THE DIAPASON MAY 2020

Blessed Sacrament Catholic Church Worcester, Massachusetts Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS

RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ

JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 5, Stay safe, stay healthy, stay home! Whole No. 1326 We have all heard some variation on this mantra countless MAY 2020 times in recent weeks. The staff of The Diapason wishes Established in 1909 our readers health and safety as we continue to make our way Stephen Schnurr ISSN 0012-2378 together through this unprecedented world-wide pandemic. 847/954-7989; [email protected] As of this writing, we are still on schedule with production www.TheDiapason.com An International Monthly Devoted to the Organ, of the monthly magazine for you, our subscribers. We are all the Harpsichord, Carillon, and Church Music working remotely to keep our journal coming to you and to In this issue keep our staff safe. We are pleased to present the CONTENTS winning entry for our fi rst Gruen- FEATURES Resources at our website stein Award, “Reevaluating Andrea Reevaluating Andrea Antico’s Frottole of As most of us will spend much of our foreseeable future Antico’s Frottole of 1517,” by Alex- 1517 mindful of social distancing, our dependence on the internet ander Meszler. Alex was featured in by Alexander Meszler 16 will become even more crucial. I take this opportunity to our May 2019 issue, both as a mem- NEWS & DEPARTMENTS remind you that the most recent issue as well as decades of ber of The Diapason’s 20 Under 30 Editor’s Notebook 3 issues of The Diapason are available at our website for our Class of 2019, and with his essay on Here & There 3 subscribers (www.thediapason.com). There you will fi nd a Klaus Huber. We were very pleased Appointments 6 treasure trove of reading and learning, available to you at any 1909 110 2019 with the various entries we received Nunc Dimittis 8 time. In addition, you can explore an ever-increasing number for our fi rst award, demonstrating On Teaching by Gavin Black 13 of videos, news stories (often posted before they can appear in great promise of scholarship in our In the wind . . . by John Bishop 14 print), artist spotlights, classifi ed ads, and other items. young people. REVIEWS Please consider this an opportunity to discover (or redis- In “In the Wind . . . ,” John Bishop refl ects on initial effects Book Reviews 11 cover) more and more about what we love in our lives—music, of this pandemic on worship and the arts. Gavin Black, in “On New Organ Music 12 especially as it pertains to the organ, church music, carillon, Teaching,” ponders these effects of the pandemic on keeping New Recordings 12 and harpsichord. Let us fi nd through the record of our tradi- focus when listening to music. Larry Palmer, “Harpsichord New Handbell Music 12 tion a renewed sense of momentum for when we are able to Notes” columnist, has taken this month off from writing and return our lives to a sense of normalcy. expects to return next month. ORGAN PROJECTS 24 Our cover feature spotlights the recent restoration of Skinner CHRIST CATHEDRAL ORGAN NEWS 25 Calendar items Organ Company Opus 736 by A. Thompson-Allen Company, CALENDAR 26 We have removed from our Calendar section those events LLC, for Blessed Sacrament Catholic Church, Worcester, RECITAL PROGRAMS 29 we know are canceled, and, of course, there are likely many Massachusetts. The ninety-year-old instrument is now ready CLASSIFIED ADVERTISING 30 more that are canceled. Some events may be offered online. for another near-century of service to its community. In “Organ Our “Here & There” section contains notices of conferences Projects,” Opus 36 of Marceau Pipe Organ Builders, Inc., is and conventions that we know are canceled or postponed as of featured, installed in Community United Methodist Church, our print deadline. Coeur d’Alene, Idaho. Q THE DIAPASON MAY 2020 Here & There

Corrections its summer organ recital series on the In “Here & There,” the Publica- cathedral’s 1962 Beckerath organ (four tions section (March 2020, page 6), manuals, 67 stops, 97 ranks), Sundays the announcement of the forthcoming at 3:30 p.m.: May 17, Kenneth Danchik; biography of Mildred Andrews Boggess July 12, Josef Sole-Coll; 7/19, Benjamin stated that she earned her graduate LaPrairie; 7/26, Rev. Ugo Patti; August degree from the University of Oklahoma. 2, Brendan Lowery; 8/9, James Wetzel; Andrews Boggess received her graduate 8/16, Hazel Eaton. For information: degree from the University of Michigan. http://stpaulpgh.org.

Blessed Sacrament Catholic Church Worcester, Massachusetts Cover feature on pages 22–23 In John Speller’s review of Margaret Ruffatti organ, Cathedral of St. Mary of the Phillips’s CD, Multum in Parvo (March Assumption, San Francisco, California COVER 2020, page 11), an incorrect website for A. Thompson-Allen Company, LLC, New obtaining the disc was given. The correct Prescott, organ, Vierne, Symphonie V. In Haven, Connecticut; Blessed Sacrament website is: www.margaretphillips.org.uk. addition, June 20, 7:00 p.m., Temple Hill Catholic Church, Worcester, Massachusetts 22 Choir and Orchestra, Alan Chipman, In David Troiano’s review of James director, presents Rob Gardner’s Lamb Aylward’s Ten Free Arrangements for of God. St. Mary’s Cathedral houses Editorial Director STEPHEN SCHNURR and Publisher [email protected] Organ Solo (April 2020, page 10), the a 1971 Fratelli Ruffatti organ of four 847/954-7989 address for ordering the music is 69 manuals, 89 ranks. For information: Benton Ave., San Francisco, California www.stmarycathedralsf.org. President RICK SCHWER [email protected] 94112. The price is $20, including ship- 847/391-1048 ping and handling. For information: 415/333-5702. Editor-at-Large ANDREW SCHAEFFER [email protected]

