THE DIAPASON FEBRUARY, 2011
St. Andrew’s Sanford, Florida Cover feature on pages 26–27
Feb 2011 Cover_A.indd 1 1/14/11 12:24:48 PM Feb 2011 pp. 2-18.indd 2 1/13/11 9:06:20 AM THE DIAPASON Here & There A Scranton Gillette Publication One Hundred Second Year: No. 2, Whole No. 1215 FEBRUARY, 2011 First Church, Boston, continues its 4/8, Parker Kitterman; 4/20, the Offi ce of Established in 1909 ISSN 0012-2378 series of harpsichord recitals, Thursdays, Tenebrae; 4/29, Andrew Sheranian; May An International Monthly Devoted to the Organ, 12:15–12:45 pm: February 3, Christa Ra- 15, Choral Evensong for Easter; 5/20, the Harpsichord, Carillon, and Church Music kich; 2/10, Bálint Karosi; 2/17, Jean Rife; Alistair Nelson. For information: 2/24, Leon Schelhase; March 3, Jory Vi-
changes to THE DIAPASON, 3030 W. Salt THE DIAPASON accepts no responsibility or liability Creek Lane, Suite 201, Arlington Heights, for the validity of information supplied by contributors, IL 60005. vendors, advertisers or advertising agencies. Joseph Henry, Emily Olson, Aaron Hirsch, Jenna Chaput, Julie Lueck, Phillip Radtke, and Brent Nolte No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for Students of Dean Billmeyer at the are, from left to right, students Joseph other courses or for the same course offered subsequently. University of Minnesota performed Henry, Emily Olson, Aaron Hirsch, Jen- in an organ showcase recital at the na Chaput, Julie Lueck, Phillip Radtke, University’s 1932 IV/108 Aeolian-Skin- and Brent Nolte. Information about ner organ in Northrop Memorial Au- the Northrop Auditorium organ can ditorium on November 23. Pictured in be found at
In this issue August 1992. We will update this infor- Among the offerings in this issue of mation on our website. The Diapason is a report on the 50th Conference on Organ Music at the Uni- Website and newsletters versity of Michigan, a description of the Do you visit The Diapason website? new solo division at National Presbyteri- Are you receiving our e-mail newslet- an Church, an update on the renovation ters? The newsletters are a free bonus of the Midmer-Losh organ at Boardwalk to Diapason subscribers. To sign up Hall in Atlantic City, and a report on the for the newsletters, go to
FEBRUARY, 2011 3
Feb 2011 pp. 2-18.indd 3 1/14/11 12:26:14 PM Nancianne Parrella, with violin, harp, The Sarah and Ernest Butler School iel Brewbaker, and Zachary Patten. For and cello. For information: 212/288- of Music, at the University of Texas at information: 212/330-7684; 2520;
Montréal Boys’ Choir Course
The 50th annual Montréal Boys’ celebration of the 50th anniversary of Choir Course took place August 1–8 the course. Other repertoire included at the Bishop’s College School, Lennox- several other past commissions for the ville, QC, Canada. The director of the course, including George—A Fable by course this year was Malcolm Archer, Alan Ridout (1992), the Montréal Service organist and master of the choir at Win- by Dan Locklair (2000), and the Preces Carolbeth True, Pat Eastman, Andrew Peters, Charlene Clark, Tammy Campbell chester College, UK. The fi nal services & Responses Lac MacDonald by Patrick were held at Christ Church Cathedral, Wedd (1993). The 51st annual course Second Presbyterian Church in no, and choir. Pictured left to right are Montréal. Music performed by the 69 will be directed by Simon Lole, and St. Louis presented an Aaron Copland some of the performers in the concert: boy/teen/adult participants from choirs will take place July 31–August 7, 2011. birthday concert on November 14. The pianists Carolbeth True and Pat East- across the United States and Canada in- For information:
4 THE DIAPASON
Feb 2011 pp. 2-18.indd 4 1/13/11 9:10:04 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Professor of Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Organ, Indiana University Montevideo, Uruguay Palm Beach, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Henry Fairs Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist/Lecturer Organist Dijon, France Spartanburg, South Carolina Frostburg, Maryland Gainesville, Florida London, England Birmingham, England
Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Tuscaloosa, Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Choral Conductor Organist/Pianist Organist Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana Helsinki, Finland Fort Worth, Texas Bergen, Norway New York, New York Champaign, Illinois
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Mark Quarmby Ann Marie Rigler Organist Organist/Lecturer Harpsichord & Organ Organist Organist/Teacher Organist/Lecturer Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa Sydney, Australia William Jewell College
Stephen Roberts Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Beth Zucchino Organist/Harpsichordist Organist/Harpsichordist Organist/Musicologist Organist Organists/Pianists organist/harpsichordist/pianist Danbury, Connecticut Spartanburg, South Carolina Speyer, Germany Charleroi, Belgium Edmonton, AB, Canada Sebastopol, California www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Feb 2011 pp. 2-18.indd 5 1/13/11 9:11:42 AM music of Jehan Alain will be presented from Carolyn Weekley in memory of by Désiré N’Kaoua and students from her mother, Catherine Minor Weekley the Regional Conservatory “Claude De- (1920–2009). Its 2009 text, by poet and bussy” on Sunday morning. retired Virginia Commonwealth Univer- Special events include the presenta- sity instructor Angier Brock, was com- tion of a new book, Une famille de mu- missioned for this anthem. siciens au XXe siècle, les Alain, written by Other works on the program included Aurélie Decourt (published by Editions Locklair’s Jubilate Deo (for choir, organ, Hermann, 2011). Dr. Decourt received brass and percussion), Phoenix Fanfare her Ph.D. in musicology from the Uni- and Processional (for brass, organ and versity of Paris-Sorbonne in 1999 and is percussion), Sonata da Chiesa (for fl ute the author of numerous books and ar- and organ), movements from Rubrics for ticles on Alain family members as well as organ, and Constellations (A Concerto the famous Alain house organ. Her new for Percussion and Organ). For informa- article, “L’orientalisme et son dépasse- tion:
6 THE DIAPASON
Feb 2011 pp. 2-18.indd 6 1/13/11 9:13:19 AM Quantum console in loft
The Roman Catholic Church of Saint James the Greater CHARLES TOWN, WEST VIRGINIA The largest Catholic church building in the state of West Virginia has installed a Quantum™ Four-Manual/136 Stop instrument built by Allen Organ Company, Macungie, Pennsylvania. The Allen console is situated in the Choir Gallery in the west end of the 1,000-seat nave. It speaks from five different locations throughout the room. The main organ is fronted by two custom-designed pipe façades. A twelve-channel Antiphonal division supports cantors and soloists at the lectern, three hundred feet from the console. This division also supports congregational singing at large festival services. An eight-stop floating String Division speaks from an ingenious “shadow box” chamber atop the south transept entrance, producing a spine-tingling dimension of soft, ethereal voices. This comprehensive instrument was chosen by parish leaders to support an expansive and excellent music program that boasts eight vocal choirs and two handbell choirs. A Pastoral Associate for Liturgy and Music is assisted by five choir directors and a Sacred Music Intern. The Music Department offers a series of bi-monthly Abendmusik Concerts following Saturday evening Mass.
Nave viewed from loft
Web site: www.allenorgan.com E-mail: [email protected]
150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Ph: 610-966-2202 / Fax: 610-965-3098 from Pfeifer two compositions for brass with the Philadelphia Orchestra was standing ovation. Shortly thereafter, she and organ based on the hymns There Was planned but never materialized. gave a recital in Rochester, New York, a Nunc Dimittis Joy in Heaven and Praise to the Lord. Robert Plimpton is currently resident four-hour masterclass at Eastman School The festival was held at historic Christ organist of the First United Methodist of Music, and a recital in Atlanta. This Church Cathedral in Nassau, which has Church of San Diego and San Diego month she performs in Palos Verdes Es- Henry August “Hank” Elling died two Oberlinger organs from 1986. Civic Organist Emeritus. The 75 mem- tates, California, and in March she will October 10, 2010, in Catawba, North ber Grossmont Symphony Orchestra play solo organ recitals in Dortmund and Carolina, at the age of 85. He was mu- comprises music and non-music majors Berlin Philharmonic Halls. sic director and principal organist at and talented musicians from the com- On September 14, 2006 Ms. Rhodes St. Paul’s Lutheran Church and School munity. The complete program of works performed the fi rst full-length organ re- in Rockford, Illinois for 36 years. Born for organ and orchestra includes Widor, cital at the Kimmel Center, which was into a long line of Lutheran pastors, he “Allegro maestoso” from Symphonie recorded live. A few months ago this live fi rst played the organ at age 15, for his pour orgue et orchestre, op. 42bis; Mo- recording came out on the Delos label, sister’s wedding. Following service in the zart, Adagio and Rondo in C Minor, entitled Cherry Rhodes at the Kimmel Philippines in World War II, he earned K. 617; JanáĀek, Taras Bulba; Elmore, Center. The CD includes works by Bach, a bachelor’s degree in organ and piano Concerto for Organ and Orchestra in C Liszt, Mader, Mozart, Lidón, Guillou, from Augustana College, Rock Island, Minor (1938). For information: 619/297- and Still. For information: Illinois, a master’s from Wayne State 4366 ext. 112;
THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org
8 THE DIAPASON
Feb 2011 pp. 2-18.indd 8 1/14/11 12:26:37 PM 2. A pointed edition, or “Singing Here & There Version” of the text, also a paperback (G-7984, U.S. $11.95); 3. An online version at
providing engaging and sympathetic ac- DOBSON CASAVANT FRERES companiment to congregational singing. His approach caused one colleague to quip that Gilbert Mead always “played the words”. Mead served four churches in the Chicago area over a period of about 55 years: Judson Baptist Church in Oak Park (1950–1968), First Baptist Church of Elmhurst (1968–1973), Wheaton BOODY TAYLOR Bible Church (1973–1989), and Col- lege Church in Wheaton (1990–1996). He fi lled the dual role of organist- choirmaster at Judson Baptist and First Baptist Churches. At Judson Baptist, he oversaw a large rebuilding of the church’s original Estey organ (10 ranks) into a much larger 3-manual organ with Butter
31 ranks of new pipework from Aeolian- DYER R. Skinner (Opus 1466). He fi nished his church music career as organist for fi ve Doesn’t Claim years at the College Church in Whea- ton, where he served as consultant for the installation of the new 3-manual to Schantz (1992). Mead was well respected in the Chi- GARLAND FISK cago area for his conscientious work as Taste Like an organbuilder and restorer. His week- ends, apart from Moody Bible Institute and his church work, were fi lled with Margarine! service calls to dozens of Chicago-area FRITTS churches and colleges in tuning and in some rebuilding work. There are a handful of organs in the Chicago region bearing the nameplate “MEAD AND SONS, Elmhurst, Illinois.” His work in maintaining the historic Reuter organ at Moody Memorial Church was well on display when that organ was a fea-
tured instrument in the events held by GOULDING & WOOD the Romantic Organ Music Symposium in the summer of 1988. In preparation for a recital by Robert Glasgow when the weather had been extremely hot, and in an un-air-conditioned church, Mead managed to keep the organ in tune, to It’s not about fooling your ears. the delight of all. Gilbert Mead is survived by his wife of 59 years, Martha (Jennison), four sons: It’s about thrilling your soul! Stephen (Marjorie Lamp), Robert (Con- nie Blaschke), David (Brenda Simms), and Donald (Karen Sarasin); and a sister QUIMBY REDMAN SCHANTZ SCHOENSTEIN & Beverly (Mead) Todd. HENDRICKSON —Donald Mead To receive information about pipe organs and recognized pipe organ builders Andrew Seivewright, master of mu- sic at Carlisle Cathedral for more than AP write or call toll free 1-800-473-5270 30 years, died December 10, 2010, at or on the web @ www.apoba.com age 84. He served as cathedral master of PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America music from 1960 to 1991. He founded BO the Abbey Singers in 1962 and took the A P.O. Box 155 • Chicago Ridge, Illinois 60415 group on tours throughout Europe and
the USA. He was an established com- OTT PARSONS poser whose latest choral CD, If Winter Comes, was released last year. He was NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP also a pianist, organist and conductor.
FEBRUARY, 2011 9
Feb 2011 pp. 2-18.indd 9 1/14/11 12:27:11 PM fi nd his beginning teaching method of thedral interior. A devastating fi re broke Christ Church, Andover, Massachusetts; the action with carbon fi ber trackers, use. New sheet music offerings include out in early morning hours in an area Opus 138 (two manuals, 28 stops), First and a thorough cleaning. George Taylor, Ralph Kinder’s Idyll, with its echoes of adjacent to the cathedral nave, just days Presbyterian Church, Incheon, Ko- having studied with Rudolf von Becker- Edwin H. Lemare, Kinder’s teacher; before Christmas. In the years that fol- rea); and Opus 139 (three manuals, 53 ath and having recently completed the Pietro Yon’s Concert Study from 1913, lowed the fi re, the cathedral interior was stops), The Memorial Church, Harvard restoration of the Beckerath instrument Schubert’s Serenade (“Ständchen”), ar- restored. The cathedral’s famous Great University. The newest contract is for a of St. Paul Cathedral in Pittsburgh, will ranged by Edwin H. Lemare (a restora- Organ—originally dating from 1910— two-manual, 28-stop organ for St. Paul’s be the consultant for the project. Work tion of the 1896 original that includes all was restored by Quimby Pipe Organs Chapel on the high school campus of will begin in September 2011 and is of his trademark thumbing-down tech- of Warrensburg, Missouri. The restored Rikkyo Gakuin Educational Foundation scheduled for completion in the spring nique), and the 1919 tone poem Told by Great Organ was heard for worship again in Niiza, Japan. For information: of 2012. For information: the Camp Fire, by Hugo Goodwin, the in November 2008.
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
10 THE DIAPASON
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9LVLWRXUQHZZHEVLWH www.johannus.com overall thoughts about this Praeludium Example 1 On Teaching and the act of learning it. by Gavin Black Measures 60–72 The passage beginning in m. 60 is a contrapuntal section in three voices. It is noteworthy for several things. It is the fi rst section of the piece to have a tempo marking—Presto. Since this section im- mediately follows one that is essentially unmeasured, it is quite possible that the function of this tempo marking is more ther of these is at all likely to be the best Example 2 to make clear to the player that we are way to play the passage, of course. The back to measured and regular music than next step is to go through and fi gure out to suggest a specifi c speed. Of course, it what choice of hand actually works best does at least place the music in the realm for the middle voice as it goes along. This of “fast” rather than “slow”. This section will be different from one student to an- is in three voices, with the exception of other, based on existing fi ngering habits, a few beats where a fourth voice briefl y details of hand size and shape, and musi- appears. (Two of those beats are at mm. cal goals. Any student should be able to 65–66; the other two are part of the ca- work this out essentially for him- or her- Example 3 dential measure, m. 72.) The lowest of self, and it is a good exercise to do so. those voices has a compass that would Once the hand choices have been not have been playable on the pedal- worked out, since this is a contrapun- board of Buxtehude’s time. Therefore tal section, the player should practice it is almost certainly not a pedal line, the middle voice alone with the correct even though it would fall under the feet fi ngering, in order to make the transi- Buxtehude BuxWV 141 – Part 5 fairly well. Oddly, the lowest voice does tions from one hand to another seem as So far we have looked at the fi rst not go very low. Its lowest note is tenor smooth and natural as possible. This can three—or possibly four—of what might D-sharp, more than an octave above the supplement the usual practicing of indi- be seven or eight sections of the Bux- lowest note of the manual organ com- vidual voices and pairs of voices. Example 4 tehude Praeludium in E Major, BuxWV pass. Therefore the entire section has a (In the few beats where Buxtehude 141. (As I discussed in the column of “high” feeling to it. has violated the voice structure by add- June 2010, there are a number of differ- The section opens as shown in Exam- ing anomalous extra notes, it is fi ne to ent ways of counting sections, depend- ple 1. This could be read as the opening of fudge the voice practicing a bit—omit ing on choices about how to count brief a fugue exposition, with a measure-long the extra notes, or expand the voice that changes of texture at cadences and sev- subject in stretto with itself from the very you are playing to included, briefl y, two eral other such issues. Are mm. 47–50 beginning. However, as the section un- notes. As long as the student is aware of Example 5 their own section? This does not really folds, each of the two halves of this theme doing one of these things, it is fi ne.) matter when it comes to understanding (Examples 2 and 3) occurs more often An important compositional/aesthetic or learning the piece.) Several sections by itself than paired with the other half. point to notice in this section is that it remain, and, as with the three already (The whole theme occurs six times, one ends with an incomplete cadence. Ev- discussed, they display considerable or another half occurs separately sixteen erything that develops in mm. 71–72 contrast in texture—where that means times.) Furthermore, two other short points strongly to a C-sharp triad on the primarily the extent to which the texture themes are introduced, each of which oc- fi rst beat of m. 73. (It could be major or is or isn’t contrapuntal—rhythm, tempo, curs nine times (Examples 4 and 5). minor.) However, instead there is noth- it is a good idea to let this section take meter, and mood. Three sections—mm. These four short motifs, including the ing there. The timing and pacing of this as long as it can. That is, the slower and 60–72, 75–86, and 91 to the end—are quarter-note that ends each one, account non-cadence is important, in particular, freer it can be, the less perfunctory it will truly contrapuntal. The latter two are for by far most of the notes of this section. in setting up the next section. seem as a way station between the con- real fugues or fughettas, constructed It is this pattern of four short motifs each trapuntal mosaic discussed above and quite rigorously from their subjects; the recurring many times, not really coalesc- Measures 73–74 the fughetta discussed below. This is just fi rst could probably also be analyzed as a ing into “subject” and “countersubject”, This next “section” is short enough one thought, however; it certainly would fugue, but really comes across as a sort of which leads me to describe the section to earn quotation marks—only two not be a good idea to play it more slowly contrapuntal mosaic derived from very as a contrapuntal mosaic. Since for the measures (Example 6). This section is or more freely than seemed appropriate short motifs. performer the important point about this preceded and followed by contrapuntal for the passage on its own terms. But all The other measures—mm. 73–74 kind of analysis is to allow the mind and sections that are longer than it is, and else being equal, perhaps the more time and 87–90—are non-contrapuntal. This the ears to know without fail what is com- that are different from it in mood. That it occupies the more effective it will be. does not mean that they fail to follow ing up next in the piece, the act of going is, they are—though also quite different The elements of this short passage are the normal rules of voice-leading when through the score and highlighting each from each other—both marked by strong drawn from other sections of the work. there is more than one note sounding. It of the motifs is probably worthwhile. rhythmic motion and a regular pulse. The student should examine the notes means that they are not essentially con- This section is marked con discrezione, of the solo opening measure for motivic structed through the impulses and im- Hand choices which would strongly suggest free, per- connections to the previous section, and peratives of imitative counterpoint, and Since the lowest of the three voices is haps even unmeasured, rhythm, even if the notes of m. 74 for connections to that the listener’s ears will not respond quite high in compass, it is not surprising the overall nature of the writing did not earlier part of the work, in particular the to them primarily by following an inter- that the middle voice can fi t—almost ev- already suggest that. The combination trillo longo section. It becomes apparent action between independent melodies. ery note of it—at least reasonably well in of the shortness of this section with the that none of this is fi ller or cadential ma- The fi rst of these sections, mm. 73 and either hand. Therefore, this a good pas- importance of the contrast that it offers terial. (I should admit that I myself did 74, resembles the trillo longo section sage for a student to use in practicing the to the sections around it suggests some- not notice the relationship between the discussed at length in the November art of making hand choices—something thing to me that might seem a little bit melodic shapes in m. 73 and the material 2010 column. The passage in mm. 87– that was discussed at some length in last simplistic but that I think is valid, namely in mm. 60–72 until I had been studying 90 is a texture new to the piece, some- month’s column, though in the context that within the bounds of what can work, the piece for quite a few years. There thing like a four-voice chorale, though of a very different piece. Here it is pos- not with the aesthetic of any chorale sible for the student to play the lower Example 6 meant to be sung. two voices all the way through in just the In this month’s column I will talk left hand—omitting just a few notes of about all but the last of the remaining the middle voice, in m. 67 for example. sections. That section, mm. 90 to the Then it is also possible to play the upper end, will be the subject of next month’s two voices in the right hand, again being column, which will also include some required to omit only a few notes. Nei-
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12 THE DIAPASON
Feb 2011 pp. 2-18.indd 12 1/13/11 9:20:42 AM &YBNQMF &YBNQMF
