reon, Köln, Germany 5 pm chael, München, Germany 8 pm Holger Gehring, with Sinfonietta Dresden; Kreuzkirche, Dresden, Germany 8 pm gart, Germany 5 pm Simon Johnson; Kirche St. Nikolaus, Rudolf Peter; Augustinerkirche, Landau, 19 OCTOBER Frankfurt a.M.-Bergen-Enkheim, Germany Germany 6 pm Matthias Dreißig; Willibrordi-Dom, Wesel, 31 OCTOBER 5 pm Germany 7:30 pm Andreas Meisner; Dom, Altenberg, Ger- Münster- und Kammerchor Überlingen; John Scott Whiteley; St. Olave’s, York, UK many 2:30 pm 12 NOVEMBER Münster, Überlingen, Germany 5 pm 2 pm Harald Vogel; Hauptkirche St. Jacobi, Thomas Neuleben; Liebfrauenkirche, 1 NOVEMBER Hamburg, Germany 8 pm Hamm, Germany 6:30 pm 20 OCTOBER Albert Richenhagen, with Schola Canto- Gareth Moore; Trinity Methodist, Doug- Mads Damlund; Jaegersborg Kirk; Jae- rum Coloniensis; Dom, Altenberg, Germany 13 NOVEMBER las, UK 3 pm gersborg, Denmark 4 pm 10:30 am Markus Eichenlaub; Frauenkirche, Dres- Christian Vorbeck; Dom, Altenberg, Ger- den, Germany 8 pm 27 NOVEMBER many 11:45 am 2 NOVEMBER Simon Gledhill; Freemasons’ Hall, Lon- don, UK 6:15 pm Johannes Trümpler; Kathedrale, Dres- Christoph Hauser, with viola; Ansgar Schlei; Willibrordi-Dom, Wesel, den, Germany 8 pm Klosterkirche, Fürstenfeldbruck, Germany Germany 12 noon 14 NOVEMBER 12:15 pm Evert Groen & Bernhardt Brand-Hof- 29 NOVEMBER Petra Veenswijk; Dom, Altenberg, Ger- meister, silent fi lm; Evangelische Johanni- Jonathan Holl; St. Nicolas, Newbury, UK 1:10 pm Bernhardt Brand-Hofmeister & Evert many 2:30 pm skirche, Darmstadt, Germany 7 pm Groen; Evangelische Stadtkirche, Wan- 15 NOVEMBER fried, Germany 7:30 pm Nicholas Freestone; Cathedral, Worces- Gerhard Löffler; Hauptkirche St. Jacobi, ter, UK 6:45 pm Hamburg, Germany 8 pm

16 NOVEMBER 30 NOVEMBER Maria Mokhova; Stadtpfarrkirche St. Mar- Christian Iwan; Kiliansdom, Würzburg, tin, Bamberg, Germany 5:30 pm Germany 4 pm

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GAN BUILDERS - EST E OR . 187 Subscribers can view the digital PIP 7 version of this issue (as well as selected past issues) at our website. Schoenstein SAN FRANCISCO Visit www.TheDiapason.com w to experience this! ww 58 .sch 47-58 oenstein.com - (707) 7 ATOS ExperienceAmerican Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