Sales Director JEROME BUTERA Events Methuen Memorial Music Hall [email protected] The Cathedral of St. Mary of the 608/634-6253 Circulation/ Assumption, San Francisco, California, Methuen Memorial Music Hall, Subscriptions THE DIAPASON announces recitals, Sundays at 4:00 Methuen, Massachusetts, announces P.O. Box 300 p.m.: May 10, Brain Swager, harp; 5/17, organ recitals, Wednesdays at 7:30 p.m.: Lincolnshire, IL. 60069-0300 [email protected] Kevin Navarro, piano; 5/24, Jin Kyung May 20: Pipedreams Live (young artists Toll-Free: 877/501-7540 Lim, organ, works of Bach; 5/31, Tactus concert with Michael Barone); 5/27, Local: 847/763-4933 a cappella choir, Jonathon Hampton, Bridgette Wargovich; June 3, David Designer KIMBERLY PELLIKAN director; June 7, David Brock, organ; Michael Kenney, Sr.; 6/10, Kyle Bertulli. [email protected] 6/14, John Karl Hirten, organ, works of For information: https://mmmh.org. 847/391-1024 Tournemire; 6/21, Michal Kopycinski, organ; 6/28, David Hatt, organ, Vierne, Beckerath organ, St. Paul Catholic Ca- The East Carolina Musical Arts Contributing Editors LARRY PALMER thedral, Pittsburgh, Pennsylvania Harpsichord Pièces de Fantaisie, Première suite; Education Foundation announces July 5, Karen Beaumont, organ; 7/12, organ recitals at St. Paul’s Episcopal BRIAN SWAGER Michael Bower, organ; 7/19, Jin Kyung St. Paul Catholic Cathedral, Church, Greenville, North Carolina, Carillon Lim, organ, works of Bach; 7/26, Jordan Pittsburgh, Pennsylvania, announces ³ page 4 JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the Reviewers Stephen Schnurr shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Jeffrey Schleff 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other John L. Speller Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. Leon Nelson POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 3 Here & There

³ page 3 Church, Syracuse, New York. Karl Wil- helm, the original builder, has come out of retirement to oversee both the instal- lation and tonal fi nishing. The Oratory is known for its varied choral repertoire spanning several centuries, performed by numerous ensembles. The liturgies are conducted in Latin using the Extraordinary Form of the Roman Rite. For more information on the project and on event ticketing: www.traditionfortomorrow.com.

Conventions and festivals The Twin Cities Early Music Fes- tival announces its 2020 events, July 25– C. B. Fisk, Inc., Opus 126, St. Paul’s August 9, held in coordination with the Episcopal Church, Greenville, North Historical Keyboard Society of North Carolina America and the Jurrow Harpsichord Competition. The festival will be held Ton Koopman and Peter Dejans, director of the Orpheus Institute (photo credit: Mark Wednesdays at 7:00 p.m.: May 27, in St. Paul, Minnesota. For information: Boone) Andrew Sheranian; June 3, Virginia www.tcearlymusic.org. Bolena; 6/10, Kris Rizzotto; 6/17, The Orpheus Institute, Ghent, Belgium, has acquired the library of Ton Koop- Filippa Duke; 6/24, Mark Pacoe; July man (b. 1944), a pioneer of the early music movement. Koopman is an organist, harp- 1, Garrett Law. This series celebrates Cancellations sichordist, conductor, music pedagogue, and researcher. His historically informed the 15th anniversary of 2005 C. B. Fisk, Christ Cathedral, Garden Grove, interpretations of Bach, Buxtehude, and their contemporaries, as well as music from Inc., Opus 126, a three-manual, 58-rank California, has postponed 2020 events the later eighteenth-century, can be heard on hundreds of CDs. organ. For information: for the dedication of the Hazel Wright In the course of his sixty-year career, Koopman has collected a large selection of http://stpaulsepiscopal.com. Organ. For all details, see page 25. books and music. Among the thousands of prints and manuscripts are numerous unique works, including a cantata by Handel unknown until recently. In addition to St. Bartholomew’s Conservancy, Church Music Association of this library with works from the fi fteenth to the nineteenth centuries, Koopman has established for the restoration of St. Bar- America has cancelled its Summer also collected thousands of modern books and periodicals on Baroque music and tholomew’s Episcopal Church, New Chant Intensive, which was to be held culture. Many of the books, both old and modern, have been annotated by Koopman. York, New York, presents the Philadel- June 15–20 in Gainesville, Florida, as The collection will be housed in the historic Koetshuis (coach house), which is phia Orchestra, Yannick Nézet-Séguin, well as the organization’s Church Music located next to the Orpheus Institute. The renovation of this building started in music director, David Robertson, con- Colloquium, to have been held June autumn 2019 and will last until summer 2020. In October, the library will open. The ductor, in concert with Paolo Bordignon, 22–27 in Tampa, Florida. For informa- Orpheus Institute will also make the collection available digitally to researchers in organist and choirmaster of the church, on tion: http://musicasacra.com. Belgium and beyond. For information: http://orpheusinstitute.org. the Aeolian-Skinner organ (Opus 275, fi ve manuals, 225 ranks) of St. Bartholomew’s This year’s American Theatre Church, June 29, 7:00 p.m. The program Organ Society convention has been will feature 16th–20th century works for rescheduled for July 5–10, 2021, to be organ and orchestra by Gigout, Jongen, headquartered in Indianapolis, Indiana. Bach, Fauré, Durufl é, Gabrieli, Beach, For information: www.atos.org. Saint-Saëns, and Elgar, including Leopold Stokowski’s orchestration of Bach’s Little Fugue in G Minor. (Stokowski served as organist and choirmaster of the church from 1905 until 1908.) For information: www.stbconservancy.org.

The McClosky Institute of Voice announces its summer seminars, July 9–12 in Salem, Massachusetts, and July 15–18 in Greenville, South Carolina. Port City Organ Festival Lectures on the McClosky Technique, anatomy and physiology of the speaking Michael Daugherty, Paul Jacobs, and Edward Gardner in Philadelphia voice, vocal disorders, and practicing repertoire will be presented. For infor- Paul Jacobs was the soloist February 27–29 in three performances with the Phila- mation: www.mcclosky.org. delphia Orchestra for Michael Daugherty’s organ concerto Once Upon a Castle, with Edward Gardner conducting. Jacobs also appears in a new release with the Cleveland Orchestra under the baton of Franz Welser-Most on the three-volume album, The Cleveland Orchestra: A New Century, performing Austrian composer Bernd Richard Deutsch’s Okeanos for organ and orchestra. For information: www.pauljacobsorgan.com.