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&YBNQMF m. 89.) It is in principle fine to ornament are probably details of the construction all of the notes, or none of the notes or of this extremely well thought-out work anything in between. The important that I have not noticed yet. Students thing is for the student to try things out, The first Swell boxes were pretty should be encouraged to undertake as and react and think. simple affairs made of light wood with a much detective work as they like, pick- This month’s discussion ends in the few shutters in front that were operated ing apart themes and scanning the whole middle of a cadence, since the unre- by a lever near the floor. You could push piece for connections.) solved final note of m. 90 is resolved the lever down and a little sideways with Since the pedal note that enters in m. by the first note of the fugue subject of your foot to latch it open, you could let it 74 does not change anything about the the final section. We will resolve this ca- slam closed, or you hold it halfway open, harmony or anything significant about dence and discuss the rest of the piece calf muscles a-trembling. Rigs like this the counterpoint, it is perhaps there for next month. ■ are found on very old English organs, emphasis. It makes more emphatic the and there are quite a few nineteenth- negation or contradiction of two things: Gavin Black is Director of the Princeton century American organs that still have first, the B-sharp that has prevailed since Early Keyboard Center in Princeton, New expression boxes like that. In 1996 I re- m. 71; second, the high tessitura of the Jersey. In the spring of 2011, he will be play- stored an organ built by E. & G.G. Hook ing recitals around the Northeast. Details section that has just ended. and contact information can be found at in 1868 that had a “ratchet” Swell pedal. that harmony quite clearly. This passage
Since the previous section ended with a + convincing and well-heralded cadence in B-major, the opening harmony of this ! , section is another instance of abrupt contradiction. The first note in the pedal sounds like it is inviting a continuation !"#$%& of the same harmonic scheme; when the chord is filled out in the hands it negates
'$"3: forgotten to leave the Swell pedal open, both deaden and refl ect the sound of come in contact with one another usually motors were installed in thousands of don’t worry about it too much! the organ. Deaden—so when the shut- have heavy felt or some other soft mate- Skinner and Aeolian-Skinner organs and If you get halfway home and wonder ters are closed there’s no resonance go- rial glued to them so they close quietly in my opinion set the standard for elec- if you’ve left the blower running, then ing on. Refl ect— so no sound is lost or and tightly. Some builders make shutters tro-pneumatic pipe organ expression. you’d better go back to the church. absorbed by the interior surfaces. In out of metal and we’ve even seen them There are several suppliers to the pipe And by the way, in most electro-pneu- other words, the sound should be ef- made of glass and Plexiglas. Just like the organ industry that have developed and matic organs, the shutters are held open fectively contained when the shutters walls of the expression chamber, the best market all-electric expression motors. by springs, so when the organ is turned are closed and when the shutters are shutters are massive and shaped and fi t The best of these use the powerful, com- off the shutters open, no matter what po- open the sound should be propelled out so they close really tight. The more mas- pact, and quiet electric motors devel- sition the pedal was left in. through them. sive, the more they contain the sound of oped for wheelchairs. They are equipped § Organbuilders have experimented the organ. with solid-state controls that translate with all sorts of construction styles. The The shutters are mounted in frames— the contacts on the console expression During the Great Revival of classic simplest is heavy soft wood. Use two- we call them expression frames. Some- pedal into stages of expression. The or- styles of organbuilding in the second half inch-thick pine for the walls and you’re times the shutters are vertical, sometimes ganbuilder can adjust them for different of the twentieth century, many of us got doing pretty well. Try two one-inch- horizontal. As I said earlier, it’s easiest to distances of travel and adjust the amount used to playing organs that had no ex- panels with an airspace between. Just as build a balanced mechanical expression of travel and the speed of each stage sep- pression enclosures. Twenty years into massive, but the airspace cuts down the action if the shutters are vertical—that arately. So, for example, you can make that movement, shutters started fi nding transmission of vibration. How about fi ll way there’s no effect of gravity on the the fi rst step from fully closed be fast on their way back into organs, and today new the airspace with sawdust? That works weight of the shutters. All you have to opening (so it responds instantly) and organs are built with very sophisticated great—the sawdust really absorbs sound balance is the action itself. slow on closing (so it doesn’t slam shut). collections of expression chambers in- so the box is most effective when closed. Shutters are mounted in the expression Mr. Skinner handled this by using a small cluding double expressions—those fancy But it’s a real drag when you’re surprised frames with some kind of rotary bearing exhaust valve for the fi rst stage, which divisions in which an expression box that by fi fteen cubic feet of sawdust pouring to allow the shutters to pivot. Most often choked its speed, keeping the shutters encloses ten stops might also enclose an- out by accident when you’re dismantling you fi nd a strong steel pin (axle) that piv- from slamming. other expression box with fi ve or six stops. an organ. ots in a hole drilled in hard wood. The It’s mighty effective when either very There’s a material called MDF (maxi- holes and pins are greased, and if the A rose by any other name powerful voices (Tuba) or very soft voices mum density fi berboard). It is manufac- shutters are vertical, the bottom bearing You’ll notice that I’m saying expres- (Unda Maris) are double-enclosed. The tured in 4′ x 8′ sheets like plywood. It’s is fi gured out so as to keep the shutter sion box, pedal, or shutter rather than Tuba can start from nothing and Swell to made from a sophisticated recipe, but it high enough that it doesn’t rub against Swell box. It’s true that most organs with a roar, and the Unda Maris can start from can be described simply as sawdust and the wooden frame. In fact, those bot- expression are two-manual organs, and a whisper and vanish into thin air. glue cast into sheets. A sheet of three- tom bearings are often adjustable—if on a two-manual organ the expressive I often write about the organ as the quarter-inch plywood weighs about 65 the shutter settles and starts squeaking division is usually a Swell. But keeping most mechanical of instruments. (I’m pounds, heavy enough. But the same against the frame, you can raise it with a the language clean, I’d rather not put a glad that opinionated ignorant conduc- size sheet of MDF weighs 96 pounds. turn of a screw. Choir division in a Swell box—so expres- tor didn’t wade into this pond!) A large We have built a number of expression Some organbuilders go the extra mile sion is the word. organ, especially with electro-pneumatic boxes using double-thicknesses of MDF. and use commercial ball bearings for § action, can look like a mysterious me- It’s hard work because the stuff is so mounting expression shutters. chanical monster inside. It’s no wonder heavy, and because it’s so dense it’s hard It’s also ideal for the shutters to be eas- In a large organ, the shutters of one that the sexton of your church mistakes to cut—it burns up saw blades like kin- ily removable. In many organs it’s neces- division might collectively weigh close to it for a furnace room and piles it full of dling wood. But it sure makes an effec- sary to remove shutters in order to tune, a ton. It takes a lot of thought and skilled folding chairs. (You shouldn’t be storing tive tonal enclosure. but you also want to be able to remove a engineering to get that amount of stuff chairs in the furnace room either.) My fi rst work in organbuilding shops shutter that has warped and needs to be to move quickly and silently in response The organbuilder is forever chal- focused mostly on classic-style mechani- planed straight. to the artistic twitch of an organist’s an- lenged by the confl ict between the or- cal-action organs. It was from that bias kle. But when an expression chamber is gan’s mechanical identity and its artistic I heard or read that E. M. Skinner had And something to drive it working well, it can produce breathtak- purpose. If the music is interrupted by built cement swell boxes. Cement swell Some pneumatic expression systems ing effects. As familiar as I am with all too much mechanical noise, the effect boxes? How decadent. What I pictured feature an individual pneumatic to op- that gear, I love to think of that big mass is diminished. was the newly poured foundation of a erate each shutter. Each contact on the of stuff on the move when I’m sitting in The expression shutters can be the house with rebar (steel reinforcement expression pedal opens one shutter. the pews listening to an organ. It’s dif- biggest culprit. Who among us has not bars) sticking up out of it. How could that (Most Möller organs work that way.) But fi cult to express. ■ sat through a recital or a worship service be musical? But when I fi nally worked on it’s more common for the shutters to be marred by a squeaking Swell shutter? I an organ that had such a thing I realized linked together by an action that is in once attended a choral concert in a con- that my youthful and ignorant bias was turn operated by a single machine. The servatory concert hall in which several exactly that—a youthful and ignorant machines can be electro-pneumatic or Music for voices pieces were accompanied on the organ. bias. In fact, the “cement” swell box has all-electric. But what you’re looking for The Swell shutters were exposed as part a structure of studs and joists something is a combination of expression machine, and organ of the façade, they squeaked, and the like normal wood-frame construction linkage, and shutters that have a large by James McCray organist had an annoying habit of beat- with heavy plaster surfaces, and a fi nish enough travel so the shutters can close ing time with the Swell pedal. Flap-fl ap- coat of Keene’s Cement, which is an an- tight and open really wide, move silently fl ap, squeak-squeak-squeak was all we hydrous calcined gypsum mixed with an when operated either fast or slow, and Holy Week: Palm Sunday, Good could hear. accelerator used as a hard fi nish, or more that have plenty of gradation between Friday, and Easter I’ve made lots of service calls to cor- to the point, hard plaster. The heavy stages so that the range of expression rect squeaking shutters. Often enough a structure of the walls and ceiling deaden seems infi nite. When Jesus died that appallingly har- little squirt of oil or silicone is all that’s the sound and the Keene’s Cement sur- Most electro-pneumatic or electric rowing death, his life seemed to have ter- minated in complete failure and disaster; needed—that’ll be $200 for the travel face refl ects it—the best of both worlds. expression machines have eight stages. the world’s opinion of the event, instead, and time and four cents for the squirt. The expression chambers of the mighty It’s generally agreed that for most organs proved to be strangely different, providing § Skinner/Aeolian-Skinner organ at the eight-stage expression are suffi cient. I the greatest paradox in all history. Cathedral of St. John the Divine in New think it was Ernest Skinner who built the Jesus: An Historian’s Review For the organist, the ideal expression York are built as free-standing rooms in fi rst sixteen-stage machines. (Dear read- of the Gospels shutters can silence the division when the huge spaces some 90 feet up above er, if you know otherwise please share Michael Grant closed and allow it to roar when open. both sides of the chancel. The walls are it.) Those machines are elegant, fast, They can open or close in a nano-sec- thick and heavy, and the surfaces are fi n- and powerful. Dividing the travel of the Holy Week, the last week in Lent, is a ond, and if you operate the pedal slowly ished with Keene’s Cement, and those console expression machine into sixteen roller coaster of emotions in the church, they provide infi nite gradation of volume powerful reeds sure go quiet when the stages really gives a smooth operation. and, therefore, the choral music appro- —no jerking from one stage to the next. shutters are closed. Mr. Skinner called his expression mo- priate to worship services during these OK, we’ll see what we can do. tors Whiffl e-trees. The term Whiffl e- days requires a wide variety of texts and In order to achieve really effective ex- I shudder to think tree was originally used to describe the musical styles. In some churches Palm pression, the box and its shutters must What about the shutters? Just like the system of harnesses and reins that tied Sunday features the reading or singing be massive. If you build a Swell box and boxes, there are lots of ways to build ex- a team of horses together, allowing the of the Passion story; in others the joyful shutters out of three-quarter-inch-thick pression shutters. They are usually made weight of the load to be distributed be- musical shouts of “Hosanna” dominate wood, you’re building more of a sound- of wood, ideally an inch-and-a-half thick tween the horses according to their in- the service. Later in the week, Good Fri- board than an enclosure. or more. The edges are usually beveled dividual strength. Mr. Skinner used that day and Easter services have contrasting Let’s start with the fabric of the box. so they effectively overlap when closed. principal to harness a row of pneumatic moods, so even more diversity is needed. The walls and ceiling of the box should The edges of the shutters where they motors together so that each motor (or Eventually, the week ends in a spirit of stage of the machine) contributes to the triumphant radiance. motion of the shutters and collectively Other emotional celebrations of the they equal the total motion of the ma- week include Holy (or Maundy) Thurs- chine. Skinner’s Whiffl e-tree expression day, which commemorates the washing
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14 THE DIAPASON
Feb 2011 pp. 2-18.indd 14 1/13/11 9:23:25 AM of the feet of the disciples. The appro- rales in lower keys. This will be a useful it is capable of accommodating a surpris- priate fi rst antiphon of this ceremony, addition to any choral library and is high- New Recordings ingly diverse repertoire extremely well. mandatum novum (new commandment), ly recommended as a pragmatic way to One of the foremost of the younger gives the name Maundy Thursday. Holy bring the congregation the Passion story generation of organ recitalists, Stephen Saturday is a commemoration of the day and still involve the choir. Stephen Tharp plays St. Bavo, Haar- Tharp is perhaps best known for his re- when Jesus was in the tomb before the lem. Stephen Tharp, organ. JAV cordings of Ernest M. Skinner organs on resurrection. In American churches that O Come and Mourn with Me Awhile, Recordings compact disc JAV 178, the JAV Recordings label. More recently, day receives little commemoration; it is Mark Sedio. SATB unaccompanied, $25.00;
FEBRUARY, 2011 15
Feb 2011 pp. 2-18.indd 15 1/13/11 9:24:15 AM “eerie” sections of the piece, imitative as from 1981. He was national president of der” program was whetted by Atkinson’s trainer of the “Quire” of choristers. He it is of ghostly “Will o’ the wisps,” and I the Royal Canadian College of Organ- and Cabena’s pieces, and would have served on probation for three years be- have to say that this is probably the most ists from 1976 to 1978. His retirement been more fully satisfi ed with additional fore his appointment was fi nalized, but successful performance of this composi- in Australia shows no slacking of produc- examples from that country. he impressed everyone there by his ex- tion that I have heard. It is perhaps less tive output however, as evidenced by this Program notes are informative, and pertise and lovable personality. One cho- surprising that Alain’s Variations sur un captivating introduction to organs of the the recorded results are clear and lively. rister later wrote a moving testimonial thème de Clément Jannequin comes off Melbourne region of that country, heard For information and stoplists of all the that presages Stainer’s future develop- well of the Bavokerk organ, since it is through a variety of works. organs, the listener is referred to the ment as a popular and successful musi- not so far in conception from the Gon- Founded in 1977, the Organ Histori- website of the Organ Historical Trust of cian/teacher: “Directly we choristers zalez style of “Néo-classique” instrument cal Trust of Australia is committed to the Australia:
16 THE DIAPASON
Feb 2011 pp. 2-18.indd 16 1/14/11 12:28:17 PM and enduring. In debates over the choice universal esteem, he “sought to give verse if you wish and ignore the rest. The For the hymn Erhalt uns, Herr, com- of appropriate music, new and old, and music in Oxford a prominence, status, organist can pick and choose and use poser Stephen P. Folkemer has given what constitutes “old,” Stainer promul- and respect which it had hitherto never what is applicable in his or her own situ- us a wonderful introduction, but the gated a test for evaluating church music: enjoyed.” He gave public lectures on ation. I intend to use some of the settings hymn accompaniment is a toccata with “What makes church music good or bad? Handel (Messiah), Mendelssohn (Elijah, as an offertory or communion meditation the tune in the pedals. I know that with What criterion can we apply to it which St. Paul), Mozart (Requiem), Palestrina when the hymn is being sung elsewhere my congregation, this particular setting will enable us to gauge its value? This (Mass), Purcell (Te Deum), and the in the service. There is wide latitude in would only confuse them. I can just vi- is the test, the only test. It must edify.” genres of hymn, carol, and song. He or- how one chooses to use the music. sualize them turning around in their This rather rules out complex polyphony ganized Christmas carols into categories, All of the hymns are treated in this seats and wondering “What in the world that can obscure text. New bells were or- offering his publisher Novello two collec- same manner, with some variations in the is he doing now?” There are a number dered for St. Paul’s, including the largest tions of carols that he edited. Caught up number of introductions or accompani- of settings that will, I think, prove to be bell in Britain, “Great Paul,” sounding E- in the Bach Revival, he venerated Bach’s ments. The volume also has quite a wide diffi cult for a non-musical congregation fl at and weighing nearly 17 tons, beside music, was involved in the Bach Choir, variety of hymns from the older favor- to sing. You will need to make your own which “Big Ben” sinks into comparative performed Bach on his public organ re- ites such as Azmon, Crucifer, Hamburg, judgments based on your own congrega- insignifi cance. Stainer earned a wide citals, and conducted the St. Matthew King’s Weston, Lobe den Herren, and tion, but I think I shall use this setting as reputation for authority in campanology Passion at St. Paul’s each year. Ein feste Burg. Newer hymns—Earth a postlude! as in other church music matters. Dibble closes the book with the state- and All Stars, On Eagle’s Wings, and We In all, this volume is a great and unique The problem of Stainer’s eyesight ment that Stainer was “the epitome of the Are Marching in the Light of God—also addition to the literature of hymn set- arises in the St. Paul period. Contrary to Victorian composer,” demanding criti- make an appearance. Gospel tunes are tings and would be a valuable addition to the erroneous entry in The Harvard Bio- cal reappraisal: “his contribution to the also represented—such as Deep River, any church organists bookshelf! You can graphical Dictionary of Music, Stainer larger fabric of British music—Anglican Precious Lord, and When Peace Like a always put something over the cover. was not “blinded in one eye by an acci- cathedral and parish church, the hymn, River—and are luscious in their chro- dent as a child.” In 1875 at age 35, while Christmas carol, education, the science matic gospel harmonies. Amazing Grace—Three American playing tennis at Tenbury, a ball struck of bells, musicology and the nation’s I cannot begin to name them all, but Hymns, by Trey Clegg. MorningStar his good eye. His other eye had a con- musical institutions—was substantial there are many hymns in each category, Music Publishers, MSM-10-588, dition we would call “lazy eye,” and was and lasting. Moreover, in an age where including some that, in all my years of $13.00. sluggish in movement but hardly blind. anti-Victorian prejudices are themselves playing, are new to me. The moods are This is an eminently usable volume for His later struggles with eyesight prob- now completely outdated, the range and many and varied; the writing clean and the church organist. I decided shortly af- lems may have derived from the poor gas beauty of Stainer’s achievements require approachable, and for the most part, ter receiving the music to use the setting lamps in St. Paul’s organ loft. The Har- more urgent revisiting to appreciate of medium diffi culty. Having said that, of Amazing Grace in church. Although vard entry further improperly describes their individuality, sincerity and germane I must add that the music has many the music begins and ends softly, I decid- “The Story of the Cross” as an oratorio, role.” Prof. Dibble makes a convincing tricky places. Diffi cult passages must be ed to play it as a postlude since it builds which it is not (a narrative in hymns in- case in a most beautiful, authoritative, worked out beforehand in order to make up to full organ in the center. My congre- terspersed with organ “meditations”). and interesting book. A complete and the transitions smooth for congregation- gation stays seated for the postlude, so In 1878 the Three Choirs Festival com- well-organized list of Stainer’s works al singing. This is not music to be thrown this is a possibility that some other con- missioned Stainer to write for them a forms a valuable appendix, which runs to on the music rack at the last minute. gregations may not grant their organist. sacred cantata, The Daughter of Jairus, 26 pages. The music was written by twenty-six However, this setting would work just as performed as part of the fi nal festival ser- —John M. Bullard, Ph.D. contemporary composers—Trey Clegg, nicely as a prelude. vice, with young Edward Elgar playing Spartanburg, South Carolina Emily Maxson Porter, Janet Linker, and The tune enters softly in the beginning second violin. “Awake, Thou That Sleep- Paul Manz are among the better known. with one part, and as the verse progress- est” from that work became enormously Interestingly enough, the names of the es more parts are added until it reaches popular. Dibble provides thorough criti- composers are not included with each four and fi ve parts. With a slight change cal analysis of every important musi- New Organ Music selection. If you are interested, they are of registration, the melody fl ows right cal composition of Stainer’s, revealing listed in the back of the book, along with into a second verse—two and three parts a mastery of technique and skill largely the page numbers of their compositions. in the right hand over a walking eighth- unacknowledged today. Pull Out the Stops! Congregational On the negative side, with all of this note bass in the left hand. With another The fi fth chapter focuses on the com- Song Accompaniments for Organ, music on each hymn, there are the in- slight increase in registration and no position of his most famous and perhaps Volume 2. Augsburg Fortress, item evitable page turns. Some of them come change in texture, the melody turns into fi nest work, The Crucifi xion, a Medita- no. 9780800677688, ISBN 0-8006- right in the middle of an accompani- a minor mode rendition, which gives an tion on the Sacred Passion of the Holy 7768-4, $35.00; 800/328-4648, mental verse and are impossible without interesting fl avor to the tune. This verse, Redeemer, 1887. The oratorio was fi rst