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

BENJAMIN ALARD, Cathedral of Saint- No. 2 in f-sharp, Whitlock; Adoration, Price; G, BWV 530), Fantasia and Fugue in g, BWV jeu, Duo, Basse et Dessus de Trompette, Ca- Vincent, Saint-Malo, France, May 25: Mit Finale (Symphonie VIII), Widor. 542, Bach; Prelude and Fugue in E-fl at, op. price sur les grands jeux (Suite du premier Fried und Freud ich fahr dahin, BuxWV 99, no. 3, Saint-Saëns; The Flight of the Hum- ton), Clérambault; Prelude and Fugue in g, 76, Passacaglia in d, BuxWV 161, Nun freut RAYMOND and ELIZABETH CHE- mingbird, Dialogue of the Mockingbird, Lau- BWV 558, attr. Bach; Andante tranquillo (So- euch lieben Christen g’mein, BuxWV 210, NAULT, Cathedral of St. Philip, Atlanta, GA, rin; Master Tallis’s Testament, Howells; Étude nata III in A, op. 65, no. 3), Andante (Sonata Chaconne in e, BuxWV 160, Chaconne in c, May 19: Toccata for Two, Wills; Evensong, Héroïque, Laurin. V in d, op. 65, no. 5), Mendelssohn; “The BuxWV 159, Buxtehude; Contrapunctus VI, Callahan; The Juggler, Roberts; Allegro for Peace may be exchanged” (Rubrics), Lock- Contrapunctus VII (Art of the Fugue, BWV Organ Duet, Moore. JEAN-CHRISTOPHE GEISER, Cathe- lair; Suite du premier ton, Bédard. 1080), Canonic Variations on Vom Himmel dral, Lausanne, Switzerland, April 19: Prelude hoch da komm ich her, BWV 769a, Bach. HEINRICH CHRISTENSEN, Fourth and Fugue in c, BWV 546, O Lamm Gottes, ROSALIND MOHNSEN, St. Anthony of Presbyterian Church, Chicago, IL, May 24: An unschuldig, BWV 656, Bach; Agnus Dei, Mar- Padua Catholic Church, New Bedford, MA, LORETO ARAMENDI, Cathedral of St. Extravagance of Toccatas, Woodman; Alt hvad tin; Prélude funèbre, Ropartz; Herzlich tut April 7: Mattheus Final (Bach’s Memento), Philip, Atlanta, GA, May 12: Toccata in F, som fuglevinger fi k, Præstholm; Troisième mich verlangen, Brahms; Crucifi xion (Sym- Bach, transcr. Widor; Prelude in a on a Cho- BuxWV 156, Buxtehude; Funérailles, Liszt, Symphonie in f-sharp, op. 28, Vierne. phonie Passion, op. 23), Dupré; Jesus Chris- rale of Bach, Respighi; Christ, unser Herr, transcr. Robilliard; Prelude in c-sharp, Rach- tus, unser Heiland, BWV 665, Bach. zum Jordan kam, BWV 684, Fugue in E- maninov, transcr. Vierne; Danse macabre, JARED COOK, Christ Church Cathedral, Cathedral, Lausanne, Switzerland, April fl at, BWV 552ii, Bach; Mors et Resurrectio, Saint-Saëns, transcr. Robilliard; Etüde for Or- Houston, TX, April 14: Cortège et Litanie, op. 21: Toccata and Fugue in d, BWV 565, Wa- Langlais; Offertory–Adoro te (Organ Suite), gan, Ligeti. 