Kotzschmar Organ, Merrill Auditorium, Portland, Maine

The Friends of the Kotzschmar Organ has cancelled its scheduled 2020 Port City Organ Festival, which was to have been held in Portland, Maine, August 20–23. The organization hopes to re-imagine the festival for a future date. 1991 Karl Wilhelm Opus 123, St. Francis For information: https://foko.org. de Sales Oratory, St. Louis, Missouri The Albert Schweitzer Organ St. Francis de Sales Oratory, St. Festival Hartford has postponed the Louis, Missouri, announces the inau- 2020 pipe organ competition and related gural recitals for the dedication of the festival events and will resume a full 1991 Karl Wilhelm Opus 123, Sundays schedule of events next year, with the at 2:00 p.m.: October 18, Olivier Latry; competition and festival taking place December 13, Steven Ball; March 14, September 24 and 25, 2021, at Trinity AUSTINORGANS.COM 2021, Michael Hey; May 16, Paul Jacobs. College Chapel in Hartford, Connecti- 
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Opus 123 is a three-manual and cut. For information: pedal, 58-rank, mechanical-action organ www.asofhartford.org. originally installed in First Presbyterian ³ page 6

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Appointments Paul Cienniwa is appointed executive director of the Binghamton Philharmonic, Binghamton, New York. Cienniwa was most recently director of music ministries at St. Paul’s Episcopal Church, Delray Beach, Florida. Prior to that, he was music direc- tor at First Church, Boston, Massachusetts, and Chorus Master of the New Bedford Symphony Orchestra. Cienniwa began his undergraduate stud- ies as a pianist in the studio of Michael Ruiz Paul Cienniwa at the American Conservatory of Music, Chicago, Illinois. After completing his bachelor’s degree at DePaul University with harpsichordist Roger Goodman and organist Jerome Butera, he received the Doctor of Musical Arts degree in harpsichord from Yale University, where he was a student of Richard Rephann. Eleanor Shockey at the Austin organ He has also studied harpsichord with Peter Watchorn, John Whitelaw, and Michael Quimby console of Hendricks Hall David Schrader. He has been awarded Belgian American Educational Foundation and Showing his appreciation for a former music teacher whose positive impact was Fulbright grants, and his musicological articles and reviews have appeared never forgotten, Michael Quimby, owner of Quimby Pipe Organs, Inc., is hon- in American and European journals, including Early Music, Ad Parnassum, oring the memory of Professor Eleanor Shockey by restoring the pipe organ she and Early Music America. As an educator, he has taught at the Yale Univer- once played at the University of Central Missouri, Warrensburg. The project for the sity School of Music, Lynn University Conservatory of Music, Salve Regina instrument in the university’s Hendricks Hall is expected to take three years. University, Stonehill College, Framingham State University, University of Quimby founded his fi rm in 1970 while attending what was then known as Central Massachusetts-Dartmouth, Mount Ida College, and the Music School of the Missouri State University. He studied voice under Shockey while earning his bach- Rhode Island Philharmonic. For information: www.paulcienniwa.com. Q elor’s degree in 1973 and his master’s degree in 1975, both in music. Restoration of the organ allows Quimby to show his gratitude for a great teacher and mentor, and it is also an opportunity to preserve an important piece of university history. The ³ page 4 Spirituals,” included area musicians who instrument was built by the Austin Organ Company of Hartford, Connecticut, and were involved with the music program was purchased by private gifts at a cost of $11,000. It was presented as a memorial Competitions at Second Baptist, each joining Pilgrim. to soldiers who died in World War I and was dedicated on January 19, 1924. The The Taylor Organ Competition, For information: www.djanzer.com. three-manual organ will be refurbished and enlarged to allow it to be more fl exible. sponsored by the Atlanta, Georgia, The project is part of a complete restoration of Hendricks Hall. For information: Chapter of the American Guild of https://quimbypipeorgans.com. Organists, will be held April 17, 2021, and is open to individuals born after June 1, 1998. First prize is $10,000 and a solo recital in Atlanta; second prize is $5,000. Deadline for application is October 15, 2020. For information: www.taylororgancompetition.com.

People

Orgelkids presentation at St. Paul’s Lu- theran Church, Des Peres, Missouri Students of St. Paul Lutheran School Wilma Jensen at Cathedral of St. John the Divine, New York City (photo credit: Jeannine and David Jordan presented their multi-media performance, Around James Mellichamp) the World in 80 Minutes, at St. Paul’s Lutheran Church in Des Peres, Missouri, February 9. On February 7, the Jordans facilitated experiences of the Orgelkids proj- On March 8, Wilma Jensen pre- ect for students of St. Paul Lutheran School. Working with 5th, 6th, and 7th grade sented a solo organ recital at the Cathe- students the miniature organ was built three times from over 120 pieces. At the end Dennis Janzer and Marcus King dral of St. John the Divine in New York of each build, the students were able to pump the bellows and play simple melodies City. The date marked her 91st birthday. on this fully functional tracker organ. Dennis Janzer performed January The program opened with the premier On February 10, the Jordans again met with the students of the school. David 26 at St. Mary’s Episcopal Cathedral, performance of a piece commissioned Jordan’s video featuring “Professor Bombarde” was shown. The video is designed to Memphis, Tennessee, where he is direc- for the occasion, Fanfare and Cortège, by introduce the pipe organ with audience interaction. Professor Bombarde asks mul- tor of music and organist. Part of St. Michael McCabe. This was followed by tiple-choice questions and eventually provides answers to those questions about the Mary’s “World Premiere Series,” the Suite for Organ: In Praise of Merbecke, pipe organ. The Jordans then performed a shortened version of Around the World in concert featured premieres of Janzer’s composed by former cathedral musi- 80 Minutes for this audience of 150 young people. For information: new arrangements of spirituals and an cian Alec Wyton, and Herbert Howells’s www.promotionmusic.org. organ transcription of “Bacchanale” Saraband in Modo Elegiaco. Jensen con- from Saint-Saëns’ Samson and Delilah. cluded with Grand Pièce Symphonique, Lyric baritone Marcus King sang each by César Franck. A large group of family of the spirituals followed by the organ and friends from around the country composition based on the tune. Selec- were on hand to celebrate the occasion. tions included “Walk together children,” For information: www.wilmajensen.com. “I’ve got peace like a river,” and “Joshua fi t the battle of Jericho.” These works are to be published by Wayne Leupold Editions as Janzer’s Third Organ Book of Spirituals, the original tune and text included. The Saint-Saëns transcription is already available from the publisher. A concert on March 1 at Second Bap- tist Church, Memphis, where Janzer was formerly organist, featured his piano/ organ duet arrangement of Psalm 19, “The Heavens Declare,” by Benedetto Marcello, published by MorningStar Andrew Peters and Rose Whitmore in Music. Janzer performed with pianist front of Casavant Opus 3838, Cox Audi- Julia Pilgrim who was celebrating her torium, Principia College, Elsah, Illinois 40th anniversary at Second Baptist. They were joined by trumpeter Daniel Hoch- Andrew Peters accompanied Harold stein in Janzer’s “A Voice is Calling.” Lloyd’s silent fi lm Safety Last! at Cox The concert, titled “Psalms, Hymns, and ³ page 9