FEBRUARY, 2011 17
Feb 2011 pp. 2-18.indd 17 1/14/11 12:28:32 PM while transposing from G major to A-fl at major. Then, with full organ, the melody appears in the soprano line against the massive triplet chords. Gradually near Squirrel Island completes fi rst summer the end of the verse the volume backs off, returning, at last, to a very soft end- ing marked ppp. organ resident program George Bozeman This music is an effective setting of a very popular American tune. My only negative feeling was that, after I had pro- grammed it, I realized that it reminded The Community Chapel on Squirrel me of a Billy Graham Crusade. After Island, Maine, has completed its fi rst playing it, however, I discovered that my summer organ resident program. The congregation loved it! island has approximately 100 summer I decided to play the other two pieces residences, whose families arrive at the in the volume in church as well. Deep beginning of each summer by ferry from River is another very effective setting that Boothbay Harbor. Many families are also begins and ends softly, with a mighty now in the sixth generation of Squirrel crescendo in the middle. Large chords, Island residency. In addition to a town in some places almost impossibly large hall, tea shop, post offi ce, and a wonder- chords, are set in traditional gospel har- ful library, a central focus of the island monies; the melody appears in the pedal. community is the chapel, which was built The tune shifts to the soprano with mov- in 1882. ing eighth notes. This gets gradually loud- In 1976 a new organ was installed in er in the latter half of the verse, switching the chapel, replacing an electronic in- to a syncopated rhythm. The climax of the strument that had begun to succumb to verse is marked fff, but it lasts only a mea- the effects of moist salt air. The new in- sure and a half before settling back into a strument was Opus 12 of the Bozeman- gentle and softer conclusion. Gibson & Company fi rm, then located in The fi nal setting in the volume is a Lowell, Massachusetts. Before installa- very interesting arrangement of Come, tion on the island, the organ was briefl y Thou Fount of Every Blessing. Very soft erected at Holy Cross Cathedral in Bos- black-note glissandos, with both hands ton, where it was heard by some 2,000 going in opposite directions, begin the attendees of the 1976 Boston AGO con- Tim Pyper piece; the tune appears on a 2Ļ stop in vention in a performance of the Chan- the pedal line. The pedal repeats the dos Anthems and an organ concerto of tune again, but this time against mov- Handel, with the Handel & Haydn Soci- ing chords, syncopated and building in ety Chorus and Orchestra conducted by volume. A short transition brings us to a Thomas Dunn, and Barbara Bruns play- lively toccata, with the pedal playing the ing the organ. tune, now in octaves. The toccata ends When the organ was installed on the piece and is marked ffff. I don’t think Squirrel Island in 1976, there were four my organ even plays that loud! Also, be- organists who summered with their fam- cause my pedalboard does not go high ilies on the island: Elizabeth (“Cheeky”) enough, I could not play the fi nal melody Draper, Jeremiah Newbury, George in octaves, but even so it was very effec- Spaeth, and Andy Dupree. Through the tive. I’m not sure why the pedal is dou- years this roster has dwindled; only Jerry bled here as the lower part alone is eas- Newbury and George Spaeth are still ily heard and can be made much more playing on occasion. In recent years, a legato without the doubling. professional organist from the mainland All three settings are easily service- was hired for some Sunday worship ser- able for church. The harmonies are vices, and there have been a number of within an acceptable range and the guest organists. The chapel has a tradi- spiky harmonies always occur at mo- tion of supplying the pulpit with a differ- ments of climax. My only complaint ent guest preacher each Sunday. There is about the music is that often the chords no resident pastor; the services are non- have so many unnecessary doublings denominational. There has usually been that the music is harder to play than it a solo organ recital each summer select- should be. In all, this is a great addition ed from a roster of well-known organists. to your library. But last year the idea of inviting bids Jay Zoller from musicians who could spend much Newcastle, Maine of the summer on the island, playing for Gerald Wawrzyek, Justyna Jara, Ingrid Capparelli Gerling, Nathan Haley, Tim Pyper Sunday services, organizing a choir, and presenting some concerts, was put into Hailing from Toronto, Pyper is cur- elsewhere. He began in September 2010 Visit our website action. Notices were sent to the appro- rently completing a doctorate at Cornell as interim director of music at the Cathe- priate organ journals, and from a group University. He studied with David Higgs dral Church of the Redeemer in Calgary. www.TheDiapason.com of applicants Tim Pyper was chosen for at the Eastman School of Music, and also For the Calgary Organ Festival and Sym- the initial summer of 2010. with well-known teachers in Toronto and posium, Pyper performed 20th-century British organ music on September 30. In addition to playing for Sunday services and directing a choir, Pyper ar- ranged for three performances. On July Log On and take the tour! 22 he played a solo recital of organ music by Buxtehude, Frescobaldi, and Pachel- bel. On August 12, a solo recital was de- voted to works of Bach. A gala concert on ANNUAL AND ONE-TIME COPYRIGHT August 3 featured musicians who were attending the Bowdoin International PERMISSIONS WITH THE Music Festival in nearby Brunswick, Maine. Justyna Jara of Poland, 1st violin, CLICK OF A MOUSE Ingrid Capparelli Gerling of Brazil, 2nd violin, Gerald Wawrzyek of Chicago, vi- ola, and Nathan Haley of London, cello, performed the Allegro from Schubert’s “Death and the Maiden” quartet. Solo works for violin and for cello included music by J. S. Bach and Fritz Kreisler; and Etudes-Caprices by Henryk Wien- iawski featured a violin duet. The pro- gram ended with the Organ Concerto in A Major by Michel Corrette. A near- capacity audience made the chapel ring with enthusiastic applause. It was quite apparent that the Squir- rel Islanders were very pleased with the • EASY—online permission and reporting results of the fi rst summer of their organ • ECONOMICAL—based on average weekend attendance resident project. The organizers are look- • THOROUGH—your favorite songs ing forward to reviewing applicants for the summer of 2011. Notices are going • CONVENIENT—includes a growing list of publishers out soliciting applications this fall. Organ students interested in the 2011 Squirrel Island Organ Residency should contact Martha Mayo at
18 THE DIAPASON
Feb 2011 pp. 2-18.indd 18 1/14/11 12:28:52 PM The University of Michigan 50th Conference on Organ Music, October 3–6, 2010 Marijim Thoene, Lisa Byers
his year’s gathering marked the fi fti- terious and supernatural, apparent not Teth anniversary of the University of only in his music, but in his biography of Michigan Conference on Organ Music, Franck in 1931, and the naming of his directed by its creator, Marilyn Mason. two cottages “Tristan” and “Isolde”—his Organists from France, Germany, Po- Opus 53 bears those names. land, and the U.S. performed on the Bambauer pointed out that Tour- Aeolian-Skinner on the stage of Hill Au- nemire was recognized as a great impro- ditorium. The shimmering golden pipes viser, and Vierne described him as being of this organ made this year’s theme es- “impulsive, enthusiastic, erratic, and pecially appropriate: “Pure Gold: Music a born improviser.” Tournemire’s Five of Poland, France and Germany.” The Improvisations, recorded in 1930 at St. conference was dedicated to the memo- Clotilde and transcribed by his student, ries of Erven Thoma, a Michigan DMA Durufl é, are his most popular works. His graduate in church music, and William L’Orgue Mystique, fi fty-one liturgical Steinhoff, Professor Emeritus of English sets of fi ve pieces each, was composed at U-M and husband of Marilyn Mason. between 1927–1932 and is the Catho- lic counterpart to Bach’s Orgelbüchlein. Sunday, October 3 Bambauer explained that the fi rst edi- Frédéric Blanc, 43-year-old native Michael Barone, Margaret Mary Becker (granddaughter of René Becker), Julius tion of L’Orgue Mystique was dedicated of Angoulême, opened the conference Becker (son of René Becker), Dr. Sheila Becker (daughter-in-law of René Becker) to César Franck and states in the preface with a program of all-French music. He and Charles Echols that the performer is free to choose the introduced his program by saying that registration; however, in the second edi- Fauré, Ravel, and Debussy are never far tion Durufl é includes registration and away in nineteenth and twentieth-centu- manual changes. ry French organ music. Their infl uence Bambauer’s insightful analysis of Tour- was undeniable in the works Blanc per- nemire’s Triple Choral not only focused formed, a mix of well-known and loved on his compositional techniques—use of repertoire—Franck, Choral in A Minor imitation, paraphrase, and inversion— and Cantabile; Vierne, Carillon de West- but how and when Tournemire used the minster and Méditation Improvisée (re- same harmonic vocabulary as Franck. constructed by Durufl é), repertoire that Bambauer illustrated the meticulous is occasionally heard—Prelude in E-fl at craftsmanship in this early work of Tour- Minor (from Suite, op. 5) by Durufl é and nemire based on his newly created cho- Allegro (from Symphony VI) by Widor, rals entitled “The Father,” “The Son,” and repertoire that is rarely heard—In- and “The Holy Spirit,” and discussed troduction et Aria by Jean-Jacques Gru- Martin Bambauer and Frédéric Blanc how the prose with which Tournemire enwald, Toccata (from Le Tombeau de prefaced each choral was mirrored in Titelouze, on Placare Christe Servulis) was a bit of fresh air, conjuring up all the music. Tournemire’s prose offers a by Dupré, and Prelude (from the suite sorts of secular venues, from a stripper’s poignant testimony of his profound faith Pélleas et Mélisande) by Debussy, tran- stage to a cocktail lounge. and allows the listener to participate in scribed by Durufl é. Tournemire’s personal vision. Blanc’s technique is formidable and Frédéric Blanc Tuesday, October 5 Bambauer commented that the high- his choice of registration was both poetic On Tuesday, Martin Bambauer began light of the piece occurs at the end as the and daring; however, his playing became who taught him how to improvise, he his lecture, “Tournemire’s Triple Choral,” three chorals softly merge together. Bam- more impassioned and inspired in his answered: “I wasn’t. I listened to Ma- by saying that it was Tournemire’s fi rst bauer treated us to another performance improvisation—a Triptych Symphony dame Durufl é, Pierre Cochereau, Jean major organ work, and he had learned it of Tournemire’s Triple Choral and “the based on three submitted themes: Jesu, Langlais, and to recordings of Tour- in a week (!) and played it for the fourth knowing made all the difference.” Joy of Man’s Desiring, Hail to the Chief, nemire. Nobody can give you the gift. If time in public yesterday, and that it was Tuesday evening James Kibbie, and Somewhere Over the Rainbow. His you are not given the gift you will never not a very popular piece. Truly, I would Professor of Organ at U-M, presented imagination and creativity were dazzling be able to improvise a symphony . . . I have thought he had been playing the a stunning memorized recital. He has a as he altered rhythms and keys of the heard Cochereau at Notre Dame and it piece for years. This early work of Tour- special affi nity for the music of Marcel submitted themes, seamlessly moved was like magic, like being pierced by a nemire is introspective and cerebral, Dupré, Jehan Alain, Dan Locklair, and from dark and somber to warm and bril- sword, raised to heaven. He was at one and at the same time hints at the other- Jirí Ropek. He played Dupré’s Prelude liant colors, from pensive to ebullient with the organ.” worldliness that would characterize his and Fugue in B Major, op. 7, no. 1, with moods, and ending with a bombastic When asked about the state of organ later work. Bambauer mentioned that conviction and assurance. The pleasure pedal toccata. He delighted in making building in France today, Blanc lamented in 1896 the Liber Usualis became Tour- of hearing Alain’s rarely played Two the instrument hum, growl, and break that there are no organs in concert halls, nemire’s constant companion, and when Preludes was heightened by being able forth in glorious trumpeting. and the organist cannot be seen in the he became Franck’s successor at the to read the texts that accompany them. lofts in churches. He commented that Basilica of St. Clotilde in 1898 he only Kibbie’s sensitive interpretation made Monday, October 4 Cavaillé-Coll was a builder who turned improvised on chant in the services. He the images of the text take on a life of On Monday afternoon Frederic Blanc toward the future and restored his own thought sacred music was the only music their own. gave a lecture entitled “A Mind’s Eye.” organs for new music, especially those worthy of the name, and when Langlais Dan Locklair’s Voyage was another He spoke informally of how his life as organs in Notre Dame and Sacré Coeur. questioned him, asking what about the kind of tone poem, providing a journey a musician has been shaped and infl u- Blanc’s fi nal dictum concerning how to music of Debussy, Ravel, and Stravin- to fantasy lands fi lled with sounds of the enced by unique circumstances, his play French organ music: “After histori- sky, he said it didn’t matter! Bambauer ebb and fl ow of tides, jazz, bird song, teachers, and his views on improvisation. cism, it must be the music and what you recommended listening to Tournemire’s chimes, and billowing waves evoked by While he was a student at the Bordeaux have inside.” eight symphonies, among them Search hand glissandi. Kibbie managed to weave Conservatory, Xavier Durasse heard him Charles Echols, Professor Emeritus for the Holy Grail and Apocalypse of St. together these disparate elements into a play and persuaded him to come to Tou- of St. Cloud State University, lectured John. Tournemire was drawn to the mys- fabulous and entertaining voyage. louse, where he was then asked to be on “Observations on American Organ organist at St. Sernin. There he had all Music 1900–1950,” covering a large va- his nights to play the organ, and there he riety of topics: the movement of Ameri- met Jean-Louis Florentz, André Fleury, can composers to create “American” and Madame Durufl é. When she heard music; changes in musical style and or- him improvise, she said, “I will take you gan building between 1930–1950; ap- to Paris and I will make you work very proaches to researching organ music by hard.” He told how he was not prepared American composers; and an introduc- to play Dupré’s Variations on a Noël, one tion to the organ music of René Louis of the required pieces for the Chartres Becker, whose scores have been given to competition, and she told him he had to the University of Michigan by his family, be able to play it from memory in fi fteen who were present at the lecture. days or she would never see him again. On Monday evening Martin Bam- She was delighted when he came back in bauer, 40-year-old organist and choir- fi fteen days and played it from memory. master at the Konstantin Basilika in Tri- Blanc said that the most important thing er, played Dupré’s Poème héroïque, op. he learned from her was that “each piece 33; Tournemire’s Triple Choral, op. 41; has its own way to be played, you must Liszt’s Eglogue (from Années de Pèleri- express yourself, your sensitivity must nage), transcribed for organ by Bambau- fl ow through the music.” er; Karg-Elert’s Partita Retrospettiva, Blanc’s candid answers to questions op. 151; Iain Farrington’s Fiesta!, plus about his own improvisation left me his own improvisation. He played with feeling that here is a man whose life is great precision and refi nement. His per- charmed, who is fully conscious of the formance of Tournemire’s Triple Choral, rare gift he has been given, and is fully op. 41 was an Ann Arbor premiere. Far- committed to nurturing it. When asked rington’s four-movement work, Fiesta!,
FEBRUARY, 2011 19
Feb 2011 pp. 19-21.indd 19 1/13/11 9:27:44 AM It was a pleasure to hear Kibbie speak of his meeting Jirí Ropek when he won the Prague Organ Competition in 1979 and of his continuing friendship with this celebrated organist/composer who suf- fered greatly during the Communist op- pression. Kibbie related conversations he had had with Ropek that offered insight into his music. Of the three Ropek pieces on the program, Kibbie said that the Toc- cata and Fugue (dedicated to Kibbie) was the most complex and dissonant, and mir- rored in the work is Ropek’s philosophy: “Life is not only one melody, but many and dissonances, but in general I’m quite melodious. No frightening the audience.” To hear this account made Ropek’s Toc- cata and Fugue, fi lled with haunting and Andrew Lang aggressive motives, a kind of musical au- tobiography. Kibbie also explained the compositional process of Ropek’s Fantasy on Mozart’s Theme. In 1775 Mozart im- provised a work in a monastery, and only Michael Barone, Marilyn Mason, James Kibbie the fi rst 57 measures were written down. Ropek was asked to play it and he added a cadenza. He worked on it over the years and fi nally he attached his own music to Mozart’s original piece. It was one of the last things he wrote before he died and is dedicated to the students of James Kib- bie at the University of Michigan. It was published in 2009. Kibbie mentioned that he had just played Ropek’s Variations on “Victimae Paschali Laudes” in Prague the week before and made a recording for the ra- dio at the Basilica of St. James where Józef Kotowicz Ropek was organist for 35 years. This beautiful work has become a signature piece for Kibbie. Wednesday, October 6 Joseph Balistreri Five recitals were performed on Wednesday, an intense day of listening. The fi rst recital of the day was played by Andrew Lang on the Létourneau organ in the School of Public Health. Richard Newman Lang is a student of James Kibbie and commutes from Chapel Hill, North Car- olina. His program was well suited for the room and instrument: “The Primi- tives” and “Those Americans” (from Five Gale Kramer, Marilyn Mason, and Ar- Dances for Organ) by Calvin Hampton; thur Greene Dies sind die heiligen zehen Gebot, BWV 678, Fughetta super Dies sind die heili- God, Holy [and] Mighty, Holy [and] Im- gen zehen Gebot, BWV 679, and Prelude mortal, have mercy on us.” The hymn and Fugue in B Minor, BWV 544, by has inspired many composers. Bach. Lang played with verve and en- After hearing the performance of ergy; the contrapuntal lines were electric Surzynski’s Improvisation, it is easily un- with clarity and precision. derstood why he is the most revered Pol- The day’s second recital was played ish composer of organ music. The work at Hill Auditorium by Józef Kotowicz, began with a statement of the hymn, and who received his doctoral degree in 2001 six dramatic variations followed, with from the Music Academy in Warsaw. variations one and fi ve being the most He is active, playing recitals in music riveting. In variation one, thundering festivals throughout Europe, producing chords are played in the manuals while Susan De Kam a radio program devoted to organs of the cantus fi rmus is heard in the pedals. northeast Poland, recording on the or- In variation fi ve, a fi ery toccata is in the became a sort of microcosm of its own, gan in the Cathedral Basilica (Bialystok), manuals while the cantus fi rmus thun- glowing with its own unique beauty. His and teaching and serving as organist at ders in the pedals. program included three short Mazurkas Timothy Tikker St. Adalbertus Church. Two of the most Kotowicz’s performance of Lindblad’s (op. 67, no. 3; op. 24, no. 3; op. 24, no. 4), interesting pieces of his ambitious pro- Espanordica was electrifying. Each of the well-known Nocturne in E-fl at Ma- gram were works by Mieczyslaw Surzyn- the three movements—Rhapsodia, Noc- jor, op. 9, no. 2, Écossaise, op. 72, and ski (1886–1924), Improvisation on the turno, and Litanies—is built on Spanish four Ballades (op. 23, op. 38, op. 47, and Polish Sacred Song “Swiety Boze,” and dance motifs. Kotowicz told me that Ste- op. 52). Stefan Lindblad (b. 1958), Espanordica. fan Lindblad lives in Göteborg, Sweden. The 4 o’clock recital featured gradu- Kotowicz explained to me that “Swiety Lindblad has composed two large works ate students of James Kibbie and Mari- Boze” is a very popular hymn in Poland for organ, Hommages and Espanordica, lyn Mason. Each performer played with and is sung often during funeral services. which Kotowicz has performed in Ann such artistry, conviction, and joy. Their A translation of the fi rst line reads: “Holy Arbor. Both of these pieces have never discipline and dedication to their art was been printed and he is the only Polish obvious. Those performing from Kibbie’s organist who has the scores. He also studio included Joseph Balistreri (In commented, “It’s interesting that Lind- Organ, Chordis et Choro by Naji Ha- blad is almost completely unknown in kim); Susan De Kam (Partita sopra Sweden, so I feel like his promoter. I “Nun freut euch” by Lionel Rogg), and Louis Canter and Marilyn Mason know him personally because I often Richard Newman (Final from Sym- play in Sweden.” phony No. 5, op. 47, by Louis Vierne). he is to be thanked for advancing this In honor of Chopin’s 200th birth year, Mason’s students included Timothy Tik- composer’s work, which recalls the music Arthur Greene, Professor of Piano at ker (Pièce Héroïque by César Franck) of Mendelssohn. U-M, performed an all-Chopin recital. It and Louis Canter (Adagio, Fugue from Professor Marilyn Mason has been was truly a gift to hear such great artistry. The 94th Psalm by Julius Reubke). responsible for the organ conference at His program provided a rich and tan- The fi nal concert of the conference the University of Michigan, a “happen- talizing view of Chopin’s brilliant oeuvre. was played by Charles Echols. His en- ing” in Ann Arbor for 50 years. When I Greene drew sounds out of the piano tire program was devoted to the music asked her what inspired her to begin this like a magician—singing, soaring, lan- of René Louis Becker (1882–1956). In incredible conference she told me: “I be- gorous melodies, and thunderous, tu- his notes, Professor Echols described gan the conference for our students; my multuous chords. Greene is a master in Becker’s career as a musician in the Mid- then manager, Lillian Murtagh, urged knowing how to use his body in eliciting west, and commented that among the me to sponsor Anton Heiller, who had such sounds, and in controlling the exact many churches Becker served as organ- never played in Ann Arbor. Further, I re- timing of each key and creating suspense ist were Blessed Sacrament Cathedral alized since the students could not have through poignant pauses. The audience in Detroit and St. Alphonsus Church in a European experience there, we could was captivated by the huge gamut of Dearborn, Michigan. Echols also indi- provide it for them here: especially to emotions, from laughter to dark despair, cated those pieces that have been pub- hear organists who had not played in Ann that were portrayed in Greene’s memo- lished and those that are in manuscript Arbor. Some fi rsts in Ann Arbor were the rized recital. In his hands each piece form. Echols’s playing was fl awless, and Durufl és, Mlle Alain, Anton Heiller, and