19, no. 2, Dupré; Passacaglia in c, BWV 582, chet auf, ruft uns die Stimme, BWV 645, Pre- Biggs; Trois Improvisations, Vierne. Bach; Miroir, Wammes; Adagio, Final (Sym- lude and Fugue in e, BWV 548, Sei gegrüßet, F. ALLEN ARTZ, III, Friedens Lutheran phonie III in f-sharp, op. 28), Vierne. Jesu gütig, BWV 768, Bach; Concerto in a, BENJAMIN SHEEN, St. Thomas Church Church, Llewellyn, PA, April 28: Partita on BWV 593, Vivaldi, transcr. Bach. Fifth Avenue, New York, NY, April 21: Alle- Nicea, Post; Ein’ feste Burg, Marpurg; Ein’ ANGELA KRAFT CROSS, Congrega- luyas, Preston; Variations on O Filii, Demes- feste Burg, Pachelbel; Wir glauben all’ an tional Church of San Mateo, San Mateo, CA, JOHN GOUWENS, Culver Academies, sieux; Chorale Prelude on Llanfair, Robinson; einen Gott, BWV 680, Bach; Sonata VI in d, April 19: Prelude and Fugue in b, BWV 544, Culver, IN, April 14: Praeludium in e, Bruhns; Dic nobis Maria, Scheidemann; Choral (Sym- op. 65, no. 6, Mendelssohn; Liebster Jesu, wir Bach; Kyrie Eleison, Cross; O Mensch bewein’ Psalm Prelude, Set 1, No. 1, op. 32, Howells; phonie Romane, op. 73), Widor; Choral-Im- sind hier (2 settings), Bach; Herzlich tut mich dein’ Sünde groß, BWV 622, Bach; Herzlich Hymn improvisation on St. Theodolph; Orb provisation sur le Victimae Paschali laudes, verlangen (2 settings), Brahms; Partita on Alle tut mich verlangen, Brahms; Kyrie Eleison, and Sceptre March, Walton; Les Rameaux, Tournemire, transcr. Durufl é. Menschen müßen sterben, Pachelbel; Fugue Cross; Choral No. 2 in b, Franck. Langlais; Pastorale, op. 19, Franck; “. . . and in E-fl at, BWV 552ii, Bach. thanksgivings may follow,” “The Peace may be JOHN SHERER, Fourth Presbyterian MARSHA FOXGROVER, Trinity Col- exchanged,” “The people respond—Amen!” Church, Chicago, IL, April 26: Prelude, Fugue, GEORGE BAKER, Church of the Trans- lege, Palos Heights, IL, April 12: Impromptu (Rubrics), Locklair; Cortège et Litanie, op. 19, and Chaconne in C, BuxWV 137, Buxtehude; fi guration, Orleans, MA, April 28: Final (Pièces de fantaisie, Troisième suite, op. 54, no. 2, Dupré. Aria, Manz; Fanfare, Cook; Siciliano for a (Symphonie I in d, op. 14), Clair de lune, Im- no. 2), Vierne; Prelude and Fugue in a, BWV High Ceremony, Howells; Phoenix, Locklair; promptu, Vierne; Concerto in G, BWV 592, 543, Wir glauben all’ an einen Gott, BWV 680, STEPHEN HAMILTON, Crail Parish Prière a Notre Dame (Suite Gothique), Boëll- Bach; Prélude Grégorien, Jésus, mon Sauveur Bach; Auf meinen lieben Gott, BuxWV 179, Church, Crail-Fife, Scotland, April 12: Lita- mann; Carillon de Westminster (24 Pièces de (Huit Chants de Bretagne), Hymne d’Actions Buxtehude; Prelude and Fugue in E-fl at, op. nies, JA 119, Alain; Prelude, Fugue, and Vari- fantaisie, op. 54, no. 6), Vierne. de grâces “Te Deum,” op. 5, no. 3, Langlais; 99, no. 