6 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Saint George’s Episcopal Church Nashville, TN

ANDREW, DENVER, CO + ST. BARTHOLOMEW, ESTES PARK, CO + ST. DAVID, GLENVIEW, IL + ST. FRANCIS IN THE FIELDS, ZIONSVILLE, IN + ST. GEORGE, BELLEVILLE, IL + ST. JAMES, NEWPORT BEACH, CA + ST. PETER, CHI CAGO, IL + ST. GEORGE, NASHVILLE, TN ALL SAINTS, ATLANTA, GA + CHAPEL OF ST. JOHN THE DIVINE, CHAMPAIGN, IL + GRACE, SANDUSKY, OH + ST. OH + ST. IL + GRACE, SANDUSKY, JOHN THE DIVINE, CHAMPAIGN, GA + CHAPEL OF ST. ALL SAINTS, ATLANTA, John-Paul Buzard Organ, Opus 48, Installation in 2022 58 Ranks across Three Manuals & Pedal Fourth manual Antiphonal Organ prepared for future addition The Rev. Leigh Spruill, Rector | Dr. Woosug Kang, Director of Music Mr. Gerald Senechal, Organist and Associate Director | Ms. Wilma Jensen, Organist Emerita Mr. Scott Riedel, Acoustician and Organ Consultant

[email protected] | John-Paul Buzard, President & Artistic Director [email protected] | Keith Williams, Director of Sales [email protected] | Fredrick Bahr, Director, Service Department www.buzardorgans.com Here & There