20 THE DIAPASON
Feb 2011 pp. 19-21.indd 20 1/13/11 9:28:25 AM many more. This contact also provided a enjoyed opportunity for the conferees window of opportunity for the students, to participate in this rousing and exciting many of whom went on to study with the setting written by Scott M. Hyslop. Dr. Europeans after having met them here.” Johns received thanks for her expertise. This gathering together of world-class performers and teachers continues to VIII. Tuesday, October 5, 2:30 pm, nurture and inspire. We are indebted to lecture by Steven Ball, “Music of René Marilyn Mason for literally bringing the Becker” world to us. Dr. Ball gave a brief history of René Becker, son of Edouard, who was an Marijim Thoene received a D.M.A. in Or- organist at Chartres Cathedral. Born gan Performance/Church Music from the Uni- in 1882, Becker and his four siblings versity of Michigan in 1984. She is an active Janice and Bela Feher trained at Strasbourg’s Conserva- recitalist and director of music at St. John Lu- theran Church in Dundee, Michigan. Her two tory of Music. In 1904, Becker moved CDs, Mystics and Spirits and Wind Song are sic as described in his lecture title. He from France to St. Louis and taught available through Raven Recordings. She is a discussed Vierne’s life and provided in- piano, organ, and composition at the frequent presenter at medieval conferences on Jason Branham sight into the interpretation of his music Becker Conservatory of Music, which the topic of the image of the pipe organ in me- based on the tragedies and pain Vierne he formed with his brothers. He later dieval manuscripts. Aristide Cavaillé-Coll (son); and Mouch- suffered in the losses of his brother and taught at St. Louis University and Ken- erel. The photographs of the organs were son, coupled with the diffi culties Vierne dride Seminary. In 1912, Becker and his • enhanced by illustrations of their set- endured in his career, health, and home wife moved to Belleville, Illinois, where tings; highlights of the organs included life. Barone provided more than 20 re- he became organist at St. Peter and Paul These articles represent the ten ses- historical cases, consoles, and principal corded excerpts, with verbal descriptions Cathedral. It was at this time that son sions that I reviewed (each session is internal components. and information in an entertaining and Julius was born, the only living child of designated by roman numerals I–X). Organs of Bach Country traced the life interesting manner. Near the end of the René. Julius, a retired banker, presently I. Sunday, October 3, 4 pm, A Grand of Bach, with photographs of the places seven-page compilation, Barone listed lives in Birmingham, Michigan. Night for Singing, Hill Auditorium where he grew up, the churches where a disc summary of Vierne’s non-organ René Becker became the fi rst organ- This inaugural event was a multi-choir he worked, and the organs he designed repertoire. The audience appreciated ist of the newly built Blessed Sacra- extravaganza led by conductor and artis- and played, along with additional photo- Barone’s thorough work, sense of humor, ment Cathedral in Detroit in 1930; an tic director Professor Jerry Blackstone. graphic documentation of the organs of and sensitive presentation. AGO member, he helped to establish He was assisted by other U of M faculty Andreas and Gottfried Silbermann, and the Catholic Organists Guild, and with conductors, vocalists and instrumen- Arp Schnitger. VII. Tuesday, October 5, 1:30 pm, lec- his son founded the Palestrina Institute. talists. Six U of M student auditioned Organs of the Austro-Hungarian Em- ture/demonstration by Michele Johns, Becker retired in 1952 at the age of 70 groups participated, with approximately pire included pipe organs of Hungary “Organ ‘Plus’” from St. Alphonsus Church in Detroit. 650 students. Composers ranged from (Budapest, Esztergom, Tihany, Zirc), Dr. Johns began her lecture/demon- He left over 160 compositions for organ Monteverdi to Sondheim, fourteen in Austria (Vienna, Melk, St. Florian, and stration by sharing some down-to-earth when he died in 1956. Dr. Ball shared all, and many various ensembles, repre- Salzburg), and the Czech Republic tips when deciding to use the organ with some pictures of René Becker and in- senting a variety of musical genres. Each (Prague). Historic and modern organs other instruments in services and con- troduced Becker’s son Julius and his of the sixteen presentations, including were presented from a variety of church- certs. She discussed conducting from family to the conferees. It was a delight choirs, solos, opera, theater, and musi- es, cathedrals, abbeys, and concert halls. the organ, getting funding, how to pay to see Julius Becker (keeper of some of cals, was greatly appreciated by the audi- The photographs showed churches and performers, ways to obtain band and Becker’s compositions) in person. Steven ence, which rendered a standing ovation. organs associated with Mozart, Bruck- orchestra members, vocalists, planning Ball received a four-year grant to record ner, Haydn, and Liszt. The photographs rehearsals, and rehearsing. Her program René Becker’s compositions. ■ II. Monday, October 4, 10:30 am, dis- and information about these organs and featured three pieces written for organ, sertation recital by Jason Branham, at their sites will be available in the near two trumpets and two trombones, which Lisa Byers received master’s degrees in Moore Hall, the School of Music, on the future from the University of Michigan she conducted from the organ. In cel- music education and organ performance Marilyn Mason Organ built by Fisk Organ Department website. ebration of this 50th annual University from the University of Michigan, and a J.D. Branham’s recital featured Buxtehude’s The photographs described above of Michigan Conference on Organ Mu- from the University of Toledo, Ohio. She is retired from teaching music in the Jefferson Praeludium in E Major, BuxWV 141, and information are contained in several sic and in honor of the Organ Depart- Public Schools in Monroe, Michigan, as well Bach’s Liebster Jesu, wir sind heir, BWV books available through
FEBRUARY, 2011 21
Feb 2011 pp. 19-21.indd 21 1/13/11 9:28:58 AM Aeolian-Skinner Opus 1456, National Presbyterian Church, Celebrates 40 years with new Solo division Jan Childress
n Sunday, October 10, organist Wil- Oliam Neil presented a gala concert at the National Presbyterian Church in Washington, D.C., to celebrate the 40th anniversary of the dedication of the church’s Aeolian-Skinner organ, Opus 1456, and to introduce its new Solo di- vision. Neil, who also serves as organist of the National Symphony Orchestra, invited several colleagues to join him for the event: the Eclipse Chamber Or- chestra, led by founder and conductor Sylvia Alimena, NSO French hornist; Steven Hendrickson, principal trumpet of the symphony; NSO violinist Heather Green, and soprano Jane-Anne Tucker. They performed works by Widor, Vitali, Hertel, Lili Boulanger, and Poulenc. The concert marked the culmination of a long campaign by Neil and curator Michael Hart of the Di Gennaro-Hart Organ Company to create a Solo division for Opus 1456. From the outset, the two agreed that all pipework had to be from Ernest M. Skinner. Solo right Ironically, the church’s leaders had requested a Solo division for Opus 1456 when they contracted with the Aeolian- Skinner Organ Company in the 1960s to design and build a large organ for their new sanctuary. Their former church, razed to make way for Washington’s expanding business district, had a four- manual Möller organ, including a Solo di- vision. As construction began at the new uptown site near the American Univer- sity, architectural plans included a large and carefully designed organ chamber behind the chancel, which would house more than 6,000 pipes arranged in two stories above the chancel choir loft. A cloth screen was all that would separate the pipes from the chancel and nave, al- lowing the organ to speak freely into the sanctuary. “The room became part of the instrument,” says Neil. “It was very well planned and the acoustics are still the proof.” It was atypical of the Aeolian-Skinner Organ Company—then the Rolls-Royce French Horn of organ builders in North America—to build Solo divisions. Orchestral char- Aeolian-Skinner Opus 1456, National Presbyterian Church acteristics were no longer in vogue in the 1960s. “It was the era of the organ also made the new Solo and Choir Clari- blower was installed next to the existing reform movement,” says Hart. “Organ net windchest actions. main blower, located a fl oor beneath the builders were striving for a sound that In Ohio, a second Tuba and a French console. An additional wind pipe, 10 was less romantic, more suited for inter- Horn made by Skinner in 1923 for a resi- inches in diameter, now runs from the preting the music of the Baroque era.” dence organ near Toledo were also locat- blower room, through several walls and a He ads, “American organ building is very ed. Although these pipes were in better staircase enclosure to the organ chamber exciting right now. We’ve taken the good condition than those found in Connecti- above the chancel choir loft, reaching qualities of the organ reform movement, cut, they, too, needed some restoration. past the Choir division to the Solo divi- but we’re also embracing some of those Once the repairs were completed, the sion, a distance of more than 50 feet. earlier romantic sounds.” pipes were hand-delivered to companies The pipes, restored and voiced, ar- In 1989, the Di Gennaro-Hart Or- for cleaning, fi nishing, and voicing—the rived back in Washington, D.C., in 2009, gan Company installed the fi rst Solo fl ues to the Mann & Trupiano shop and Trupiano began the job of tonal fi n- stop—a vintage 1932 Aeolian-Skinner in Brooklyn and the reeds to Samuel ishing the new additions. A few weeks English Harmonic Tuba, which came Hughes in East Hartford, Connecticut. before the AGO national convention, the from an Aeolian residence organ in New 16′ and 8′ trumpets for the Great work was completed, and Opus 1456— Chevy Chase, Maryland. It had been division were also ordered to replace an now enhanced to 115 ranks and 7,000 ordered from Aeolian in late 1931, but older set (8′ and 4′) that had been in use pipes—was ready to demonstrate its new the order was fulfi lled by the Aeolian- since the 1980s, when the original trum- colors and voices to the national organ Skinner Organ Company in 1932, right pets by a German manufacturer were community. Recitals by Nathan Laube after the merger of Aeolian with E. M. taken out. The original small-scaled and Jonathan Biggers drew enthusiastic Skinner. This is the church’s only Solo fractional-length trumpets and their praise from the two soloists and audi- stop that is not enclosed within an ex- 1980s replacements had always taken ence members. English Horn pression box. It was installed according away from the gravitas of the organ, Neil Nearly every weekend from Septem- to the English cathedral tradition—that and Hart believed. With a Solo division ber to June, the National Presbyterian is, where two Tubas are present, the about to be installed, now was the time Church provides the setting for recitals larger is left unexpressive. to replace them. The new trumpets were and concerts, presented by organist Wil- The renewed popularity of Solo divi- manufactured by A.R. Schopp’s Sons. liam Neil and Michael Denham, director sions in recent years made the acquisi- The console, expanded and rebuilt of music ministries, and by prominent tion of Skinner pipes more diffi cult for in 1987 by Di Gennaro-Hart, had room local artists and touring groups. The cur- Neil and Hart. With their tonal director for extra drawstops and was now ready rent season is no exception. Already a Lawrence Trupiano, they eventually lo- to receive them. Neil arranged the Solo dozen choruses and instrumental ensem- cated ten Skinner stops (three fl ues, sev- drawstop layout. Additional electrical bles have fi lled the sanctuary with music, en reeds) in Connecticut. Among them work was required as well. In 2003, the ably supported by the John Jay Hopkins were an Orchestral Oboe and a Dolcan organ’s entire electrical system had been Memorial Organ. ■ Gamba and Dolcan Gamba Celeste. replaced with a Solid State Organ Sys- There, as well, they found a Clarinet to tems relay. The switching system, modu- Jan Childress, a graduate of the Indiana add to the Choir. The pipes had been re- lar in design, needed to be expanded for University School of Music with a degree in voice and theater, began her career on the moved from a church in Montclair, New the extra outputs of the Solo division and musical stage. For 25 years, she was a publi- Jersey, and some were in fairly rough Choir Clarinet. cist, writer, and editor for arts organizations condition. The pipes were sent to A.R. Finally, a new blower was custom- and nonprofi ts in the nation’s capital. As a Schopp’s Sons, Inc., in Alliance, Ohio, for built in Germany to support the Solo di- freelance writer, she continues to focus on the repair of damaged resonators. Schopp’s vision and the new Choir Clarinet. The performing arts. 32′ Posaune top view
22 THE DIAPASON
Feb 2011 pp. 22-23.indd 22 1/13/11 9:29:58 AM Dolcan Gamba
Tuba Minor
ANTIPHONAL 4′ Trompette (CH) William Neil at the console 8′ Salicional 2′ Rohr Schalmei (CH) 8′ Bourdon Carillon 4′ Principal Pedal on Great 2′ Flach Flote Pedal on Choir 1′ Mixture V Pedal Divide 8′ Trumpet 16′ State Trumpet ANTIPHONAL PEDAL 8′ State Trumpet 16′ Principal 4′ State Trumpet 16′ Bourdon Antiphonal Unison Off 8′ Octave 4′ Antiphonal to Antiphonal 8′ Bourdon 16′ Sub Trumpet PEDAL 32′ Principal (prepared) + Ventil thumb pistons 32′ Bourdon + 16′ Manual Stops Off +* 32′ Cornet (derived) 16′ & 4′ Couplers Off +* 16′ Principal Bass 32′s Off +* 16′ Violone (GR) Antiphonal Mute +* 16′ Bourdon Main Pedal Mute +* 16′ Quintaton (SW) Mixtures Off +* 16′ Flauto Dolce (CH) Reeds Off +* 2 10 ⁄3′ Quinte Tremulants Off +* 8′ Principal Celestes Off +* 8′ Bourdon Ventil Cancel 8′ Quintaton (SW) 8′ Flute Conique * Indicator light 4′ ChoralBass + Reverser thumb and/or toe piston 4′ Nachthorn 4′ Flute Conique 64-channel capture system 2′ Nachthorn Crescendo Standard, A, B & C 2 2⁄3′ Mixture IV Blind Check 2 ⁄3′ Scharf III Memory Channel Clear Tuba Major 32′ Kontra Posaune + 16 General thumb pistons 16′ Posaune 8 Great thumb pistons The John Jay Hopkins Memorial Organ 8′ Spindel Gedeckt ′ ′ 16 Bombarde (SW) 8 Swell thumb pistons The National Presbyterian Church and 8 Flauto Dolce ′ 8 Choir thumb pistons Center, Washington, D.C. ′ 16 Fagott (CH) 8 Flute Celeste 16′ Rankett (POS) 8 Positiv thumb pistons Aeolian-Skinner Organ Company, Opus 4′ Principal ′ ′ 8 State Trumpet (ANT) 8 Solo thumb pistons 1456, IV/115, Dedicated 1970 4 Rohr Flote ′ 8 Antiphonal thumb pistons 2 ′ 8 Tuba Major (SO) 2⁄3 Nazard 8′ Trompete 8 Pedal toe pistons GREAT 2′ Block Flote ′ 3 8 Trompette (CH) 1–6, 11–16 General toe pistons 16′ Violone 1⁄5′ Tierce ′ 8′ English Horn (SO) Capture thumb piston 8 Principal 1′ Mixture IV ′ ′ ′ 8 Clarinet (CH) Full Organ thumb & toe piston 8 Holz Gedeckt 16 Fagott ′ General Cancel thumb piston 8′ Gemshorn ′ 4 Clarinet (CH) 8 Trompette 4′ Schalmei 4′ Octave 8′ English Horn (SO) 4′ Harmonic Flute 8′ Clarinet 2′ Super Octave 4′ Rohr Schalmei 8′ Kornett IV–V 8’ State Trumpet (ANT) 1 1⁄3′ Mixture IV Tremulant 2 ⁄3′ Scharf IV 16′ Choir to Choir 16′ Trumpet Choir Unison Off 8′ Trumpet 4′ Choir to Choir 8′ English Horn (SO) Solo on Choir 4′ Clarion Tremulant POSITIV 8′ Tuba Major (SO) 8′ Principal 8′ State Trumpet (ANT) 8′ Bourdon Carillon 4′ Octave Solo on Great 4′ Koppel Flote 2 ′ Great Unison Off 2⁄3 Sesquialtera II 2′ Octavin SWELL 8′ Principal Cornet V (collective) 1 ′ 16′ Quintaton 1⁄3 Larigot 8′ Principal 1′ Siffl ote 8′ Viole de Gambe 1′ Scharf IV–V 4′ 8′ Viole Celeste ⁄5 Jeu de Clochette II 8′ Rohr Flote 16′ Rankett 4′ Octave 8′ Krummhorn 4′ Nachthorn Tremulant 2′ Spitz Principal 8′ Tuba Major (SO) 2′ Plein Jeu IV Cymbelstern + 1 ⁄3′ Cymbale III Positiv Unison Off 16′ Bombarde ′ SOLO (Di Gennaro-Hart 2010) 8 Trompette 8′ Dolcan Gamba 8′ Hautbois ′ ′ 8 Harmonic Flute 8 Voix Humaine 8′ Dolcan Gamba Celeste 4′ Clairon ′ ′ 8 Tuba Major (unenclosed) 8 State Trumpet (ANT) 8′ Tuba Minor Tremulant ′ ′ 8 French Horn 16 Swell to Swell 8′ Flugelhorn Swell Unison Off ′ ′ 8 English Horn 4 Swell to Swell 8′ Orchestral Oboe Solo on Swell 8′ Clarinet (CH) 4′ Clarion Major (unenclosed) CHOIR ′ Tremulant 16 Flauto Dolce 16′ Solo to Solo 8′ Viola Pomposa ′ Solo Unison Off 8 Viole Celeste 4′ Solo to Solo
FEBRUARY, 2011 23
Feb 2011 pp. 22-23.indd 23 1/13/11 9:30:30 AM Atlantic City Boardwalk Hall’s Midmer-Losh Organ: “And the Work Goes on Merrily” Stephen D. Smith and Charles Swisher
The Ballroom (panoramic photo by Harry Bellangy)
Boardwalk Hall on a rainy day in Atlantic City (photo by Joe Vitacco)
he title of this article is taken from a Tletter written by Emerson Richards, designer of the Atlantic City Convention Hall’s organs, to Henry Willis III during construction of the Main Auditorium or- gan. In the same letter—dated October 27, 1930—he announced the fi rst public airing of the world’s fi rst 100-inch reed “for the football game tonight.” That stop, the Tuba Maxima, available at 8′ and 4′ pitches, is one of four reeds on 100 inches. Two of those stops are still playable today—the Pedal’s Grand Ophicleide (16′ and 8′) and the Solo’s Tuba Imperial 8′. The fact that these stops are still work- ing is in no small part due to the efforts of the curator of the organs at the hall, Carl Loeser. The building, which is now known as Boardwalk Hall, was closed from 1999 to 2002 for a $90,000,000 re- fi t, during which time no work whatsoev- er was undertaken on the Midmer-Losh or Kimball organs. Restored Kimball console in Adrian Phillips’ workshop in Phoenix, Arizona When Carl was appointed Curator in June 2007, the two instruments were both silent and unkempt. Almost nothing worked. In his fi rst years, Carl spent time attempting to return the organs to their pre-1999 state, when the hall closed for restoration. A combination of patient re- pairs, frequent use, and plain tender lov- ing care got things started. (See Charles Florian Bischof at the 32′ Diapason Swisher and Carl Loeser, “Atlantic City Boardwalk Hall’s Midmer-Losh Organ: An Update,” The Diapason, vol. 100, no. 8, August 2009.) Nevertheless, the main organ, the Midmer-Losh, continues to be unreli- able. What works today may not work tomorrow, and vice versa! In order to progress and improve this situation, new magnets have been designed and tested. They are currently on order. All work in recent decades had fo- cused on keeping the Right Stage cham- ber’s departments playable, namely: Pedal Right, Great, Great-Solo, Solo—a total of almost 10,000 pipes belonging to 132 ranks and 96 voices. The chamber contains some of the instrument’s most famous stops, including two of the 100- inch voices and the 64′ Dulzian, which has Diaphone pipes for its lowest notes. Sven-Ingvart Mikkelsen, Frederiksborg Three of the 50-inch stops are to be Castle organist, Denmark found here, too. For this reason, former curator Denis McGurk used to refer to it the vast majority of the pipes and care- as “the show chamber”. fully stored them in trays, etc. in the Although Carl Loeser continues the hall’s organ shop and elsewhere. The tradition of paying attention to “the show largest pipes of the department’s Dou- chamber,” he also has his eye on bringing ble Open Diapason rank had to be left other sections of the instrument, in other in the chamber, because they would not locations, back to playing order. With this make the turn out of the door. These in mind, his attention recently turned to pipes must, therefore, have been con- the Swell organ in the Left Stage cham- structed in the chamber where they still ber. This is the instrument’s second-larg- stand—like so many of the instrument’s est department, having 36 voices, 55 other largest pipes. ranks (four extended), and 4,456 pipes. Next on the agenda was the removal of Talk about going in at the deep end! the Swell’s chests from the chamber. This It was immediately obvious that noth- was not a task that could be undertaken ing could be done with the department in-house, so bids were sought. Over a in situ, and the decision was therefore surprisingly short period (two days) ev- taken to remove the whole. The de- erything was removed, with the aid of partment is spread over fi ve levels in rigging, chains, and brute strength. The a chamber that is 47 feet high. With result is a huge void in the Left Stage invaluable assistance from a team of chamber. “It’s like standing in a super- experienced volunteers, Carl removed wide elevator shaft,” said one commen-
24 THE DIAPASON
Feb 2011 pp. 24-25.indd 24 1/13/11 9:31:36 AM One Swell windchest being loaded for shipment
tator. But how many elevator shafts have 40 feet of swell shades running from bot- tom to top! Thoughts are now turning to the Swell-Choir department, which is ad- jacent to the Swell in the Left Stage chamber. With the Swell out of the way, it would be the logical time to give this ancillary section of all-extended stops some attention. Indeed, with the Swell removed, better access is provided to all of the chamber’s other departments— Unenclosed Choir (nine ranks), String I (20 ranks), and Pedal Left (16 ranks). So, we are almost spoiled for choice about what to do, or where to go, next in that chamber. Work will be carried out in-house by Right Stage chamber. Entrance to work- Carl Loeser and his team, and by outside shop at lower right. (photo by Joe Vitacco) contractors as funding is available. Ballroom Kimball Restoration of the Ballroom’s Kimball console has been completed and it is now back in Atlantic City. Work in the pipe chambers is almost complete. The Kimball should be operational in 2011.