3, Saint-Saëns; Adagio for Strings, op. ation, Franck; Three Chorale Preludes, Coe; Sortie in B-fl at (L’Organiste Moderne), Lefé- 11, Barber; There Is a Happy Land, Shearing; Partite Sopra la Aria della Folia de Espagne, JULIAN WACHNER, St. Thomas bure-Wély; Berceuse à la mémoire de Louis Intermezzo (Symphonie VI in g, op. 42, no. Pasquini; La Romanesca con Cinque Mutan- Church Fifth Avenue, New York, NY, April Vierne, Cochereau, transcr. Baker; Première 2), Widor. ze, Valente; Concerto in b, Walther; Prelude 7: Fanfare Variations on Mouret’s Rondeau, Fantaisie, JA 72, Alain. and Fugue in c, BWV 546, Bach. Wachner; Pièce d’Orgue, BWV 572, Bach; JILLIAN GARDNER, St. John’s Episcopal University of Glasgow, Glasgow, Scotland, Prélude et Fugue sur le nom d’Alain, op. 7, GAVIN BLACK, Hillsborough Reformed Church, Tulsa, OK, April 3: Orb and Sceptre, April 17: Prelude and Fugue in c, BWV 546, Durufl é; improvisation. Church, Millstone Borough, NJ, April 28: Walton, transcr. McKie; Prélude (Suite, op. Bach; Hommage à Messiaen, Robinson; Fan- Praeludium in a, BWV 551, Canzona in d, 5), Durufl é; Pas de quatre, Le Fée-Argent, tasy for Organ, Coe; Choral I in E, Franck; JOHN WALKER, with Joseph Kneer, BWV 588, Partita on O Gott, du frommer Cendrillon et Fortuné, L’oiseau Bleu et La Prelude and Fugue in B, op. 7, no. 1, Dupré. violin, Shadyside Presbyterian Church, Gott, BWV 767, Prelude and Fugue in E-fl at, princess Florine, Chaperon rouge et le loup, Pittsburgh, PA, April 26: March on a Theme BWV 552, Toccata and Fugue in d, BWV 565, Apotheose (Sleeping Beauty), Tchaikovsky, JEAN HERMAN HENSSLER, First by Handel, op. 15, no. 2, Guilmant; Komm, Vater unser im Himmelreich, BWV 683, Dies transcr. Gardner. Presbyterian Church, Montrose, PA, April 17: süsser Tod, BWV 478, Bach, transcr. Fox; sind die hiel’gen zehn Gebot’, BWV 679, Nun St. Martyrs-Canadiens Church, Montréal, Prelude and Fugue in b, BWV 544, Bach; Wer Requiescat in Pace, Sowerby; Resurrection, komm der Heiden Heiland, BWV 599, Prelude Québec, Canada, April 7: Variations de Con- nur den lieben Gott läßt walten, Reger, Phil- King; Choral-Improvisation sur le Victimae and Fugue in D, BWV 532, Bach. cert, op. 1, Bonnet; Mars (The Planets, op. lips, Walther; Festival Piece, Phillips. paschali laudes, Tournemire, transcr. Duru- 32), Holst, transcr. Lemare, Gardner; Varia- fl é; Dritte Sinfonische Kanzone, op. 85, no. JACKSON BORGES, Cathedral of St. tions sur le choral Nun komm’ der Heiden PEGGY MASSELLO, Presbyterian 3, Karg-Elert; Sine Nomine, Weaver; Concert Philip, Atlanta, GA, May 5: Fantasie Chorale Heiland, Bédard; Vivace, Lento (Sonata in Homes, Evanston, IL, May 20: Grand plein Variations on Old Hundredth, Paine.