Nunc Dimittis and they were mar- at Longwood College, Farmville, Virginia. She was ried in 1958. Fol- also organist of First Presbyterian Church, Farmville, lowing graduation and taught music in local public high schools. Freeman taught In 1963, Bailey became the fi rst full-time director music at Lawrence of music at Trinity Lutheran Church, Camp Hill, and worked in the Pennsylvania. She later returned to Indianapolis president’s offi ce at to teach in public schools and was the organist and Princeton University, assistant choir director at First Presbyterian Church. eventually returning In the early 1970s, she moved to East Lansing, to Wisconsin and set- Michigan, to work on her doctorate in music theory tling in Green Bay, at Michigan State University. She also was associate where she taught professor of music and organist and choir director of piano and played Martin Luther Chapel at Michigan State. It was there organ in the Mora- Maryllyn Ila Freeman that she met her future husband Roland Freund who Jennifer Bate (photo credit: Nick Murdoch) vian church. was an Australian agricultural missionary working on In 1965 the Freemans moved to Neenah where his master’s degree. They married in July 1971 and Jennifer Lucy Bate, 75, born in London, UK, a year later she began a 54-year career as organist moved to the Highlands of Papua New Guinea. November 11, 1944, died March 25. She was the for St. Paul Lutheran Church. In addition to play- In 1976, the family moved to Carlisle, Pennsylva- daughter of H. A. Bate, organist of St James’s Muswell ing organ and piano, as director of music ministries nia, where Josephine taught piano and was organist Hill from 1924 to 1978. An international concert organ- she planned worship services, directed youth choirs, at Grace United Methodist Church. The family ist, she was considered an authority on the organ music accompanied the adult Sanctuary Choir, presented spent 1982–1984 working on a U.S. AID and Penn of Olivier Messiaen, having befriended him within the church musicals, and guided the church in purchasing State University project in Swaziland, Africa. There last twenty years of his life as his organist of choice. In a new Dobson organ in 1986. She earned an associate she taught music in several schools and directed the 1986, she gave the fi rst British performance of his Livre certifi cate of the American Guild of Organists in 1995 largest choir in the country for a performance of du Saint-Sacrement at Westminster Cathedral and and an associate in music ministry certifi cate in 2000. Brahms’s Requiem. later made the world premiere recording of the work Throughout her career Freeman continued to teach Upon returning to Carlisle, Josephine Freund under the personal supervision of the composer, win- piano and organ, organizing piano recitals, judging served as organist and choir director at St. John’s Epis- ning the Grand Prix du Disque. He also endorsed her piano competitions, and mentoring young musicians copal Church and Gettysburg College Chapel. She was earlier recordings of all of his other organ works. Bate in the Fox Valley. She was a member of the Fox Valley adjunct professor of organ for Dickinson College and owned scores that contain many personal markings and Music Teachers, a member of the Sigma Alpha Iota an active member and offi cer of the Harrisburg Chap- references made by Messiaen. In 1995, Bate opened International Music Fraternity, served as treasurer of ter of the American Guild of Organists. Freund played the Messiaen Festival at l’Église de la Sainte Trinité, the North Eastern Wisconsin chapter of the Ameri- her fi nal organ recital in 2010, but continued to teach Paris, France, where his complete organ works were can Guild of Organists, and was active in the Hymn piano and organ and to substitute and support church performed and recorded. Among numerous awards for Society of the United States and Canada. For many services, weddings, and funerals for a few more years. her CD were the Diapason d’Or (France) and Preis years she and her husband Ralph, a pianist, violinist, She was a lifetime member of the national honors fra- der Deutschen Schallplattenkritik (Germany). and published author of hymn texts, performed organ ternity for women in music, Sigma Alpha Iota. Bate performed and recorded a broad repertoire and piano duets each August as part of the Lunchtime Josephine Lenola Bailey Freund is survived by spanning several centuries, including English organ Organ Recital Series in the Fox Valley region. her husband, Roland Paul Freund of Carlisle; her music, the complete organ works of César Franck, and Marillyn Ila Freeman is survived by her husband nephew, Matthew Freund of South Australia; and her the complete organ music of Felix Mendelssohn. A Ralph Freeman, fi ve children: Rebecca Freeman son, Colonel Ernie Freund, daughter-in-law Megan frequent performer at organ festivals, she often played (Stephen Fusfeld) of Neenah; Jennifer Timm (Terry) Sayler Freund, and granddaughters, Amelia Rose and works written for her. She also presented numerous of Neenah; Robert Freeman (Robin) of Darien, Illi- Adelaide Pearl, all from Burke, Virginia. masterclasses and lectures. She was instrumental in nois; Jon Freeman of Whitefi sh Bay; and Paul Free- Funeral services were held February 15 at Trinity the formation of the annual Jennifer Bate Organ Acad- man (Nicole Berman) of Stow, Massachusetts; twelve Lutheran Church, Camp Hill, Pennsylvania. Memorial emy, a course for young female organists, and she was grandchildren, and several great grandchildren. contributions may be made to Residential Hospice, the lead patron of the Society of Women Organists. Memorial gifts may be made to the music ministry 100 Sterling Pkwy #110, Mechanicsburg, PA 17050 Bate was briefl y married (as his second wife) to program at St. Paul Lutheran Church, 200 N. Com- or the Traditional Music Fund at Trinity Lutheran George Thalben-Ball. She received an honorary doc- mercial Street, Neenah, WI 54956, or to either the Church, 2000 Market Street, Camp Hill, PA 17011. torate from the University of Bristol in 2007. In 1990, Melanoma Research Fund or the Surgical Oncology Bate was recognized with the Personnalité de l’Année Outcomes Research and Awareness Fund at the Uni- Eleanor Marie award by the French-based jury, only the third British versity of Wisconsin (supportuw.org/give). Fulton, organist and artist to achieve this distinction, after Georg Solti and music educator, died Yehudi Menuhin. In 1996, Bate was granted honor- Josephine Lenola Bailey Freund, 90, died Feb- February 23 in New ary citizenship of the Italian province of Alessandria ruary 8 in Carlisle, Pennsylvania. A lifelong musician, Haven, Connecticut. for her services to music in Northern Italy over 20 she was a professional organist for almost 70 years and Born August 9, 1939, years. In 2002, she was elected a Fellow of the Royal taught piano and organ. She performed organ recitals in Morristown, Ten- Society of Arts, and in 2008 was appointed Offi cer of and directed choirs throughout the United States, as nessee, she earned the Order of the British Empire. well as in Swaziland and Papua New Guinea. her Bachelor of In 2011, M. Frédéric Mitterand, minister of cul- Josephine Bailey was born April 8, 1929, in India- Arts degree from ture and communication, awarded Jennifer Bate the napolis, Indiana. She began piano lessons at age six Bennett College, rank of Offi cier de l’ordre des Arts et des Lettres, and started studying organ at age thirteen. Among Eleanor Fulton (photo courtesy: Greensboro, North stating that this honor is awarded to renowned art- her fi rst professional jobs were playing the organ RavenCD.com) Carolina, in 1961, ists and writers who have promoted French culture to accompany silent movies and substituting as an and continued her throughout the world. Subsequently, President Sar- accompanist and organist in local churches. education at the Manhattan School of Music, New York kozy appointed Jennifer Bate to the rank of Chevalier Following graduation from high school in 1946, City; the Haydn Conservatory, Eisenstadt, Austria; and in the Ordre National de la Légion d’Honneur, stating Bailey attended Wittenberg College, Springfi eld the University of Ghana’s International Center for that this honor was awarded in recognition of her skill Ohio, later transferring to Peabody Conservatory African Music and Dance. as an organist and her contribution to making Olivier of Johns Hopkins University, Baltimore, Maryland. She served as the longtime organist and director Messiaen’s organ works more widely known through- There she earned a teaching certifi cate in organ and of music for Center Church on the Green, New out the world. She received both awards in 2012. bachelor’s and master’s degrees. In 1952, she was the Haven, and was a music teacher for New Haven fi rst female graduate of Peabody to earn a master’s Public Schools, director of the New Haven Children’s Marillyn Ila Freeman, 85, musician and teacher, degree in organ performance. Chorus, assistant organist and director of Christian died March 24. Born in Marion, Wisconsin, February During the 1950s Bailey played at various churches education for Battell Chapel, Yale University, New 23, 1935, she grew up in New London and Appleton, in Maryland, Virginia, and the District of Columbia, Haven, consultant to the New Haven Symphony where she began playing the organ for local church including serving as music director for First Bap- Orchestra, and a private piano and music instructor. services at the age of twelve. She graduated from tist, Washington, D.C., which President Truman She was the featured performer on a CD released by Appleton High School in 1953 and the Lawrence attended; and St. Anne’s Episcopal Church, Annapo- Raven, performing on the 1971 Beckerath organ of College Conservatory of Music, Appleton, earning a lis, Maryland, where she was honored to play for a Dwight Chapel, Yale University, with works of Bach, degree in music performance in 1957. While at Law- royal visit by Elizabeth, the Queen Mother. From de Grigny, and Mendelssohn (Eleanor Fulton, Organ- rence, she met her future husband Ralph Freeman, 1956 until 1961, she was associate professor of music ist: Dwight Chapel, Yale University, OAR-810).