Tours The Left Stage chamber has had all the windchests for the Swell Organ removed The bi-monthly tours of the organ— to be sent out for restoration. The top photo shows the vertical void created by the led by ACCHOS board member Harry chest removal and the lower photo shows the windchests stacked up in a secure Bellangy—have been a great success, at- room awaiting shipment. tracting many national and international visitors. In 2009, the entire organ class from the Royal Academy of Music in Denmark made a special trip to see the Midmer-Losh organ. Sven-Ingvart Mikkelsen, organist at the Frederiksborg Castle in Denmark, spent a lot of time examining the organs, as did Florian Bischof from Dresden. Florian wrote a wonderful letter upon returning to Dresden, offering to volun- Panoramic view of Right Stage chamber reservoirs teer months of restoration effort on an expenses-only basis. Book The fi rst printing of Stephen Smith’s book about the Midmer-Losh organ /44/ (%533 /2'!. 0!243 has been exhausted and a new paper- back edition has been released. This 4RADITION AND 0ROGRESS new edition has been amended and up- dated, and the photographs improved (made sharper and clearer). It is avail- &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN able on-line at
Stephen D. Smith is the President and a /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY founding member of the Atlantic City Con- MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR vention Hall Organ Society, Inc. As an his- EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP torian and archivist, he has researched the Midmer-Losh organ for more than 30 years MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES and is the world’s leading authority on its history, construction, and tonal qualities. HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING He has completed a comprehensive 500-page 7 book, Atlantic City’s Musical Masterpiece, 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS revealing a myriad of details about the de- sign and construction of this remarkable pipe %VERYWHERE AND AROUND THE WORLD organ and is spearheading the effort to re- store the instrument to its former glory. /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING Charles F. Swisher is a senior audio and acoustical consultant with wide experience in the design of sophisticated systems for speech and music reinforcement, electronic archi- tecture, video, recordings, and multi-media /44/ (%533 'MB( n 'ERMANY productions. He was educated at the Univer- 0HONE n s &AX n sity of Illinois, where he earned a Bachelor E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE of Science degree in electrical engineering in 1956. He is Vice-President of the Atlantic City Convention Hall Organ Society, Inc.
FEBRUARY, 2011 25
Feb 2011 pp. 24-25.indd 25 1/13/11 9:32:23 AM Cover feature
P. J. Swartz, Inc., Eatonton, Georgia St. Andrew’s, Sanford, Florida The fi nal home for this organ was reached after a long and unusual trip. Originally, this organ served a congre- gation in Jackson, Mississippi. When the church made the decision to move to a suburban location, the organ was removed and placed in storage for many years. When the time came for them to build a new worship center, they contacted me regarding the pos- sibility of reinstalling the organ in the new space. After study, it was deter- mined that reusing the organ would not be a suitable solution. Several weeks later, the church con- tacted me again to inquire about fi nd- ing another church that might possibly want the organ. As it happened, a large metropolitan church in Tennessee had experienced a fi re that destroyed their church and Kimball organ. The church was contacted to determine their level of interest, and as a result, the organ was given to them. After some time passed, the church in Tennessee needed to rethink their earlier decision. They were not in a posi- tion to store or install an organ. It was a diffi cult time for this congregation, and, ultimately, they decided that they were unable to accept the organ. After several more months in storage, St. Andrew’s, Sanford, Florida a deadline approached. The organ had to be removed from the storage facility. The Gothic-inspired structure—having With a lack of space in our own shop for arches, columns, vaults, transepts, and a 46-rank organ, we began to wonder if clerestory windows—is entirely built of this organ would end up as salvage. modern materials. The architects de- St. Andrew’s had engaged a consultant, signed a steel superstructure, and clad Scott Riedel of Scott R. Riedel & Associ- it with pre-formed and composite newly ates. By chance, Scott contacted me to developed materials. Our acoustical task see if I knew about a pre-owned organ was to create a very classic room for that would be suitable for his client. natural, non-electronically reinforced Naturally I was excited by the possibility; choral, organ, and instrumental music however, we had less than thirty days to with a generous, even, and warm re- make a decision. As everyone knows, it is verberation period. This was achieved very diffi cult for a church committee to by using primarily hard, dense, sound- gather all of its members together to dis- refl ective and reinforcing materials and cuss an opportunity like this—especially treatments. Hard composite material in the summer months. fi nishes, multiple layers of dense wall The St. Andrew’s congregation is very components, sealed surface textures, blessed. Their committee was made up and diffuse, multi-faceted surface forms of a group of progressive people who and profi les were employed throughout desired to do the right thing and moved the space. These were blended by the forward quickly. They made arrange- architects into their design vision. Hard ments to move the organ out of the stor- tile, wood, and brick fl ooring, along age facility and into our shop until fi nal with closely spaced structural framing, plans could be made. angled and diffusive wall and ceiling Scott Riedel devised many good ideas geometries, have all been employed for expanding the resources of this or- into this classically styled new building. gan to make it suitable for use with the Further, the building is fully equipped music program at St. Andrew’s. Knowing with state of the art sound and video what was needed to bring the project to system components. The nave’s sound completion, it was my decision to part- system delivers clear, intelligible speech ner with Organ Supply Industries. The to worshippers in every corner of the entire fi rm was eager to help with ev- vast, live room. Complete sound and ery aspect of the project. Through each video recording, mixing, and broadcast stage, they were available to provide help technologies have been provided to fa- and suggestions. The assistance of Organ cilitate the many media-based education Supply expands the capabilities of small and ministry programs of this dynamic builders, making these types of projects congregation. an easy reach. The building design was already in The outcome of this project has been process at the time we were invited to rewarding to all involved. We extend be part of the project team. The overall special thanks to Dr. R. C. Sproul, senior size, shape, and style of the church were pastor; Jim Pyrich, organ committee decided upon, and all had the potential chair; and Dr. Terry Yount, organist at to reveal a good acoustical space for St. Andrew’s. Further recognition is giv- traditional worship employing sermon, en to Scott Riedel for the endless hours lessons, prayers, and organ and choral spent dealing with all of the glitches that music. We enjoyed an excellent working occurred as we worked to refurbish and relationship with the architectural de- install an existing organ in a new build- sign team. The necessary design detail- ing. We acknowledge Randy Wagner Console ing and treatments for acoustical success and Bob Rusczyk of Organ Supply who were all embraced and adopted into the never said “no” to any request. And we From the consultant long-established and large congregation, fabric of the structure. A signifi cant chal- thank Joe Clipp and Homer Lewis of The Riedel staff has been honored but their former buildings were too small lenge was to design and prepare spaces Trivo who kept working until all details and privileged to serve the congregation and uninspiring. Their project goal was for a pipe organ that was not yet select- were totally resolved. of St. Andrew’s, Sanford, Florida. We to realize a large and commodious tradi- ed. Three chamber spaces were adopted I also wish to thank my staff consist- have done so in the capacity of consul- tional and Gothic-styled worship space, into the architectural design. The two ing of Nick Schroeder, Robert Gladden, tants in the areas of room acoustic de- outfi tted with a full complement of primary organ spaces are at either side Steve Rainsford, Adam Smith, and Er- sign, organ preparation and selection, modern technologies. A hallmark of St. of the chancel, above and behind the ich Roeder. Their hard work and com- and sound and video system design. The Andrew’s ministry is their vast outreach choir singers’ riser plaza. These cham- mitment to doing whatever was neces- project has throughout been a study in program employing the latest in multi- bers, which orient the primary tonal sary in the fi nal days to complete this notable and remarkable contrasts—in media technologies; the message, how- projection not “across” the chancel, but project, made this beautiful instrument nearly every aspect of the congregation’s ever, is a formal and traditional program instead down the length of the nave, are a reality. ministry, functional needs and desires, of biblical teaching and interpretation. built to accommodate the Great, Swell, —Phil Swartz and the architectural fabric of their wor- These contrasts continued through- Choir, and Pedal divisions. Chamber P. J. Swartz, Inc. ship space and campus. St. Andrew’s is a out the design of the new building. tone openings were designed to be as
26 THE DIAPASON
Feb 2011 pp. 26-28_ALT 4C.indd 26 1/14/11 12:29:38 PM St. Andrew’s, Sanford, Florida 3 manuals, 57 registers, 71 ranks, 10 digital voices
Division Ranks Pipes Digital Great 16 976 2 Swell 17 1,025 3 Choir 16 964 1 Pedal 8 316 4 Antiphonal 14 808 GREAT (Manual II) 16′ Prestant digital 8′ Principal new 8′ Diapason donated 8′ Prestant new 8′ Harmonic Flute new 8′ Bourdon new 8′ Gamba new 4′ Octave new 4′ Open Flute new 2 2⁄3′ Twelfth new 2′ Fifteenth new 3 1⁄5′ Tierce new 1 1⁄3′ Mixture IV new 16′ Bombarde (Ped) existing 8′ Trumpet (encl in Ch) existing1 8′ Harmonic Tuba (Ch) new 8′ Festival Trompette (Ant) new Chimes digital Zimbelstern new SWELL (Manual III) 16′ Holz Gedeckt existing 8′ Principal existing 8′ Holz Gedeckt (ext 16′) existing 8′ Viola de Gamba existing2 Chancel 8′ Viola Celeste existing2 4′ Principal existing allowed the St. Andrew’s funds available 4′ Koppel Flute existing 2 ′ to be used to move, restore, augment, 2⁄3 Nazard existing 2′ Block Flute existing and install the instrument. Now the old 3 1⁄5′ Tierce existing organ has become new again! The bud- 2′ Mixture IV new get, too small to purchase an all-new or- 16′ Bombarde (Ped) existing gan, was suffi cient to support the re-pur- 16′ Fagotto existing posed instrument. The old organ has a 8′ Trompette new new electrical system, new layout, added 8′ Oboe existing 8′ Vox Humana digital stops, new digital features, and it all has ′ been revoiced to fi t the new space. 4 Clarion existing While the relocation of an old organ CHOIR (Manual I) into a new space is not a new concept or 16′ Quintaton existing practice under our consultation, we were 8′ Diapason existing4 indeed privileged to work with many 8′ Rohrfl ute existing contrasting new and old friends through- 8′ Salizional existing out this project. Our special thanks to: 8′ Gemshorn existing 8′ Gemshorn Celeste existing • Organ and acoustic committee chair ′ Jim Pyrich, for inviting us into the proj- 4 Spitz Principal existing 4′ Hohl Flute existing ect, and for his tireless work and friend- 2′ Principal existing 1 ship throughout. 1⁄3′ Larigot existing • Terry Yount, the new organist and 1′ Mixture III new artist in residence at St. Andrew’s, for his 8′ Harmonic Tuba new keen artistic eyes and ears. 8′ French Horn donated Console close-up • Philip J. Swartz, organbuilder, and 8′ Clarinet donated his new apprentice, now become asso- 8′ Trumpet (Gt) existing ciate, Nicholas Schroeder, for fi nding Harp digital and installing this notable instrument ANTIPHONAL (fl oating) for St. Andrew’s. 8′ Diapason new • Organ Supply Industries principal 8′ Flute existing Randy Wagner, for his excellent techni- 8′ Dulciana new cal guidance in blending old and new 8′ Unda Maris new together. 4′ Octave new • Walker Technical Company, and 4′ Spill Flute existing 2′ Doublette new their representative Robert Gladden, 1 1⁄3′ Mixture IV new and the Peterson Electro-Musical Prod- 16′ Festival Trompette new ucts Company, for their innovative prod- 8′ Festival Trompette new ucts and technical support. 16′ Bourdon (Ped) donated5 • Joe Clipp and Homer Lewis at Trivo 8′ Diapason (Ped) existing Reeds, for bringing new tone and life to 8′ Bourdon (Ped) donated5 formerly tired pipes. 4′ Diapason (Ped) existing • The many church member volun- teers at St. Andrew’s who supported and PEDAL 32′ Bourdon digital facilitated the project. 16′ Principal existing • Rev. R.C. Sproul, pastor of St. An- 16′ Prestant (Gt) digital drew’s and visionary church leader. 16′ Bourdon existing 16′ Holz Gedeckt (Sw) existing Scott Riedel, Philip Swartz and Jim Pyrich (photo credit: Jim Pyrich) Scott R. Riedel & Associates, Ltd., 16′ Quintaton (Ch) existing Milwaukee, Wisconsin 16′ Open Wood digital 8′ Octave (ext 16′) existing large and non-obstructive as possible. pipe organ, but to make the spaces us- Project Team ′ ′ Further, structural steel carriages were able for interim digital organ speakers, Acoustic engineer, Eric Wolfram 8 Bourdon (ext 16 ) existing 8′ Holz Gedeckt (Sw) existing created to facilitate cases or cantilevers since a digital organ was all that the bud- Sound and video system designer, 4′ Super Octave existing forward of the chamber tone openings. get could support. It was in this context David Hosbach (DH Audio Visions) 4′ Bourdon (ext 16′) existing 2 3 Chamber interior cladding includes con- that we began to search for a used pipe Architectural assistant, Timothy Foley 2⁄3′ Mixture IV existing crete fl oors and multiple layers of sound- organ that might be able to be re-pur- Organ technician, David L. Beyer 32′ Bombarde digital refl ective gypsum board, glued and posed into St. Andrew’s at an achievable Organ consultant, Scott R. Riedel 16′ Bombarde existing screwed together and to the building’s price range. 16′ Fagotto (Sw) existing 8′ Bombarde (ext 16′) existing structure, to maximize tonal refl ection In the course of searching for a po- Photo credit: Nick Bichanich ′ and reinforcement. The third chamber, tential organ, one of the resources con- 8 Fagotto (Sw) existing 8′ Harmonic Tuba (Ch) new with details similar to the chancel cham- tacted was P. J. Swartz, Inc. of Eatonton, For information: 4′ Rohr Schalmei digital bers, is located at the rear of the nave for Georgia. Here the remarkable contrasts P. J. Swartz, Inc. 4′ Bombarde (16′) existing an Antiphonal organ division. and opportunities continued! Mr. Swartz 706/347-2383 Another signifi cant “contrast” in knew of a congregation with a sizable
FEBRUARY, 2011 27
Feb 2011 pp. 26-28_ALT 4C.indd 27 1/14/11 12:30:13 PM New Organs