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

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

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE

The Reuter Organ Company has two full-time Certified appraisals—Collections of organ Raven has imported for sale in America a CD of 26-rank Casavant - Létourneau pipe organ for positions available, one for a fl ue voicer and books, recordings, and music, for divorce, Nathan Laube playing a live organ concert in the sale. Orgues Létourneau is offering a 22-stop one for a reed voicer. Preferred candidates will estate, gift, and tax purposes. Stephen L. Black Forest, Nagold, Germany, on a 4-manual Casavant Frères pipe organ (Opus 1274 from have three years of experience, but we will train Pinel, Appraiser. 629 Edison Drive, East Wind- organ of 81 ranks as rebuilt in 2012 to incorporate 1928) for sale. This electro-pneumatic instru- qualifi ed applicants. Must be able to travel and sor, NJ 08520-5205; phone: 609/448-8427; romantic ranks from 1874 and classical ranks ment was rebuilt by Létourneau in 1987 and is work as a part of a team. Modern facility with email: [email protected]. from 1971. Nathan plays his transcription for currently in storage at the Létourneau shops. It a pleasant work environment. Compensation organ of the Mendelssohn piano masterpiece is available for purchase in “as is” condition for commensurate with experience, including an “Variations Serieuses;” Reubke: Sonata on the US $35,000 with its original two-manual console. attractive benefi t package. For more informa- Sonata IV by Eugene Thayer is the shortest 94th Psalm; Widor: mvt. 1 Allegro from Symphony Likewise, Létourneau would be pleased to pro- tion visit: www.reuterorgan.com/employment. and least technically demanding. It was the fi rst 5; and Bruhns: Praeludium in E Minor. Ambiente vide a proposal to rebuild this instrument, taking into account any desired changes to the stoplist html. Inquiries should be addressed to Jeff Noll, not to contain patriotic themes, and the move- ACD-1062, $16.98 postpaid in the US from as well as installation costs, voicing, casework as Operations Supervisor: operations@reuterorgan. ments may be played separately. michaels- RavenCD.com 804/355-6386. required, and rebuilding the two-manual console com or 785/843-2622. musicservice.com 704/567-1066 with a new solid-state switching system. The The e-shoppe is tak- organ requires approximately 360 sq. ft. with 20′ PUBLICATIONS / RECORDINGS The Tracker—The Organ Historical Society ing orders for a new DVD by Fugue State Films, ceiling for 16′ ranks. For more details, visit www. quarterly journal includes news and articles The English Organ, a three-part documentary letourneauorgans.com, email info@letourneauor- about the organ and its history, organbuilders, presented by Daniel Moult. In addition to three gans.com or call Andrew Forrest at 450/774-2698. The Christmas music of Norberto Guinaldo. exemplary organs, and regional surveys of hours of documentary, almost eight hours of Ten Fantasy Pieces on Spanish Carols, Vol. I instruments. Both American and European organ music is presented on DVD or CD (in both stereo and II. Four Fantasy Pieces (American, Span- 33-rank Wicks, Opus 3585 (1956) available topics are discussed, and most issues run 48 and surround). More than thirty organs have been ish, French). The New Paltz Organ Book (“O pages with many illustrations and photographs. for FREE. Three-manual and pedal draw- fi lmed and recorded, including Christ Church knob console, duplexed to 60 playing stops. Come, O Come, Emmanuel,” “People, Look Membership in the OHS includes a subscrip- Spitalfi elds, Truro Cathedral, Town Hall, East”). Bring a Torch, Jeanette, Isabella. In tion to The Tracker. Visit the OHS Web site for Exposed Great, expressive Swell and Choir, St. George’s Hall Liverpool, St. Paul’s Cathedral chamber 22′ wide, 10′-6″ deep. To be removed Praise of St. Joseph. Celebrate the year: subscription and membership information: www. Melbourne, and King’s College. The set can be no later than June 1, 2020. Christ King Catholic “December” (“I heard the bells”). See, listen, organsociety.org. preordered for $98, and orders will ship directly Church, 2604 N. Swan Blvd., Wauwatosa, WI buy. www.guinaldopublications.com. from the UK by Christmas. For information: 53226; 414/258-2604. Organist Bill Lieven, Consoliere Classic Series for Organ: Complete https://ohscatalog.org. [email protected]. As an autumn gratis publication, Fruhauf Music Set of Six Books. An outstanding collection com- Publications has reissued Jesse’s Song: A piled from World Library Publication’s extensive PIPE ORGANS FOR SALE Pfeffer and Debierre organs. Circa 1860 Pfeffer Hymn of Peace, Duo for Carillon, an eight-page organ library. A must for any church organist. eight-rank organ, available rebuilt and custom free compostion for four-octave carillon and two 003067, $54.00, 800/566-6150, Wlpmusic.com. fi nished. Also 1884 choir organ by Louis Debi- players. The letter-sized PDF booklet is available 1968 Schantz, opus 890, III manual, 5 divisions. Organ is in good condition, console converted to erre. Both are pictured on the Redman website: from FMP’s website home page Bulletin Board www.redmanpipeorgans.com. and Download page at www.frumuspub.net. It Raven has released the fi rst CD recorded by solid-state, several additions to original stoplist, is featured along with numerous other titles that a woman, also the fi rst CD recorded by a non- organ to be removed professionally by new owner have been offered as complimentary scores in British subject, on the 1892 Henry Willis organ at prior to new organ installation. Best offer. 1980 FREE Pipe Organ. Moller Opus 7351, 1947. previous seasons. Hereford Cathedral in England: Damin Spritzer Milnar organ, 11 ranks on II manuals and pedal. Same spec as 4-rank Artiste. Detached console. plays “Rhapsodies & Elegies” by early 20th- Currently in climate-controlled storage. $7,500 or Needs work, but chest pneumatics good. There century English composers including Willan, best offer. Small Wicks practice organ, $5,000 are cyphers—likely due to dust, easily fi xed. Organa Europae calendars featuring famous Rowley, Ireland, Darke, Bullock, Grace, Elgar, obo. Two beautiful Trumpet En Chamades. Otherwise playable. Central NY State. “Buyer” to pipe organs of Europe; years 1969 to 1977. and Norman Gilbert. Raven OAR-156, $15.98; Contact Milnar Organ Company for more infor- remove. If no takers, must be discarded. Email $10.00 each. 219/662-0677, [email protected]. RavenCD.com 804/355-6386. mation. www.milnarorgan.com or 615/274-6400. [email protected].