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Odile Pierre, performed at least 2,000 concerts throughout the Variations and Fugue on Two Christmas Carols French liturgical world, including appearances in Japan, Korea, the from Naples, op. 6 (1955). Her edition of some of and international Philippines, Canada, Iceland, Russia, Germany, Tur- Alexandre Guilmant’s organ works was printed by concert organist, key, Italy, Spain, Austria, and the former Czechoslo- Bornemann in 1983 and 1984. In addition, she wrote professor, and vakia, including twelve tours in the United States about Marcel Dupré’s improvisation exams in 1953 composer, died and six in Asia. In 1977, she represented France at and 1954 (Leduc, undated). Odile Pierre received in Paris, France, the Third International Organ Congress in Wash- three awards for her contributions to French cul- on February 29, ington and Philadelphia. She performed organ ture: Offi cer in the French Legion of Honor, Com- shortly before concertos under the direction of conductors such as mander in the French Order of Merit, and the Silver her 87th birthday. Lorin Maazel, Pierre Dervaux, Antoine de Bavier, Medal of the City of Paris. Born in Pont- and Georges Prêtre. Odile Pierre is survived by her husband, the histo- Audemer (in Nor- Odile Pierre recorded for RCA, Mitra, Motette, rian Pierre Aubé. mandy) on March Festivo, Editions Lade, and IFO. At least two —Carolyn Shuster Fournier 12, 1932, she of the recordings were made at the Madeleine decided to become Church in Paris: Camille Saint-Saëns’ Preludes Philip Astor Odile Pierre at the Van den an organist at age and Fugues (1972, RCA LSB 4088) and The Great Prince, 89, of Heuvel organ in the Nieuwe seven, inspired Romantic Toccatas (1978, RCA/RC 8108). In 1991, New Haven, Kerk (New Church), Katwijk ann Zee, The Netherlands by a recital by she recorded (for SCD 814) Jean-François Muno’s Connecticut, Marcel Dupré on reconstitution of Jean de Joyeuse’s 1694 organ at died February the Cavaillé-Coll the Auch Cathedral, which she had inaugurated 5. Born January organ at St. Ouen Abbey in Rouen. After taking in 1988 with André Isoir. Her Poetic Symphonic 5, 1931, in Evan- lessons with Madeleine Lecoeur, organist at St. Organ Music (Vierne, Debussy, Durufl é, and Odile ston, Illinois, Nicaise Church in Rouen at age fi fteen, she served Pierre) on the Cavaillé-Coll of the Trinity Church Prince attended as organist and choir director at the St. Martin in Fécamp and at St. Godard in Rouen (1988, MP/ the Taft School Church in Barentin (in the Seine-Maritime region FR 51190 C) calls upon her Normand origins; her Philip Astor Prince before entering of Normandy). From 1950 to 1952, she studied record of Widor, Vierne, and Guilmant at the Orlé- Yale University harmony with Albert Beaucamp and organ with ans Cathedral (1993, Motette 11251), reminds us with the Class of 1952. He earned his Bachelor of Arts Marcel Lanquetuit at the Rouen Conservatory. She that she lived nearby, in Tigy, in the Loiret depart- degree in Latin, subsequently studied musicology in then entered the Paris Conservatory, where she ment, at the end of her life. the Yale Graduate School, but completed a Master of was awarded fi rst prizes in the classes of Maurice As professor, Odile Pierre taught organ and music Music degree from the Yale School of Music in organ Durufl é (harmony), Noël Gallon (fugue), Norbert history at the Rouen Conservatoire from 1959 until performance under H. Frank Bozyan in 1959. Prince Dufourcq (music history), as well as organ and 1969 and then organ and improvisation at the Paris was drawn to the Anglo-Catholic liturgy celebrated at improvisation with Marcel Dupré and Rolande Fal- Regional Conservatoire from 1981 until 1992. Among Christ Church, New Haven, and became associated cinelli. At the age of 23, Odile Pierre became the her students were Michael Matthes, Léon Kerre- with the music program there, succeeding Richard youngest Marcel Dupré student to win a fi rst prize mans, D’Arcy Trinkwon, Kristiyan Seynhave, David Donovan as organist and choirmaster in 1966. He in organ and improvisation at the Paris Conserva- Di Fiore, and Lionel Coulon (titular organist at the became respected among colleagues for his English- tory. She won this prestigious prize the same year Rouen Cathedral since 1992, he substituted for her language arrangements of Gregorian chants and as Éliane Lejeune-Bonnier (1921–2015), with the at the Madeleine for four years). In 1991, she gave psalmody and for his hymn accompaniments. unanimous approval of the jury, which included organ classes at the Scuola Internationale d’Alto Prince published scholarly articles on Max Reger’s Jeanne Demessieux. Perfezionmento Musicale in Perugia, Italy, and gave organ music (see “Reger and the Organ,” The Dia- From 1955 to 1957, Odile Pierre offi cially substi- masterclasses in numerous colleges and universities. pason, March 1973) and a performing edition of a tuted for Jean-Jacques Grunenwald, then organist at She also served on the juries of international organ sonata da chiesa of Johann Gottfried Walther. He Saint-Pierre de Montrouge Church in Paris. She then competitions. In 1977, she was appointed as a mem- also taught organ students at Wesleyan University, studied organ performance with Fernando Germani ber of the Commission on Organs in Paris. Middletown, Connecticut, where he served as uni- at Saint-Cecilia Academy in Rome and at Chigiana Her organ works were published as early as versity organist for nearly 30 years and played annual Music Academy in Sienne, and with Franz Sauer at 1955: Chorale and Fugue on the fi rst antiphon of recitals. In 1988, he joined the choirs of St. Mary the Mozarteum in Salzburg. In 1969, she succeeded the Second Vespers for Christmas (1955, Procure Church, New Haven, and the St. Gregory Society Jeanne Demessieux as titular organist of the gallery du Clergé), and Chorale and Four-Voiced Fugue and continued singing with them well into his 80s. organ of the Madeleine Church and remained in this (1955, republished by Europart-Music in 1988), Prince became an associate fellow of Ezra Stiles post until 1979. By coincidence, on the day after she Four Pilgrimages at the Virgin Mary for four hands, College in 1974. He was a longtime member of both died, Olivier Périn began his functions as the offi cial opus 1 (Leduc, 1988), Variations and Fugue on three Mory’s and the Elizabethan Club in New Haven, and assistant to François-Henri Houbart, her successor at Christmas Carols (Leduc, 1990), The Martyr of St. the American Guild of Organists and Association of the Madeleine. Thomas Becket, op. 4 (Bergamo, Carrara 1994), Anglican Musicians. Prince was a supporter of the Well known for her mastery of organ repertoire Chorale and Fugue on the Name of Charles-Marie Yale swimming team, and for many years he refereed from early to contemporary masters, Odile Pierre Widor, op. 5 (Mayence, Schott, 1994), and Canonic at swimming matches and tournaments. Q

³ page 6 2019) performed a recital that included Auditorium, Principia College, Elsah, the music of Mendelssohn, Karg-Elert, Illinois, on February 7. Students of the Bach, Vierne, and Sowerby. Wareham is college had been studying silent fi lm in pursuing his Master of Music degree at Rose Whitmore’s Music in Film class. the Yale University Institute of Sacred Peters is minister of music at Second Music, having studied with Thomas Mur- Presbyterian Church, St. Louis, Mis- ray during the year before his retirement souri, and ensemble organist for St. and now with Jon Laukvik. He serves as Louis Symphony; Whitmore is college organist and choirmaster for the Episco- organist and associate professor at Prin- pal Church of Yale and as organ scholar cipia College. For information: at Christ Church in New Haven. www.andrewjpeters.com.