Juget-Sinclair Organbuilders, feel of the tracker action—personally I Montreal, Quebec, Canada think it is the most comfortable organ I Opus 32, St. Mark’s Episcopal have ever played—and on how remark- Church, St. Louis, Missouri able this is for a tracker with a detached Designed by the architectural fi rm console. Everyone also comments on the of Nagel & Dunn and built in 1938, St. versatility of the organ, which though de- Mark’s Church in the City of St. Louis signed primarily with French Romantic is famous as an outstanding example of repertoire in mind, manages also to be the Moderne style, noteworthy for its an excellent medium both for accompa- Art Deco detailing, including a complete nying the Anglican liturgy and for play- set of stained glass windows designed ing Classical and Baroque organ music. by Robert Harmon and executed by St. Mark’s is the third largest organ Emil Frei Studios. The building, seating that the Juget-Sinclair fi rm has built. In around 200, is shaped like a shoebox on spite of the less than perfect acoustics its side and—surprisingly for a building of their buildings, the two larger Juget- of its size—has a reverberation period Sinclair organs at Wellesley (Op. 24) and of around four seconds. The original or- Nashville (Op. 26) are both remarkable gan, an 8-stop G. Donald Harrison Æo- instruments. At St. Mark’s, however, lian-Skinner, Op. 979 of 1939, consisted equally fi ne tonal design and voicing de- entirely of principals and fl utes. Though sign is coupled with excellent acoustics, the plenum was very impressive for its resulting in a stunning sound such as size—Emerson Richards described it as might be expected from an instrument “the biggest little organ in the world”—it two or three times its size. had no strings, reeds, or solo stops, and One Sunday morning a week or two the balances between the manuals were after the organ was completed, I walked very poor. By the early 2000s it was in into the church and heard the strains urgent need of restoration. of Bob Mullgardt playing the Franck In deciding what to do about the or- A-minor Choral. I did a double take. gan, the congregation found itself faced Was this St. Mark’s or was I listening to with a serious diffi culty. The choir loft, St. Sulpice? To help them in planning the only practical position for a pipe or- future instruments, the organ builders gan in the building, is extremely shallow, asked us to give them any feedback of an and in order for the choir and organist to unfavorable kind coming from organists be able to get up the stairs into the gal- who play the St. Mark’s organ. So far we lery, the depth of the organ at the level have been unable to oblige, since all the of the gallery fl oor had to be restricted to comments have been favorable. a little over four feet. Furthermore, the A concert series featuring the new in- west window is an extremely fi ne one, strument was inaugurated with a dedi- and it was unthinkable that the organ catory recital of music by William H. should obscure it. This meant that al- Harris, César Franck, W. A. Mozart, though there was some room for expand- J. S. Bach, Guy Bovet, and Marcel Du- ing the Great and Pedal divisions of the pré, given by Clive Driskill-Smith of Æolian-Skinner to include reeds, strings, Christ Church, Oxford, England, on April and solo stops, there was no way that the 18, 2010. If anyone would like to visit the Swell could ever be enlarged, and this in organ, the organist and choirmaster, Bob turn meant that any enlargement would Mullgardt, is always happy to welcome result in an even more poorly balanced organists and others who contact him instrument than before. While the vestry beforehand through the church offi ce was wondering what to do about this, the (314/832-3588). church was most fortunate to receive a —John L. Speller substantial legacy from the late Ruth E. Proehl, making possible the replacement Juget-Sinclair Organbuilders, of the organ by an entirely new one. Montreal, Quebec, Canada In 2005 the vestry appointed an organ Opus 32, St. Mark’s Episcopal committee composed of my wife, the Rev. Church, St. Louis, Missouri Dr. Lydia Agnew Speller, rector; Robert 20 stops, 23 ranks S. Mullgardt, organist and choirmaster; and seven others. No fewer than fi ve or- Grand-orgue C–a3, 58 notes 8′ Montre ganists were members of this committee, 8′ Flûte à cheminée including one who was also an architect 4′ Prestant and another, me, who was also an organ 4′ Flûte ouverte builder. Though unusual, having a com- 2′ Doublette 1 mittee composed of so many extremely 1⁄3′ Fourniture IV well-informed and opinionated individu- 8′ Trompette als is something of a two-edged sword, Récit expressif C–a3, 58 notes and the vestry wisely appointed Barbara 8′ Bourdon Owen to be the organ consultant so as 8′ Viole de gambe to keep order. In practice, no referee 8′ Voix céleste (TC) was needed since, perhaps surprisingly, 4′ Principal we found ourselves in remarkable har- 4′ Flûte douce 2 mony and agreement throughout—but 2⁄3′ Nazard we were glad to have Barbara Owen on 2′ Doublette 3 ′ 1⁄5′ Tierce the team, since her very practical advice Juget-Sinclair organ is placed against drawn from the G.O. 8 Montre and Pé- ′ proved to be an invaluable resource at the west wall of the church. By contrast dale 8′ Principal. Much of the interior of 8Basson-Hautbois many points in the process of selecting with the old organ, a rather squat case- the organ is also solid oak, as is most of Pédale C–-f1, 30 notes, our new organ. less organ that ran all the way across the the console, though the music desk is of radiating and concave The organ committee made the de- church, the new instrument is divided in burr maple inlaid with mahogany. The 16′ Soubasse cision quite early on to look for a me- two cases, framing and showcasing Rob- detailing of the console and cases makes 8′ Principal 4′ Octave chanical action organ, and for the next ert Harmon’s striking west window, The use of Art Deco motifs found elsewhere ′ two-and-a-half years members of the Massacre of the Innocents. The church is in the building. 16 Trombone committee visited dozens of tracker-ac- extremely lofty, and the new organ makes The church signed a contract with II/I I/P II/P tion instruments throughout Missouri, full use of the available height. Although Juget-Sinclair at the end of 2007, and Tremblant Récit Kansas, Illinois, Massachusetts, and Ten- the two cases are necessarily shallow the installation and tonal fi nishing of the nessee. Our fi nal choice fell upon Juget- at fl oor level, they are cantilevered out instrument took place between Septem- Mechanical key action, electric stop action Sinclair Organbuilders of Montreal, at impost level to accommodate a two- ber and November 2009. The members 1/9-syntonic comma temperament whose organs at St. Andrew’s Episcopal manual-and-pedal organ of twenty stops, of the Juget-Sinclair fi rm responsible Balanced swell pedal Church in Wellesley, Massachusetts, and more than we had thought possible. for building Opus 32 were Robin Côté, Cuneiform bellows Second Presbyterian Church, Nashville, The Grand-orgue occupies the south François Couture, Dean Eckmann, Jean- 3 inches wind pressure 10 General pistons, thumb and toe Tennessee, had impressed us as stand- case above the impost, with the bellows Dominique Felx, Denis Juget, Céline 6 thumb pistons to G.O. ing head-and-shoulders above any other beneath, and the Récit expressif occupies Richard, Stephen Sinclair, and Jerome 6 thumb pistons to Récit instrument we visited. Juget-Sinclair the north case, with the Pédale, including Veenendaal. The dedication took place 4 toe pistons to Pédale proved an especially happy choice since a full-length 16′ reed—which required a at the Sunday Eucharist on November Reversible pistons for the unison couplers, Denis Juget, Stephen Sinclair, and the little mitering—underneath. The de- 22, when there was special music, and no thumb and toe other members of their team showed tached and terraced drawknob console fewer than six organists—all members of Sequencer “forward” and “back” pistons, themselves to be an exceptionally charm- is at the front of the gallery in the same St. Mark’s—played the new organ. thumb and toe ing and interesting group of people with position as the old one, and the trackers The instrument has surpassed our General Cancel thumb piston Combination Setter thumb piston whom to work. run under a new oak gallery fl oor be- wildest expectations. The many who have Solid-state combination action with 400 levels Juget-Sinclair came up with a brilliant tween the console and the organ cases. played it have included a number of very of memory solution to the church’s space problems. The casework is of oiled solid quarter- distinguished organists, and everyone Like the old Æolian-Skinner, the new sawn oak, with polished tin façade pipes who plays it comments on the excellent Photo credit: Stephen Sinclair
28 THE DIAPASON
Feb 2011 pp. 26-28_ALT 4C.indd 28 1/14/11 12:30:32 PM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Cathedral Ringers Handbell Choir; Cathe- Pickle Piano & Church Organs This calendar runs from the 15th of the month of dral Church of the Advent, Birmingham, AL NEW YORK issue through the following month. The deadline is 12:30 pm Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. •Marilyn Keiser; First Presbyterian, Neenah, issue). All events are assumed to be organ recitals WI 7:30 pm unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO chap- 26 FEBRUARY Christopher Babcock ter event, • •=RCCO centre event, +=new organ Joan Lippincott; Verizon Hall, The Kimmel dedication, ++= OHS event. Center, Philadelphia, PA 3 pm St. Andrew’s by the Sea, Information cannot be accepted unless it speci- Georgia Boy Choir; Peachtree Road United fi es artist name, date, location, and hour in writ- Methodist, Atlanta, GA 7:30 pm Hyannis Port ing. Multiple listings should be in chronological order; +Craig Cramer; St. Aloysius Catholic Church, please do not send duplicate listings. THE DIAPA- Baton Rouge, LA 7 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Marilyn Keiser, workshop; First Presbyterian, the accuracy of calendar entries. Neenah, WI 9:30 am
27 FEBRUARY James Busby; Church of the Advent, Boston, UNITED STATES MA 4:30 pm, followed by Evensong at 5 pm East of the Mississippi Nathan Laube; Mead Chapel, Middlebury Col- lege, Middlebury, VT 3 pm David Spicer, with Alfred E. White Chorale, 15 FEBRUARY spirituals; First Church of Christ, Wethersfi eld, Larry Visser; Park Congregational, Grand CT 4 pm Rapids, MI 12:15 pm Renée Anne Louprette; Church of St. Igna- tius Loyola, New York, NY 4 pm 16 FEBRUARY Colin Lynch; St. Thomas Church Fifth Av- Organized Rhythm (Clive Driskill-Smith, organ, enue, New York, NY 5:15 pm Dean W. Billmeyer GAVIN BLACK and Joseph Gramley, percussion); Union College Singing Boys of Pennsylvania; Bordentown Memorial Chapel, Schenectady, NY 7:30 pm Regional Middle School, Bordentown, NJ 3 pm Princeton Early Keyboard Center Carol Feather Martin; St. Luke Catholic Lorenz Maycher; Holy Trinity Lutheran, Lan- University of Minnesota Church, McLean, VA 1 pm caster, PA 4 pm 732/599-0392 Karen Christianson; Washington National Minneapolis 55455 • [email protected] www.pekc.org 17 FEBRUARY Cathedral, Washington, DC 5:15 pm Jean Rife, harpsichord; First Church, Boston, Kyle Ritter; St. Peter’s Episcopal, Charlotte, MA 12:15 pm NC 4:30 pm, Evensong at 5 pm James David Christie; Old First Church, Tal- 18 FEBRUARY lahassee, FL 3 pm Michael Smith; Trinity Church, Boston, MA Byron L. Blackmore THOMAS BROWN John Scott; First Presbyterian, Gainesville, 12:15 pm UNIVERSITY FL 4 pm Maxine Thévenot; St. Michael’s Church, Mar- Crown of Life Lutheran Church Raúl Prieto Ramírez; Hyde Park Community PRESBYTERIAN CHURCH blehead, MA 7 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Ahreum Han; Emmanuel Church, Chester- United Methodist, Cincinnati, OH 4 pm town, MD 7:30 pm Choral concert; St. Peter in Chains Cathedral, 623/214-4903 ThomasBrownMusic.com Barbara MacGregor, with trumpets and tim- Cincinnati, OH 3 pm pani; Holy Trinity Lutheran, Akron, OH 8 pm Choral Evensong; Cathedral Church of St. Christopher Young; St. Paul’s Episcopal, In- Paul, Detroit, MI 4 pm dianapolis, IN 7:30 pm Mary Gifford; Lutheran Home, Arlington Brian Luckner; Cathedral of St. Joseph the Heights, IL 2:30 pm David Chalmers Workman, La Crosse, WI 7:30 pm Richard Hoskins, with sopranos, counter- DELBERT DISSELHORST tenor, and viole de gambe; St. Chrysostom’s, Concert Organist Chicago, IL 2:30 pm 19 FEBRUARY LORIÆ EI ANTORES Professor Emeritus Tim Strand; Como Park Lutheran, St. Paul, G D C Raúl Prieto Ramírez; Spivey Hall, Morrow, University of Iowa–Iowa City GA 3 pm MN 3 pm Orleans, MA
20 FEBRUARY 28 FEBRUARY Rob Richards, with cartoonist; Merrill Audito- Harry van Wijk; Elliott Chapel, Presbyterian Homes, Evanston, IL 1:30 pm rium, Portland City Hall, Portland, ME 2 pm AAGO, PhD Frank Dodd; Christ Church, New Haven, CT JAMES DORROH, STEVEN EGLER 3 pm 1 MARCH Saint Luke’s Episcopal Church Central Michigan University James Metzler; Park Congregational, Grand Christopher Marks; Madison Avenue Presby- Samford University First Presbyterian Church terian, New York, NY 3 pm Rapids, MI 12:15 pm Mt. Pleasant, Michigan 48858 Sarah Carlson; St. Thomas Church Fifth Av- Tim Baker; Ransdell Chapel, Campbellsville Birmingham, Alabama SOLO Shelly-Egler enue, New York, NY 5:15 pm University, Campbellsville, KY 12:20 pm RECITALS Flute and Organ Duo Nathan Laube; Irvine Auditorium, University Organ Consultant Organ Recitals of Pennsylvania, Philadelphia, PA 4 pm 2 MARCH Concordia Choir; Doylestown Presbyterian, Michael Shoemaker; Camp Hill Presbyterian, Doylestown, PA 4 pm Camp Hill, PA 12:15 pm Organist / Pianist Clive Driskill-Smith; Chevy Chase Presbyte- Lisa Lohmeyer; St. Peter’s Lutheran, Colum- JOHN FENSTERMAKER rian, Washington, DC 4 pm bus, IN 12 noon Robert McCormick; Washington National Ca- Michael Gailit 3 MARCH TRINITY-BY-THE-COVE www.gailit.at thedral, Washington, DC 5:15 pm offi [email protected] James Moeser; Duke Chapel, Duke Univer- Jory Vinikour, harpsichord; First Church, sity, Durham, NC 5 pm Boston, MA 12:15 pm NAPLES, FLORIDA Konservatorium Wien University Evensong; Christ Church Grosse Pointe, Works of Victoria; Church of St. Luke in the University of Music, Vienna Grosse Pointe Farms, MI 4:30 pm Fields, New York, NY 8 pm Allison Boccia; Madonna della Strada Cha- pel, Loyola University, Chicago, IL 3 pm 4 MARCH Brian Carson; Como Park Lutheran, St. Paul, Elizabeth Lenti; Trinity Church, Boston, MA MN 3 pm 12:15 pm JAMES HAMMANN Konstantin Volostnov; Trinity College, Hart- DMA-AAGO 21 FEBRUARY ford, CT 7:30 pm Minnesota Boychoir; Cathedral of St. Paul, St. Joseph Ripka; Woolsey Hall, Yale University, University of New Orleans Paul, MN 7:30 pm New Haven, CT 8 pm Chapel of the Holy Comforter Nathan Laube; St. Mark Lutheran, Hanover, 22 FEBRUARY PA 7:30 pm Peter Richard Conte; Church of the Resur- Marilyn Keiser; St. Charles Borromeo Catho- rection, New York, NY 8 pm lic, Fort Wayne, IN 7:30 pm Schubert, Mass in G; Basilica of the National Bella Voce, with Callipygian Players; Glenview ANDREW HENDERSON, DMA Shrine of Mary, Queen of the Universe, Orlando, Community Church, Glenview, IL 7:30 pm WILL HEADLEE FL 7 pm 1650 James Street Madison Avenue Presbyterian Church Lynne Davis; All Saints Episcopal, Atlanta, 5 MARCH New York, NY GA 7:30 pm Hymn festival; Christ & St. Stephen’s Episco- Syracuse, NY 13203-2816 Karen Beaumont; St. John’s on the Lake, Mil- pal, New York, NY 5 pm www.andrewhenderson.net waukee, WI 7 pm •Christa Rakich; Mount Calvary Church of (315) 471-8451 Baltimore, Baltimore, MD 2:30 pm 23 FEBRUARY Stefan Engels, masterclass; First (Scots) Handel, Israel in Egypt; Carnegie Hall, New Presbyterian, Charleston, SC 3 pm, recital at York, NY 8 pm 7:30 pm LORRAINE BRUGH, Ph.D. Bruce Neswick, hymn festival; Trinity Episco- 24 FEBRUARY pal Cathedral, Miami, FL 2 pm Leon Schelhase, harpsichord; First Church, Tom Trenney, recital and silent fi lm accompani- Associate Professor Boston, MA 12:15 pm ment; Central Presbyterian, Atlanta, GA 5:30 pm University Organist Jonathan Ryan; Church of the Holy Family, New York, NY 7:30 pm 6 MARCH Choral Evensong; Cathedral of the Incarna- Valparaiso University 25 FEBRUARY tion, Garden City, NY 4 pm Valparaiso, IN Harry Huff; Trinity Church, Boston, MA 12:15 pm Gerald Anders, John Buckel, Henry www.valpo.edu Frank Crosio; Cathedral of the Incarnation, DeVries, Deborah Jenks, with instruments and Garden City, NY 8 pm vocalists; Community Church of Douglaston, Jeremy David Tarrant, Poulenc Concerto; Ca- Douglaston, NY 4 pm 219-464-5084 thedral Church of St. Paul, Detroit, MI 7:30 pm Christopher Jennings, with St. James’ Com- [email protected] James Metzler; Fountain Street Church, postela & Canterbury Choirs; St. James’ Church, Grand Rapids, MI 12:15 pm New York, NY 4 pm
FEBRUARY, 2011 29
Feb 2011 pp. 29-33.indd 29 1/21/11 10:44:19 AM Jonathan Moyer; Cathedral Church of St. 17 MARCH MICHELE JOHNS John the Divine, New York, NY 5 pm R. Alan Kimbrough; Christ Church, Braden- Brian Jones Stephen Price; St. Thomas Church Fifth Av- ton, FL 12:15 pm A.Mus.D enue, New York, NY 5:15 pm Timothy & Tamara Albrecht, hymn festival; 18 MARCH Organ — Harpsichord Director of Music Emeritus First United Methodist, Hershey, PA 3 pm Bálint Karosi; Trinity Church, Boston, MA The University of Michigan TRINITY CHURCH Roman Krasnovsky; Washington National 12:15 pm School of Music BOSTON Cathedral, Washington, DC 5:15 pm Eric Plutz; Cathedral of the Incarnation, Gar- David Higgs; St. Michael’s Episcopal, Rich- den City, NY 8 pm mond, VA 7:30 pm Peter Omundsen; Holy Trinity Lutheran, Lan- Mozart, Mass in F Major, K. 192; Christ caster, PA 12:30 pm Church, Bradenton, FL 11 am Fauré, Requiem; Basilica of the National Shrine of KIM R. KASLING JAMES KIBBIE Chelsea Chen; Jacoby Hall, Jacksonville, FL Mary, Queen of the Universe, Orlando, FL 7:30 pm 3 pm Jack Mitchener; Holy Trinity Lutheran, Akron, D.M.A. The University of Michigan Ken Cowan; First Presbyterian, Naples, FL 4 pm OH 8 pm St. John’s University Ann Arbor, MI 48109-2085 Dongho Lee; St. Catharine of Siena, Cincin- Richard Newman; Cathedral Church of St. 734-764-1591 FAX: 734-763-5097 nati, OH 3 pm Paul, Detroit, MI 7:30 pm Collegeville, MN 56321 Evensong; Christ Church Grosse Pointe, Classical Bells; St. Lorenz Lutheran, Franken- email: [email protected] Grosse Pointe Farms, MI 4:30 pm muth, MI 7:30 pm Raúl Prieto Ramírez; East 91st Street Chris- Janet Hamilton, with violin; Grace Lutheran, tian Church, Indianapolis, IN 4 pm New Albany, IN 12 noon Bach, Mass in B Minor; Cathedral Church of •James David Christie; Winnetka Congrega- David K. Lamb, D.Mus. the Advent, Birmingham, AL 4 pm tional Church, Winnetka, IL 8 pm Director of Music/Organist Kris Langlois; Como Park Lutheran, St. Paul, John Scott; Cathedral of St. John the Evange- MN 3 pm list, Milwaukee, WI 7:30 pm First United Methodist Church ORGAN CONSULTANT Columbus, Indiana 7 MARCH 19 MARCH www.gabrielkney.com 812/372-2851 Thomas Murray; Cincinnati Museum Center, •James David Christie, masterclass; Winnet- Cincinnati, OH 7:30 pm ka Congregational Church, Winnetka, IL 10 am Konstantin Volostnov; University of St. Thomas, St. Paul, MN 8:15 pm 20 MARCH David Spicer; First Church of Christ, Wethers- David Lowry 9 MARCH fi eld, CT 4 pm David Simms; North Christian Church, Co- Ludwig Ruckdeschel; Cathedral Church of ARTHUR LAMIRANDE THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD lumbus, IN 12 noon St. John the Divine, New York, NY 5 pm [email protected] 1512 