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE ELECTRONIC ORGANS FOR SALE SON for all your friends who love the organ, harpsichord, carillon, and church music. Your Historic George Stevens 13-rank tracker Ahlborn-Galanti 3-manual. DrakeTM technol- gift will be remembered throughout the year. organ. Minor fi re damage, organ still playable ogy, 282 independently voiceable stops, internal (And don’t forget our special bargain for stu- when it was removed. In our warehouse since speaker system plus 8 external channels. V/S dents at $20!) Visit www.thediapason.com 2005. All components except lowest Open Dia- MIDI system, pipe compatible, excellent pipe and click on “subscribe.” pason pipe. The organ will be gifted to anyone sound. Church is closing. Asking $15,995.00. committing to the restoration of it. All sketches, Call Jerry Dulski 773/307-2330 for full specs/ brochure. THE DIAPASON’S new website has an increased New subscribers and gift subscriptions measurements and stoplist available. Informa- can receive one free Raven CD for a tion: www.LevsenOrg.com. All inquiries: Levse- capacity for new videos. Go to www.thediapa- one-year subscription, two free CDs for [email protected]. son.com and click on videos to see what you’ve Rodgers W-5000, 2-manual synth keyboard; missed! Visit www.thediapason.com often and a two-year subscription, and three free 25 pedals, multiple Rodgers pipe ranks plus over keep up to date with all the news items. CDs for a three-year subscription. 400 orchestral voices. Hammond drawbars, inter- Zoller home pipe organ (1985) for sale. One nal speakers plus output for additional speakers manual and fl at pedalboard, cherry case with For details and to begin your plus Leslie. Church closing. Asking $7,500. Call doors, bench. Six stops divided at middle C: THE DIAPASON E-Newsletters are e-mailed new or gift subscription, ′ ′ ′ Jerry Dulski, 773/307-2330. Excellent for contem- 8 Stopped Diapason, 8 Krummhorn, 4 Flute; porary worship. monthly to subscribers who sign up to visit www.thediapason.com/subscribe. 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Tierce (no receive them. Don’t miss the latest news, pipes). $15,000 or best offer, buyer to remove, featured artists, and classifi ed ads—all with located Newcastle, Maine. 207/563-5679. SERVICES / SUPPLIES photos—some before they appear in print! Visit www.TheDiapason.com and click on Subscribe to our newsletter. For assistance, Aeolian-Skinner, 1962. III/50. $45,000. For more Complete Pipe Organ Services from the Organ contact Stephen Schnurr, 847/954-7989, information, visit https://www.organclearing- Clearing House: 450 vintage pipe organs avail- [email protected]. The 2020 Resource house.com/organs-for-sale#/2997-aeolianskin- able, renovation, tuning, consultation. Other services include transportation, cleaning and Directory will arrive with ner-new-york-city. renovation of carvings, reredos, liturgical furnish- your January 2020 issue. ings. Call John Bishop at 617/688-9290. john@ THE DIAPASON’s website (www.thediapason. E. & G. G. Hook & Hastings, 1879. $45,000. organclearinghouse.com. com) features an ever-increasing number of Do you need to add your business to our II/25. For more information, visit https://www. PDFs of vintage issues. Search the website listings? Update your contact information? organclearinghouse.com/organs-for-sale#/2181- Releathering all types of pipe organ actions now for selected issues, as most are avail- e-gg-hook-hastings-manchester-nh. and mechanisms. Highest quality materi- able from 1944–1945, 1966–1993, and 2005 Send updates to [email protected]. als and workmanship. Reasonable rates. to the present! Columbia Organ Leathers 800/423-7003. Expressive and compact—3/27 Kilgen (1940). Advertising opportunities are available www.columbiaorgan.com/col. Two expressive divisions. 17 manual 8-foot fl ues. by contacting [email protected]. Postal regulations require that mail to THE Reeds include Tuba, Cornopean, Oboe, Clarinet, DIAPASON include a suite number to assure ′ ″, Vox Humana. Harp. 16 Open Wood. H: 237 W: Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: Advertising deadline is November 1. ″, ″. 170 D: 189 Stopkey console. Original restor- leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. $30,000. Organ Clearing House, Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. 617/688-9290, [email protected]. www.columbiaorgan.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2019 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Trinity College Cambridge (September 2019)

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

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