Grant Wareham at Trinity Memorial Epis- Dedication of Viscount organ, St. Mary copal Church, Binghamton, New York Magdalene Episcopal Church, Silver (photo credit: John Holt) Spring, Maryland (photo credit: Kerry Bell)

On March 8, as part of the Lenten Carol Williams, artistic director of “superb musicianship, masterly technique and savvy programming … Archer’s Concert Series at Trinity Memorial Viscount Organs North America, played sweeping assurance and stamina enable you to hear the music behind the virtuosity.” Episcopal Church, Binghamton, New a dedication recital on a Viscount Unico — GRAMOPHONE (JAN 2018) — York, Grant Wareham (a member of 370 at St. Mary Magdalene Episcopal MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com The Diapason’s 20 Under 30 Class of ³ page 10

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 9 Here & There

³ page 9 Organbuilders Diapasons, the 16′ Dulciana, and the 8′ Church, Silver Spring, Maryland, on manual and pedal Open Diapasons, all International Women’s Day, March made of polished tin. The pipe shades 8. The organ was blessed by Rt. Rev. will be made of basswood enameled in Chilton Knudsen, assisting bishop of “Prayer Book Red,” pierced with stylized Washington. For information: and gold-leafed St. George crosses. www.viscount-organs.com. The new organ is a part of a larger series of projects to update, remodel, and enlarge the church’s facilities. St. Publishers George’s rector is the Reverend Leigh Edition Walhall announces new Spruill, music director is Woosug publications: Aria sopra La Bergamasca Kang, organist and associate director is (EW1134, €12.80), by Marco Uccellini, Gerry Senechal. Wilma Jensen is St. arranged for soprano recorder and organ George’s Organist Emerita. The speci- or harpsichord by Adrian Wehlte; Melo- St. George’s Episcopal Church, Nash- fi cation can be viewed at the company’s die Gregoriane (FEA147, €17.50), op. ville, Tennessee, rendering of Buzard website: www.buzardorgans.com. The 135b, by Fulvio Candini, for recorder organ façade church’s website: and organ; and Sechs Cembalosonaten, www.stgeorgesnashville.org. op. 2, by Carl Friederick Abel, for John-Paul Buzard Pipe Organ harpsichord with accompaniment for Builders of Champaign, Illinois, Southern Methodist University, violin or fl ute and violoncello, edited announces it has signed a contract for its Dallas, Texas, has announced new plans by Leonore and Günter von Zadow, Sing Joyful Hymns and Songs of Praise Opus 48 with Saint George’s Episco- for a pipe organ for its Perkins Chapel. in three volumes: Sonatas I–II (G351, pal Church, Nashville, Tennessee. The The chapel’s 1948 Aeolian-Skinner €18), Sonatas III–IV (G352, €16.50), and organ based on an original text and main organ, which will be installed in Organ Co. Opus 1167 was damaged from and Sonatas V–VI (G353, €16.50). For tune. The fi rst verse features unison 2022, will initially have 48 stops with 7 a steam pipe break in January 2018 and information: www.edition-walhall.de. voices with organ accompaniment; the stops prepared for future addition, for a was rendered unplayable. This organ will second verse offers a three-part (solo or total of 55 stops, 65 ranks. An antiphonal be removed and renovated for reinstalla- sectional) harmonization of the melody organ and horizontal trumpet are also tion in Our Redeemer Lutheran Church and text; and the fi nal verse provides a prepared for future addition, fi lling out of Dallas. hymn of praise for unison voices with the four-manual and pedal specifi cation. Perkins School of Theology at the soprano descant and a free harmoniza- Nearly all of the organ will be under university has purchased 1927 Skinner tion for organ. It is the third of a trio expression, including the full-length Organ Company Opus 563, contracted of complementary online publications wood 32′ Pedal Contra Trombone and in 1925 for Fourth Presbyterian Church for organ, choir and organ, carillon and 16′ Pedal Ophicleide extension of the of New York, New York. In 1953, Fourth other keyboard instruments, and can be Solo Tuba Mirabilis. The Great chorus, Church sold its building to Annunciation accessed from Fruhauf Music Publica- consisting of First and Second Open Greek Orthodox Church. The three- tions’ website bulletin board at: Diapasons and corresponding upper- manual, 37-rank organ was recently www.frumuspub.net. work, will be unenclosed. removed from the building to storage The new organ’s cases will be made in Massachusetts. The university is from solid walnut, stained and fi nished presently identifying a possible donor Recordings to match the church’s existing wood- to begin the process of restoration and working. The round towers and fl ats will installation of this organ. For informa- be fi lled with the largest pipes of the 16′ tion: www.smu.edu. Q

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10 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Reviews