BLANDING STREET, COLUMBIA, SC 29201 Elizabeth Lenti; St. Thomas Church Fifth Av- DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY 10 MARCH enue, New York, NY 5:15 pm www.youtube.com/watch?v=WTkDk-cX1X4 ROCK HILL, SC 29733 John Jull; Christ Church, Bradenton, FL 12:15 Ken Cowan, with Lisa Shihoten, violin; Jeru- pm salem Evangelical Lutheran, Rothsville, PA 4 pm Jeremy Filsell; Washington National Cathe- 11 MARCH dral, Washington, DC 5:15 pm Amanda Mole; Trinity Church, Boston, MA Choral concert; Cathedral of Mary Our Queen, 12:15 pm Baltimore, MD 5 pm James R. Metzler William Whitehead; Church of St. Mary the Hymn Festival; Brevard-Davidson River Pres- Park Congregational Church Virgin, New York, NY 8 pm byterian, Brevard, NC 3:30 pm Grand Rapids, Michigan Daniel Umholtz; Holy Trinity Lutheran, Lan- Robert Parkins; Duke Chapel, Duke Univer- caster, PA 12:30 pm sity, Durham, NC 5 pm www.youtube.com The American Boychoir, with Golden Isles The American Boychoir; Moorings Presbyte- TheCathedralOrganist Children’s Chorus; St. Simons Presbyterian, St. rian, Naples, FL 4 pm Simons Island, GA 7:30 pm Gail Archer; St. Joseph R.C. Church, Macon, Chanticleer; St. Peter in Chains Cathedral, GA 2 pm Cincinnati, OH 7:30 pm Marilyn Keiser; Broad Street Presbyterian, Timothy Baker; Trinity United Methodist, New Columbus, OH 4 pm LEON NELSON Albany, IN 12 noon Cleveland Institute of Music students, Bach, A.S.C.A.P. Orgelbüchlein; Christ Episcopal, Shaker Heights, FELLOW, AMERICAN GUILD OF ORGANISTS University Organist 12 MARCH OH 7:30 pm North Park University Mark Bani; St. Agnes Church, New York, NY Evensong; Christ Church Grosse Pointe, 345 SADDLE LAKE DRIVE 4:30 pm Grosse Pointe Farms, MI 4:30 pm ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois (770) 594-0949 Carole Terry; University of Tampa, Tampa, FL Andrew Fredel; Madonna della Strada Cha- 7:30 pm pel, Loyola University, Chicago, IL 3 pm Lawrence Lawyer, with violins, cello, and ten- 13 MARCH or; Cathedral of St. Paul, St. Paul, MN 2:30 pm Christopher Houlihan; First Church of Deer- DOUGLAS O’NEILL BEDE JAMES PARRY fi eld, Deerfi eld, MA 3 pm 22 MARCH Cathedral of the Madeleine Isabelle Demers; Christ Church, Waverly, RI Ray Cornils, Bach Birthday Bash; Merrill Au- ALL SAINTS’ CHURCH 4 pm ditorium, Portland, ME 2 pm, 7:30 pm Salt Lake City, Utah Choral Evensong; All Saints, Worcester, MA The American Boychoir, with Georgia Children’s Chorus; First United Methodist, Athens, GA 7 pm [email protected] AS EGAS EVADA 5 pm 801/671-8657 L V , N Gail Archer, Franz Liszt: A Hungarian Rhap- Jason Wright; Peachtree Road United Meth- sody; West End Collegiate Church, New York, odist, Atlanta, GA 7 pm NY 3 pm Adam Brakel; Cathedral Church of St. John 23 MARCH MARILYN MASON the Divine, New York, NY 5 pm Ed Bruenjes; Asbury United Methodist, Co- CHAIRMAN, DEPARTMENT OF ORGAN Frederick Teardo; St. Thomas Church Fifth lumbus, IN 12 noon UNIVERSITY OF MICHIGAN Avenue, New York, NY 5:15 pm ANN ARBOR Handel, Messiah, Parts II and III (staged); Bryn 24 MARCH Mawr Presbyterian, Bryn Mawr, PA 4 pm Robert Shone; Christ Church, Bradenton, FL “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Choral Evensong; St. John’s Episcopal, Hag- 12:15 pm with awesome technique and a thrilling command of its daring writing.” erstown, MD 5 pm Wesley Roberts; Ransdell Chapel, Camp- The American Organist, 1980 Choral concert; Cathedral of Mary Our Queen, bellsville University, Campbellsville, KY 8 pm Baltimore, MD 6:30 pm The American Boychoir; Palms Presbyterian, 25 MARCH Jacksonville Beach, FL 3 pm Eugene Lavery; Trinity Church, Boston, MA SYLVIE POIRIER Carole Terry; University of Tampa, Tampa, 12:15 pm LARRY PALMER FL 3 pm Peter Brown; Holy Trinity Lutheran, Lancast- Georgia State Chorus and Orchestra; er, PA 12:30 pm Professor of PHILIP CROZIER Peachtree Road United Methodist, Atlanta, GA Glenn Kime; Emmanuel Church, Chester- ORGAN DUO 3 pm town, MD 7:30 pm Harpsichord and Organ Barrington Children’s Choir; First Presbyterian, Jeremy Filsell; Centenary United Methodist, 3355 Queen Mary Road, Apt 424 Arlington Heights, IL 4 pm Richmond, VA 7:30 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec The American Boychoir; First Presbyterian, 14 MARCH Lynchburg, VA 7:30 pm SOUTHERN METHODIST UNIVERSITY Canada The American Boychoir; Eastminster Presby- The Chenaults; Church of the Redeemer, terian, Indialantic, FL 7 pm Sarasota, FL 7:30 pm (514) 739-8696 Dallas, Texas 75275 Tom Trenney, recital and silent fi lm accom- Theresa Bauer; St. Mark’s United Church of Fax: (514) 739-4752 paniment; St. Mary’s Episcopal Cathedral, Mem- Christ, New Albany, IN 12 noon phis, TN 7 pm Sietze de Vries; House of Hope Presbyterian, Musical Heritage Society recordings [email protected] St. Paul, MN 8 pm 15 MARCH The American Boychoir, with Choristers of 26 MARCH First Presbyterian; First Presbyterian, Vero Ian Tomesch; Christ Church, New Haven, CT Beach, FL 7 pm 3 pm David Schout; Park Congregational, Grand Bach, Mass in B Minor; Woolsey Hall, New Rapids, MI 12:15 pm Haven, CT 8 pm A four-inch Professional Card Karen Beaumont; Incarnation Lutheran, Mil- Solemn Evensong; Christ & St. Stephen’s waukee, WI 3 pm Episcopal, New York, NY 5 pm in THE DIAPASON Northwest Choral Society; Community Presby- 16 MARCH terian, Mount Prospect, IL 7:30 pm For rates and specifi cations Nancianne Parrella, with violin, harp, and cello; Church of St. Ignatius Loyola, New York, 27 MARCH contact Jerome Butera NY 7:30 pm Jennifer McPherson; All Saints, Worcester, Glenn Osborne; Morrison United Methodist, MA 5 pm 847/391-1045 Leesburg, FL 12 noon Singing Boys of Pennsylvania; Cortland State The American Boychoir, with Florida’s Sing- University, Cortland, NY 2 pm [email protected] ing Sons Boychoir; First Presbyterian, Pompano James Hopkins; Cathedral Church of St. John Beach, FL 7 pm the Divine, New York, NY 5 pm Colin Andrews & Catherine Elliott; First Svetlana Berezhnaya; St. Thomas Church Presbyterian, Columbus, IN 12 noon Fifth Avenue, New York, NY 5:15 pm
30 THE DIAPASON
Feb 2011 pp. 29-33.indd 30 1/21/11 10:44:42 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Jonathan Biggers; Shadyside Presbyterian, James O’Donnell; All Saints Episcopal, Fort Pittsburgh, PA 4 pm Worth, TX 7:30 pm Stephen G. Schaeffer Florian Wilkes; Washington National Cathe- Houston Chamber Choir; The Rothko Chapel, ROBERT L. dral, Washington, DC 5:15 pm Houston, TX 8 pm Recitals – Consultations The American Boychoir; Episcopal Church of Paul Jacobs, with orchestra; Segerstrom Hall, SIMPSON the Redeemer, Bethesda, MD 4 pm Orange County Performing Arts Center, Costa Cathedral Church of the Advent Jeremy Filsell; Episcopal Church of Bethes- Mesa, CA 8 pm Birmingham, Alabama Christ Church Cathedral da-by-the-Sea, Palm Beach, FL 4 pm 1117 Texas Avenue Gail Archer; North Presbyterian Church, Cin- 26 FEBRUARY www.AdventBirmingham.org Houston, Texas 77002 cinnati, OH 3 pm Houston Chamber Choir; The Rothko Chapel, Choral Evensong; Cathedral Church of St. Houston, TX 8 pm Paul, Detroit, MI 4 pm Fantini Feste II, organ and trumpet; Doc Ran- Scott Hanoian, works of Brahms; Christ Church do Hall, University of Nevada, Las Vegas, NV Stephen Tappe Grosse Ponte, Grosse Pointe Farms, MI 4:30 pm 7:30 pm Organist and Director of Music Beal Thomas Katelyn Emerson, Katie Minion; First Pres- Paul Jacobs, with orchestra; Segerstrom Hall, byterian, Evansville, IN 4 pm Orange County Performing Arts Center, Costa Saint John's Cathedral Baltimore Choral Evensong; Cathedral Church of the Ad- Mesa, CA 8 pm Denver, Colorado vent, Birmingham, AL 4 pm www.sjcathedral.org [email protected] Kammerchor; Concordia University, Mequon, 27 FEBRUARY WI 3:30 pm Ken Cowan; Recital Hall, Texas A&M Interna- Richard Hoskins, with mezzo-soprano and viole tional University, Laredo, TX 4 pm Robert Bates; St. Philip Presbyterian, Hous- de gambe; St. Chrysostom’s, Chicago, IL 2:30 pm ton, TX 6 pm ORGAN MUSIC OF THE SPANISH BAROQUE University of Minnesota Choirs; Cathedral of Organized Rhythm (Clive Driskill-Smith, or- St. Paul, St. Paul, MN 2:30 pm gan, Joseph Gramley, percussion); Hamilton David Troiano Joe Utterback Recital Hall, University of Denver, Denver, CO 28 MARCH DMA MAPM 3 pm COMMISSIONS & CONCERTS Massimo Nosetti ; Elliott Chapel, Presbyterian Bradley Hunter Welch; First Congregational, 586.778.8035 Homes, Evanston, IL 1:30 pm 732 . 747 . 5227 Los Angeles, CA 4 pm [email protected] James Welch, works of Bach; Mission Church, 29 MARCH Santa Clara University, Santa Clara, CA 2 pm Kevin Soodsma; Park Congregational, Grand Rapids, MI 12:15 pm 28 FEBRUARY Mary Preston; Meyerson Symphony Center, David Wagner 30 MARCH Dallas, TX 12:30 pm DMA Kevin Walters Brett Judson; Woolsey Hall, Yale University, Madonna University New Haven, CT 12:30 pm 1 MARCH M.A., F.A.G.O. John Matthews, Jr.; Grace Lutheran, Colum- James O’Donnell; Co-Cathedral of the Sa- Livonia, Michigan bus, IN 12 noon cred Heart, Houston, TX 7:30 pm [email protected] Rye, New York 31 MARCH 4 MARCH Carol Hawkinson, with baritone; Christ VocalEssence; Orchestra Hall, Minneapolis, Church, Bradenton, FL 12:15 pm MN 8 pm Pamela Decker; Holsclaw Hall, University of UNITED STATES Arizona, Tucson, AZ 7 pm KARL WATSON Cherie Wescott West of the Mississippi Concerts • Masterclasses • Coaching 6 MARCH SAINT LUKE’S Aaron David Miller; Christ the King Lutheran, 405/942-3958 19 FEBRUARY Houston, TX 6 pm e-mail: [email protected] Gail Archer, masterclass; St. Olaf College, St. Craig Cramer; Trinity Lutheran, Lynnwood, METUCHEN Olaf Church, Minneapolis, MN 10 am WA 7 pm Bradley Hunter Welch; First United Method- Gail Archer; Grace Cathedral, San Francisco, CA 4 pm ist, Waxahachie, TX 7:30 pm Davis Wortman 20 FEBRUARY 9 MARCH RONALD WYATT Gail Archer; St. Olaf Church, Minneapolis, Christoph Bull, children’s concert; Shumei MN 7 pm Arts Council of America, Pasadena, CA 12 noon St. James’ Church Trinity Church Collegium Vocale, works of Charpentier; Sec- ond Presbyterian, St. Louis, MO 4 pm 10 MARCH New York Galveston Mary Joy Rieder Dong-ill Shin; Christ United Methodist, Plano, ; St. Barnabas Lutheran, Plymouth, MN 12:30 pm TX 7 pm 11 MARCH 21 FEBRUARY Robert Bates; Bales Recital Hall, University of Charles Dodsley Walker, FAGO Carol Williams; Spreckels Organ Pavilion, Kansas, Lawrence, KS 7:30 pm Balboa Park, San Diego, CA 2 pm Las Cantantes; Keller Hall, University of New Artist-in-Residence Founder/Conductor Mexico, Albuquerque, NM 7:30 pm Saint Luke’s Parish Canterbury Choral Society 24 FEBRUARY John Burke; Church of the Incarnation, Santa 1864 Post Road 2 East 90th Street Maury Castro; St. Olaf College, Northfi eld, Rosa, CA 6 pm Darien, CT 06820 New York, NY 10128 MN 8:15 pm (917) 628-7650 (212) 222-9458 Paul Jacobs, with orchestra; Segerstrom Hall, 12 MARCH Orange County Performing Arts Center, Costa Houston Chamber Choir; Alley Theatre, Hous- Mesa, CA 8 pm ton, TX 7:30 pm William Webber, C.A.G.O. 25 FEBRUARY 13 MARCH Clive Driskill-Smith; St. Mark’s Episcopal, St. Paul Jacobs; First Presbyterian, Rochester, Organist/Director, First Christian Church, Danville, KY Louis, MO 7:30 pm MN 4 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
Cathedral of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581, ext. 106
Maxine Thévenot Director of Cathedral Music & Organist
FEBRUARY, 2011 31
Feb 2011 pp. 29-33.indd 31 1/21/11 10:45:08 AM Ken Cowan, with Lisa Shihoten, violin; Clin- 17 MARCH Christ Church Choir; Christ Episcopal Church, Tim Wakerell; St. Paul’s Cathedral, London, ton United Methodist, Clinton, MO 4 pm Dongho Lee; Ellis Recital Hall, Missouri State Tacoma, WA 5 pm UK 4:45 pm Naomi Shiga; Lagerquist Hall, Pacifi c Luther- University, Springfi eld, MO 7:30 pm Simon Johnson; Christ’s Chapel, Dulwich, an University, Tacoma WA 3 pm 23 MARCH London, UK 7:45 pm Stephen Tharp; Walt Disney Concert Hall, 18 MARCH Ken Cowan; Cathedral Basilica of St. Louis, Los Angeles, CA 7:30 pm Philip Brisson; Grace St. Paul’s Episcopal, St. Louis, MO 2:30 pm 28 FEBRUARY Konstantin Volostnov; St. James’ Episcopal, Tucson, AZ 7:30 pm Alison Luedecke, with Millennia Too!; Biola Gregory Drott; St. Michael’s, Cornhill, Lon- Los Angeles, CA 6 pm Maxine Thévenot; Pulaski Heights United University, La Mirada, CA 12:30 pm don, UK 1 pm David Gell, works of Bach; Trinity Episcopal, Methodist, Little Rock, AR 8 pm Christopher Moore; Southwark Cathedral, Santa Barbara, CA 3:30 pm 25 MARCH London, UK 1:10 pm 20 MARCH •Nicholas Schmelter, with friends; Church of 14 MARCH John Romeri, with tenor; Cathedral Basilica of SS. Peter and Paul, Mankato, MN 7:45 pm 5 MARCH Mary Preston; Meyerson Symphony Center, St. Louis, St. Louis, MO 2:30 pm Thomas Trotter; The Temple Church, Lon- Dallas, TX 12:30 pm Durufl é, Requiem; Second Presbyterian, St. 26 MARCH don, UK 4:10 pm Louis, MO 4 pm Michael Kleinschmidt; Christ Episcopal, Ta- 15 MARCH J. Melvin Butler & Alan de Puy, with so- coma, WA 7:30 pm 6 MARCH Ken Cowan, with Lisa Shihoten, violin; First pranos, works of Handel; Thomsen Chapel, St. Cherry Rhodes; Philharmonic Hall, Dortmund, United Methodist, Warrensburg, MO 7:30 pm Mark’s Cathedral, Seattle, WA 2 pm 27 MARCH Germany 6 pm Frederick Hohman; St. Andrew’s Lutheran, Ian Curror; St. Paul’s Cathedral, London, UK Mahtomedi, MN 4 pm 4:45 pm Paul Jacobs; First United Methodist, St. Oliver Brett; Westminster Cathedral, London, martin ott pipe Charles, MO 3 pm UK 4:45 pm organ Durufl é, Requiem; Ladue Chapel Presbyte- company David Titterington; Winspear Centre, Edmon- inc. rian, St. Louis, MO 4 pm ton, AB, Canada 3 pm Bruce Neswick; St. Paul’s Cathedral, Okla- 7408 Somerset Ave. St. Louis, MO 63105 homa City, OK 5 pm 7 MARCH 314-504-0366 Phone Herndon Spillman; Episcopal Church of the 314-569-3879 Fax Huw Williams; St. Michael’s, Cornhill, Lon- 801-756-5777 Martin Ott [email protected] Epiphany, Houston, TX 5 pm don, UK 1 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com Christopher Houlihan; St. Margaret’s Episco- Stephen Disley; St. Peter’s, Notting Hill, Lon- pal, Palm Desert, CA 5 pm don, UK 1 pm
28 MARCH 13 MARCH Parkey Las Cantantes; Keller Hall, University of New Cherry Rhodes; Philharmonic Hall, Berlin, Mexico, Albuquerque, NM 7:30 pm Germany 12 noon OrganBuilders Donald Hunt; St. Paul’s Cathedral, London, UK 4:45 pm Distinguished Pipe Organs INTERNATIONAL 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Suite 150-285 Fax 770-368-3209 14 MARCH Duluth, Georgia 30096 www.parkeyorgans.com 15 FEBRUARY David Graham; St. Michael’s, Cornhill, Lon- Robin Jackson & Maureen McAllister; don, UK 1 pm NEW INSTRUMENTS Solihull School, Solihull, West Midlands, UK sound INSPIRATION 7:30 pm 16 MARCH MAINTENANCE Tim Harper; Reading Town Hall, Reading, UK RESTORATIONS Acoustical Design & Testing • Organ Consultation & 20 FEBRUARY 1 pm 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video Robert Quinney; Westminster Cathedral, ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training London, UK 4:45 pm 20 MARCH ABR 847-395-1919 Simon Johnson; St. Paul’s Cathedral, Lon- F INCY Samuel Rathbone; St. Paul’s Cathedral, Lon- PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 email: [email protected] don, UK 4:45 pm don, UK 4:45 pm www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Federico Andreoni, works of Buxtehude; Benjamin Nicholas; Westminster Cathedral, Church of St. John the Evangelist, Montreal, QC London, UK 4:45 pm Canada 3 pm GAN BUILDERS - EST E OR . 187 21 MARCH PIP 7 Christopher Houlihan; Westminster United Pipe Organ Craftsmen & Builders _ Church, Winnipeg, MB, Canada 2:30 pm Jonathan Rennert; St. Michael’s, Cornhill, Hupalo GF London, UK 1 pm 1785 Timothy Drive, Unit 4 21 FEBRUARY San Leandro, CA 94577 Norman Harper; St. Michael’s, Cornhill, Lon- 24 MARCH & SAN FRANCISCO Repasky Tel: 510 483 6905 don, UK 1 pm Gerard Brooks; Dorking Parish Church, Dork- www.hupalorepasky.com w ing, UK 1 pm ww 58 James Scott; Southwark Cathedral, London, .sch 47-58 oenstein.com - (707) 7 UK 1:10 pm 26 MARCH 22 FEBRUARY Robert Munns; Bloomsbury Central Baptist, James O’Donnell; St. Thomas Anglican London, UK 4 pm Church, St. Catharines, ON, Canada 7:30 pm Marnie Giesbrecht; Alix Goolden Hall, Victo- 27 MARCH ria Conservatory of Music, Victoria, BC, Canada Daniel Cook; St. Paul’s Cathedral, London, 7:30 pm UK 4:45 pm Martin Baker; Westminster Cathedral, Lon- 26 FEBRUARY don, UK 4:45 pm James McVinnie; Bloomsbury Central Baptist Church, London, UK 4 pm 28 MARCH Gerard Brooks; St. Michael’s, Cornhill, Lon- Advertise in 27 FEBRUARY don, UK 1 pm Paul Dean; Westminster Cathedral, London, Jonathan Hope; Southwark Cathedral, Lon- A. David Moore, Inc. The Diapason UK 4:45 pm don, UK 1:10 pm TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 [email protected] 802/457-3914
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Feb 2011 pp. 29-33.indd 32 1/21/11 10:45:35 AM 767, Wo soll ich fl iehin hin, BWV 694, Fuga op. 30, Dupré; Greensleeves (Two Carol Pre- 572, Bach; Cortège et Litanie, Dupré; Andan- sopra il Magnifi cat, BWV 733, Bach. ludes), Wright; Silent Night, Barber; Carillon te Sostenuto, Widor; Moto Ostinato, Eben. Organ Recitals (24 Pieces in Free Style), Vierne. MARGARET DE CASTRO, St. James RONA NADLER, harpsichord, St. James United Church, Montreal, QC, Canada, July STEPHEN HAMILTON, Wayzata Com- United Church, Montreal, QC, Canada, July BRUCE A. BENGTSON, Sinsinawa munity Church, Wayzata, MN, August 4: 6: Pass’e mezzo, Picchi; Susanne un jour, Mound, Sinsinawa, WI, August 4: Concert 27: Deux Glosados, Cabezon; Dies sind die heil’gen zehn Gebot’, BWV 678, Prélude et Choral No. I in E, Franck; Méditation, Duru- Merulo; Toccata Seconda, Ricercar Seconda, Etude in E-fl at, Strejc; Praeludium in E, fl é; Suite Gothique, op. 25, Boëllmann. Canzona Prima, Frescobaldi; Bonjour, mon Chaconne in e, Buxtehude; Herzlieb hab’ ich Fugue en si mineur, BWV 544, Bach; Master Tallis’s Testament (Six Pieces for Organ, no. coeur, Philips; Gallardas de primero tono de dich, o Herr, Walther; Herzlieb hab’ ich dich, KATHRINE HANDFORD, Shrine of todo gusto, Cabanilles; Toccata Prima, Rossi; o Herr, Krebs; Fantasy and Fugue in c, BWV 3), Howells; Prélude et Fugue en mi-bémol majeur, op. 99, Saint-Saëns. our Lady of Guadalupe, La Crosse, WI, Ciaccona, Storace. 537, Bach; Organ Sonata No. 16, Rheinber- July 25: Prelude and Fugue in E, BWV 566, ger; Paraphrase on a chorus of Handel’s Judas CHARLES ECHOLS, Shrine of Our Lady Wenn wir in höchsten Nöten sein, BWV FRANCINE NGUYEN-SAVARIA, St. Maccabaeus, Guilmant. 668a, Bach; Variations on a Norwegian Folk James United Church, Montreal, QC, Cana- of Guadalupe, La Crosse, WI, July 11: Fan- Tune, Sløgedal; As If the Whole Creation da, August 24: Ave Maris Stella, de Grigny; DAVID BOHN, St. Bernard Catho- fare, Shelley; Passacaglia in g, op. 23, Dun- Cried (Triptych), Paulus; Fugue sur le thème Adagio (Concerto No. 3 in d, BWV 974), lic Church, Appleton, WI, August 18: H, ham; Deep River, Rogers; Sonata in E-fl at, du Carillon des heures de la Cathédrale de Bach; Etude pour les petits pieds, Latreille; Skempton; O God Abufe (3 Organ Volun- Parker; Still Be My Vision (Triptych), Paulus; Soissons, Durufl é; I. (Deux Fresques), Tour- Pièce Héroïque, Franck; O Gott, du frommer taries); Davies; Gloria Tibi Trinitas, Tallis; Toccata, op. 32, Becker. nemire; Scherzo, A. Alain; Marche sur un Gott, op. 122, no. 7, Brahms; Berceuse sur Voluntary in a, Greene; Slow Air, Wesley; thème de Haendel, Guilmant. deux notes qui cornent, JA 7 bis, Litanies, JA Glockengeläute, Fisher; Veni Redemptor KURT-LUDWIG FORG, with Philip Cro- 119, Alain. Gentium, Redford; Solo for Soprano, Smart; zier, narrator, St. James United Church, Mon- DAVID C. JONIES, Sinsinawa Mound, Festal Offertorium, Fletcher. treal, QC, Canada, July 20: Rodomontade for Sinsinawa, WI, July 28: Toccata Septima, DEREK E. NICKELS, Holy Name Ca- Narrator and Organ, Gawthrop; Le petit oi- Muffat; Voluntary in D, Blow; Symphonie thedral, Chicago, IL, August 15: Präludium JOHN COLLINS, St. John’s, Meads, East- seau, Tansman; Le Coucou, Daquin; Menuett Romane, op. 73, Widor; Chorale Prelude on in g, BuxWV 148, Buxtehude; Galliarda ex bourne, UK, August 7: Toccata Settima, Book ‘Der Wachtelschlag’, Haydn; Contrapunctus O Salutaris Hostia, Saint-Saëns; Prelude and D, Scheidemann; Ricercar, Sweelinck; Mag- 2, Frescobaldi; Voluntary op. 1, no. 4 in G, I, Contrapunctus II, Contrapunctus VII (The Fugue in G, BWV 541, Bach. nifi cat II. Toni, Weckmann; Vater unser im Walond; Cornet Piece no. 3 in A, Burney; Art of Fugue, BWV 1080), Bach; Festival Toc- Himmelreich, Böhm; Prelude and Fugue in G, Voluntary 4 in C, W. Goodwin; Voluntary no. cata, Fletcher. WILLIAM KUHLMAN, Shrine of Our BWV 550, Bach. 8 in d, S. Goodwin; Tiento de medio registro Lady of Guadalupe, La Crosse, WI, August de mano derecha de 1 Tono, Bruna; Sonata CAROLYN SHUSTER FOURNIER, 8: 2nd Suite, Clérambault; Suite Médiévale, NAOMI ROWLEY, First Presbyterian per Organo, Bajamonti; Voluntary no. 14 in Frederiksborg Castle, Copenhagen, Den- Langlais; Pastorale, Franck; Berceuse (Suite Church, Neenah, WI, July 14: Trumpet Tune, G, Marsh. mark, July 11: La Romanesca, Valente; Varia- Bretonne, op. 21), Cortège et Litanie, op. Carter; Variations on ‘Jesus, Priceless Trea- tions on Dowland: The King of Denmarks 19, Dupré. sure,’ Drischner; Andante (Concerto in g/G, PHILIP CROZIER, Basilique Notre- Galiard, Scheidt; Nun bitten wir den Heiligen op. 4, no. 1), Handel; Aria, Burkhardt; Pre- Dame, Montreal, QC, Canada, July 18: Pre- Geist, BuxWV 208, Buxtehude; Chaconne en MARK W. McCLELLAN, Sinsinawa lude and Fugue in F, Lübeck; Les Petites mier Choral en mi majeur, Franck; Canon in sol mineur, L. Couperin; Toccata und Fuge in Mound, Sinsinawa, WI, August 18: Trumpet Cloches, Purvis; Toccata (Suite Gothique, op. 25), Boëllmann. si mineur, op. 56, no. 5, Schumann; Praeludi- F, BWV 540, Bach; Pièce d’orgue en sol mi- Tune, German; Brollöpstág Hochzeitsmarch, um en sol mineur, BuxWV 163, Buxtehude; neur, Chauvet; Prélude, Fugue et Variation, Hägg; Processional in C, Hopson; Sonata Choral Song and Fugue, S.S. Wesley; Miroir, for Organ in the style of a military band that STEPHEN SCHNURR, First Congrega- Wammes; Sonata Eroïca, Jongen. op. 18, Franck; Grand Chœur alla Haendel sounds like a March, Gherardeschi; Blessed tional Church, Michigan City, IN, July 7: Prae- Evangelische Kirche, Nieder-Moos, Ger- en ré majeur, op. 18, Guilmant; Postlude pour Jesus, at Thy Word, Manz; Arioso, Bach, ludium et Fuga in a, BWV 543, Bach; Prélude, many, August 1: Choral Song and Fugue, l’offi ce de complies, Litanies, Alain. arr. Purvis; God of Grace, and God of Glory, op. 29, no. 1, Pierné; Humoresque ‘L’organo S.S. Wesley; Méditation sur O Filii et fi liae, Manz; Trumpet Tune, Prelude in Classic Style, primitivo’, Yon; Traümerei, Schumann, Bédard; Nicht schnell und sehr markiert, op. MARILLYN FREEMAN, with Ralph Young; Elegy, Thalben-Ball; Hornpipe Hu- transcr. Lemare; Minuet in G, Beethoven, 58, no. 1, Lebhaft, op. 58, no. 3 (Skizzen für Freeman, piano; St. Paul Lutheran Church, moresque, Rawsthorne; Fugue in f, Peterson. transcr. Lemare; All through the Night, My den Pedal Flügel), Schumann; Ciacona in e, Neenah, WI, August 25: O Whither Shall Old Kentucky Home, Foster, transcr. Lemare; BuxWV 160, Praeludium in g, BuxWV 163, I Flee?, My Soul Exalts the Lord, Praise to ANNA MYEONG, Westminster Abbey, Introduction and Passacaglia (Sonata VIII in Buxtehude; O Gott, du frommer Gott, BWV the Lord (Schübler Chorales), Bach; Ballade, London, UK, August 29: Pièce d’orgue, BWV e, op. 132), Rheinberger.
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Tuner/Service Technician—Increased de- Richard Peek (1927–2005) was best CD Recording, “In memoriam Mark Bux- The Organ Historical Society has released mand for quality service and tuning compels us known for “Aria.” His A Festive March ton (1961–1996).” Recorded at Église Notre- Historic Organs of Indiana, 4 CDs recorded at to enlarge our staff to cover a wider geographi- (Marche en rondeau), known to friends for Dame de France in Leicester Square, London, the OHS National Convention in Central Indiana cal area as we continue to expand after 35 years, is now available in a printed edition. between 1987 and 1996. Works of Callahan, in July, 2007. Nearly 5 hours of music features years in the pipe organ industry. We are look- michaelsmusicservice.com; 704/567-1066. Widor, Grunewald, Salome, Ropartz, and Boëll- 31 pipe organs built between 1851–2004, by ing for self-motivated, self-reliant, experienced mann, along with Buxton’s improvisations. $15 Aeolian-Skinner, Skinner, Henry Erben, Fel- technicians with 10 years experience or more postpaid: Sandy Buxton, 10 Beachview Cres- gemaker, Hook & Hastings, Kilgen, Kimball, in the industry. Extensive travel is required Wayne Leupold Editions announces new cent, Toronto ON M4E 2L3 Canada. 416/699- and many more builders. Performers include and a willingness to relocate is a strong plus. publications, including the Clavier-Übung III 5387, FAX 416/964-2492; e-mail hannibal@ Ken Cowan, Thomas Murray, Bruce Stevens, Applicants should have a high degree of me- of the complete Bach organ works, and the idirect.com. Carol Williams, Christopher Young, and others. chanical aptitude, a good driving record, and a Anthology of Eighteenth-Century Spanish A 40-page booklet with photos and stoplists is demonstrated ability with the pipe organ. This Keyboard Music. New works include compo- included. OHS-07 4-CD set is priced at $34.95 is a full-time position and pay rate will be com- sitions by Samuel Adler, Chelsea Chen, Car- The OHS Catalog is online at www.ohscata- (OHS members, $31.95) plus shipping. Visit the mensurate with experience. We offer competi- son Cooman, Pamela Decker, Robin Dinda, log.org. More than 5,000 organ and theatre OHS Online Catalog for this and over 5,000 oth- João Wilson Faustini, Calvin Hampton, Dennis tive wages, full benefi ts package, and a unique organ CDs, books, sheet music, DVDs and er organ-related books, recordings, and sheet Janzer, Bálint Karosi, Rachel Laurin, Austin opportunity to continue in the trade. Serious VHS videos are listed for browsing and easy music: www.ohscatalog.org. inquiries only, please send all correspondence Lovelace, Margaret Sandresky, Larry Visser, ordering. Use a link for adding your address to: [email protected]. and many others. Numerous volumes of tran- to the OHS Catalog mailing list. Organ Histori- scriptions are available, including works by THE DIAPASON 2011 Resource Directory Scott Joplin, Maurice Ravel, and Gioachino cal Society, Box 26811, Richmond, VA 23261. E-mail: [email protected]. was mailed to all subscribers with the January Shadyside Presbyterian Church, 5121 Rossini. For information: 800/765-3196; 2011 issue. Additional copies are available at Westminster Place, Pittsburgh, PA, 15232- www.wayneleupold.com. a cost of $5.00 postpaid. Contact the editor, 2116. Web: www.shadysidepres.org. Director Historic Organ Surveys on CD: recorded Jerome Butera, at 847/391-1045, jbutera@ of Music Ministry, full time, including organ- sgcmail.com. ist/choir director. A complete job description Reflections: 1947–1997, The Organ Depart- during national conventions of the Organ His- can be found at the above website, then by ment, School of Music, The University of Mich- torical Society. Each set includes photographs, opening “A Worshipping Community”, then igan, edited by Marilyn Mason & Margarete stoplists, and histories. As many organists as “Music”, then “Dir. Music Posting”. Résumé, Thomsen; dedicated to the memory of Albert organs and repertoire from the usual to the PIPE ORGANS references, and a brief statement of faith may Stanley, Earl V. Moore, and Palmer Christian. unknown, Arne to Zundel, often in exceptional FOR SALE be sent to [email protected], or to Includes an informal history-memoir of the performances on beautiful organs. Each set Peter Bodnar at the street address above. organ department with papers by 12 current includes many hymns sung by 200–400 musi- Four small pipe organs for sale. Great prices. and former faculty and students; 11 scholarly cians. Historic Organs of Indiana, 31 organs For more information, please go to our website, articles; reminiscences and testimonials by on 4 CDs, $34.95. Historic Organs of Louisville www.milnarorgan.com. PUBLICATIONS/ graduates of the department; 12 appendices, (western Kentucky/eastern Indiana), 32 organs and a CD recording, “Marilyn Mason in Re- on 4 CDs, $29.95. Historic Organs of Maine, RECORDINGS cital,” recorded at the National Shrine of the 39 organs on 4 CDs, $29.95. Historic Organs 1969 Möller Double-Artiste. 2 manuals, 9 Immaculate Conception in Washington, DC. of Baltimore, 30 organs on 4 CDs, $29.95. ′ Transcriptions are popular again! Con- $50 from The University of Michigan, Prof. ranks (including Mixture and 16 Trompette), 28 Historic Organs of Milwaukee, 25 organs in stops. Newly releathered and renovated. $44,500 sider the Poet and Peasant Overture by Marilyn Mason, School of Music, Ann Arbor, Wisconsin on 2 CDs, $19.98. Historic Organs Franz von Suppé, transcribed by Lemare. MI 48109-2085. plus installation. [email protected]; of New Orleans, 17 organs in the Bayous to 617/688-9290. The audience recognition is worth the work. Natchez on 2 CDs, $19.98. Historic Organs of michaelsmusicservice.com; 704/567-1066. Request a free sample issue of The Diapason San Francisco, 20 organs on 2 CDs, $19.98. for a student, friend, or colleague. Write to the Add $4.50 shipping in U.S. per entire order Martin Pasi pipe organ—Two manuals, 24 Send recital programs to THE DIAPASON, 3030 W. Editor, The Diapason, 3030 W. Salt Creek Lane, from OHS, Box 26811, Richmond, VA 23261, stops, suspended-tracker action. $350,000. Web: Salt Creek Lane, Suite 201, Arlington Heights, IL Suite 201, Arlington Heights, IL 60005; or e-mail: by telephone with Visa or MasterCard 804/353- http://martin-pasi-pipe-organ-sale.com; phone: 60005; e-mail: [email protected]. [email protected]. 9226; FAX 804/353-9266. 425/471-0826.
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34 THE DIAPASON
Feb 2011 pp. 34-35.indd 34 1/13/11 9:41:42 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1929 Estey “Minuette” with 3 unifi ed Compact Rieger 26-rank 2-manual (61), Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions ″ ″ 1 1 ″ ranks, a very rare 2-manual instrument in pedal (32). 66 x 88 x 87 ⁄2–90 ⁄2 tall. $40,000 parts. Let us know what you are looking for. and mechanisms. Highest quality materials and a grand piano style case. Completely re- OBO. Contact [email protected], E-mail [email protected] (not comcast), workmanship. Reasonable rates. Columbia 858/945-5549. phone 215/353-0286 or 215/788-3423. built including case refi nishing and a new Organ Leathers 800/423-7003. www.columbia blower. $20,000. Contact Box JU-6101, organ.com/col. THE DIAPASON. 1930s-era Wangerin, 13 ranks, unifi ed to 24 Wood pipes. Missing pipes made to match. stops, electro-pneumatic action. 2 manuals, all Damaged pipes in any condition repaired. Over Highest quality organ control systems since in one expressive chamber. Buyer to remove. 25 years experience. Filip Cerny, 814/342-0975. 1989. Whether just a pipe relay, combination Available for removal end of May, 2010. Pil- action or complete control system, all parts Beautiful Dobson tracker organ: Excellent grim Lutheran Church, 1935 St. Claire Ave., are compatible. Intelligent design, competitive sound! 12 stops with 8′ Principal. 13′19″ tall. St. Paul, MN 55105, 651/699-6886, pilgrim@ SERVICES/ pricing, custom software to meet all of your re- $236,000. Richard Wanner, Berkeley, California. pilgrimstpaul.org. SUPPLIES quirements. For more information call Westa- 510/841-4382. See www.dobsonorgan.com/html/ cott Organ Systems, 215/353-0286, or e-mail instruments/op62_berkeley.html or www.organ- [email protected] clearinghouse.com/instr/detail.php?instr=2396. MISCELLANEOUS Aeolian/Robert Morton-style maroon leather WANTED is now available from Columbia Organ Leathers! Highest quality. 800/423-7003, ANNOUNCEMENTS Late-1800s 2-manual Pilcher tracker pipe www.columbiaorgan.com. organ is available, for just the cost to relo- Wanted—Old Klann KCA and KKA cate and refurbish. Specification and photo actions and/or parts. E-mail Sandy at Are you receiving THE DIAPASON E-News? at www.pipe-organ.com. Arthur Schlueter, III, sshifl [email protected]. Austin actions recovered. Over 40 years ex- Our newsletter is e-mailed monthly to our reg- 800/836-2726. perience. Units thoroughly tested and fully guar- istered subscribers; a separate issue each anteed. Please call or e-mail for quotes. Tech- month sends you our web classifi ed ads. Don’t MISCELLANEOUS nical assistance available. Foley-Baker, Inc., 42 miss out! To register, visit www.TheDiapason. Available March 2011. Moller Opus 11546 FOR SALE N. River Road, Tolland, CT 06084. Phone 1- com, click on Newsletter, and enter your con- (1981), 3-manual, 34+ ranks. Polished zinc 800/621-2624. FAX 860/870-7571. foleybaker@ tact information. exxposed pipes symmetrically set in wood sbcglobal.net. fi nish casework. Chicago area. Come try it! Atlantic City Pipe Organ Company—Historic 1901 C.S. Haskell: 16′ wood and metal strings, Contact Adrienne: 847/816-1468; a.tindall@ ′ Need help with your re-leathering Postal regulations require that mail comcast.net. reeds, metal principals. Gottfried 16 Fagotto, 8′ Oboe, French Horn. 609/641-9422; http:// project? All pneumatics including to THE DIAPASON include a suite num- mywebpages.comcast.net/acorgan. Austin. Over 45 years experience ber to assure delivery. Please send (on the job assistance available). all correspondence to: THE DIAPASON, 1924 Estey, 1980s Berschdorf additions—25 615/274-6400. ranks, chests for 22 stops. Two enclosed divi- 3030 W. Salt Creek Lane, Suite 201, sions, two blowers, 3-manual stop tab console. Arlington Heights, IL 60005. Buyer to remove. Make offer. Luther Memo- The Diapason rial Chapel, 3833 N. Maryland Ave., Shorewood, 2011 Resource Directory ALL REPLIES WI 53211. 414/332-5732. Contact Tom Reb- TO BOX NUMBERS THE DIAPASON’s classified ads are holz at [email protected] or Martha Galvin at was sent with the January issue now available on THE DIAPASON [email protected]. that appear website—including photographs and Please check your supplier listing convenient e-mail links directly to the and make any needed corrections without an address sellers! Visit www.TheDiapason.com 1981 Lauck Residence Organ—2-manual, 3 should be sent to: and in the left-hand column, look for ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens W. Zimmer & Sons, inc. in USA included. $10 discount for Organpipes - since 1914 pipe organ builders members of the 50-Year Subscrib- 429 Marvin Road Fort Mill, SC 29707 ers Club. Order yours today: Flues - Reeds Phone/Fax: 803-547-2073 [email protected] Bedrijvenpark "Seyst" wzimmerandsons.com E-1 Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
FEBRUARY, 2011 35
Feb 2011 pp. 34-35.indd 35 1/14/11 12:32:27 PM 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] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011
The Choir of Saint Thomas Church, NYC John Scott, Director Available 2012
*=European artists available 2010-2011 and 2011-2012 Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young