mid-1920s and began to plan for the remarkable in itself. There were many playing almost any of the organ literature. present building soon thereafter to the delays due to the effects of the war, The completed organ launched a new era designs of P. Staffeldt Matthiesen, who and there were numerous changes to in Danish organbuilding after World War drew inspiration from thirteenth-century the plans for the instrument as the II and quickly became world renown. churches. The building, fi nished in 1941, years progressed, right up to the organ’s A renovation of the organ was car- was fi rst served by a reed organ. inauguration. As Marcussen & Søn was ried out in 1982, with some technical The young church made the bold building the Danish State Radio concert improvements introduced such as a move of contracting for a new organ by hall organ at the same time as Jægers- self-regulating mechanism, aluminum Marcussen & Søn of Aabenraa, Den- borg, it was decided that since that organ roller frames, and slides of etronite. The mark, which was built between 1942 and had a chamade trumpet, one would be instrument has been used for several 1944. This book is issued in celebration provided for the Jægersborg organ as LP recordings, including multiple disks of the landmark organ’s seventy-fi fth well. The design for decorating copper recorded by Karl Richter (Deutsche anniversary and is principally written by façade pipes, perhaps a fi rst in twentieth- Grammophon Gesellschaft), Finn Mads Damlund, organist of the church, century organbuilding, was drawn two Viderø, and others. Works of compos- with supplemental essays about the weeks before inauguration. Construc- ers such as Scheidt, Scheidemann, and organ’s infl uence on later instruments, tion details of the Pedal 16′ Fagot were Praetorius were recorded for the fi rst the infl uence of the organ and the Dan- decided three weeks before inaugura- time here. ish Organ Reform Movement abroad, tion. Yet these details were completed on An interesting story is included in and on how theology and music in the time. The organ was presented publicly the book that the vicars and organist Jægersborg Church work concomitantly. to organists and the press on December of the church in 1976 commissioned a The text is in Danish, with English sum- 2, 1944, and the dedication took place the setting of the liturgy for use at Christ- Om Levende Blev Hvert Træ I Skov—et maries provided for each chapter, about following day during the morning service mas from the Danish composer Pelle portræt af Jægersborg Kirkes Orgel (If 10% of the length of the original text. and an afternoon recital by Viderø. Gudmundsen-Holmgreen. At the work’s All the Trees in the Forest Could Sing) The story of the Marcussen organ Jægersborg featured elements that fi rst performance that Christmas Eve, should be of interest to American read- were relatively unknown in organbuild- it “was accepted with reservations by Book Reviews ers, as it foreshadows what would happen ing at that time, ideas that became stan- the congregation.” When the work was Om Levende Blev Hvert Træ I Skov— when the American organbuilding world dard in the following decades: there were performed again the following year, an et portræt af Jægersborg Kirkes Orgel fully discovered the Orgelbewegung in slider windchests and mechanical key and “uproar broke out, and the vicar and the (If All the Trees in the Forest Could the 1930s, a movement that gained infl u- stop action. There was no expression box; organist had to fl ee through either end Sing—a portrait of the Jægersborg ence and understanding in the decades the doors of the Brystværk (Brustwerk) of the church.” For the organ’s seventy- Church Organ), by Mads Damlund, following World War II. division must be opened and closed by fi fth-year jubilee, Peter Navarro-Alonso with essays by Svend Prip, Frans The project for the Jægersborg Church hand. A Rygpositiv (Rückpositiv) division Kastensson has composed a suite, The Brouwer, and Hanne Sander. Text in was heavily infl uenced by three fi gures: was positioned at the gallery rail. A lack Jaegersborg Organ Book, dedicated to Danish, with English summaries by Sybrand Zachariassen, who headed the of funds meant a lean specifi cation in the the organ. The suite is infl uenced by the Inger-Lise Andersen. Slotsforlaget, Marcussen fi rm at the time the organ Pedal (fi ve ranks: 16′, 8′, 8′, 4′, and 16′), music of György Ligeti, a Swedish lul- Store Heddinge, Denmark, 2019, was built; Poul-Gerhard Andersen, who and there was to be no Sesquialtera. The laby, and Pink Floyd. 978-87-970044-1-8, 208 pages, 177 worked for Marcussen at the time; and three-manual, twenty-nine-rank instru- This hardbound volume is beautifully illustrations, most in color, compact Finn Viderø, organist of the church. In ment represented an early synthesis of and sturdily printed. The illustrations disc included, 200 kr (approximately Andersen’s book, translated and published the desires of the Organ Reform Move- maintain the English-speaking reader’s $21). Available from: in English as Organ Building and Design ment, yet was forward thinking, includ- interest while thumbing through the www.slotsforlaget.dk. in 1969, he named this organ as the fi rst ing ideals gleaned from Spanish and pages of Danish text. The nine appen- Jægersborg is a suburban neighbor- example of an instrument representing German Baroque examples. The desire dices include, but are not limited to, a hood seven-and-a-half miles north of the Danish Organ Reform Movement. was to build a universal organ, taking into list of the church’s organists, a detailed downtown Copenhagen, Denmark. The The fact that the organ project was account the organ case, structure, and specifi cation of the organ, a discography Jægersborg church was founded in the carried out during World War II is environment, an instrument capable of ³ page 12 PLAY ICONIC PIPE ORGANS FROM ALL OVER THE WORLD With the NEW Johannus LiVE 2T-A and 3T-A

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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 11 Reviews

³ page 11 density. While manual indications (HW a nice encore number for a recital. This The repertoire on this compact disc of recordings made with the organ, and a and SW) are included, this is also easily is a “bonbon” not to be missed. Whether is, as one might expect for such a cathe- list of tracks on the accompanying com- played on one manual only, if so desired. you ever play this piece in public, you dral choir, eclectic in nature. It includes pact disc, which includes recordings his- As for most of the ten preludes, the will be all the healthier for “taking a much of what might be termed “core toric and contemporary. For readers like conservative pedal writing underscores swing” at it. Anglican repertoire,” such as works by the reviewer who do not have a working the functional harmony above. This The “Marsch” calls to mind the many Robert Parsons, Thomas Tallis, John knowledge of the Danish language, the is somewhat restrained but majestic discussions as to the role of repertoire in Blow, Henry Purcell, S. S. Wesley, John English summaries and other items in in nature with strong and compelling the success of twenty-fi rst-century organ Stainer, and Herbert Howells. Samuel the book make its acquisition very worth- chord progressions. recitals. While organists and musicians Sebastian Wesley is a particularly appro- while, a volume that gives insight to the “Cornet Voluntary” is a brief “inter- deeply appreciate the works of art left by priate choice since he was organist of early days of an organbuilding move- mezzo” (23 measures) of simple ternary esteemed composers past and present, Exeter Cathedral from 1835 to 1842 and ment that was carried out worldwide, the construction. The articulated texture is some have suggested that the complexity chose to be buried in Exeter. He wrote effects of which are still felt today. light and lean featuring eighth notes set inherent in certain selections may be dif- Blessed be the God and Father while —Stephen Schnurr against sixteenth notes, with much more fi cult for less-experienced listeners. organist of Hereford Cathedral in 1833 Gary, Indiana activity for the fi ngers (on one manual) How do we pack the pews and concert for the rededication of the organ, which than the feet. Kleesattel appears to favor venues as was the case one hundred had just been augmented by the organ this type of texture, as also featured in years ago? Not desiring to fuel the builder J. C. Bishop. The lay clerks had New Organ Music the accompaniment to the “Sanctus” of debate around artistic purity and our withdrawn their labor over a dispute Orgelwerke: Zehn Stücke für Orgel his popular Missa Brevis in C (SATB), current popular culture, this reviewer with the dean, and Wesley was left solo, by Lambert Kleesattel. Dr. J. also published by Butz Musikverlag. does appreciate many selections in this with just the choristers and the dean’s Butz Musikverlag, Bonn, Germany, While fun to play and a useful teaching collection. Though some are useful for butler, who had an enormous bass voice 2017, Verl.-Nr. BU 2814. Available piece, this voluntary’s usefulness for ser- worship services, others are just fun to rather like a foghorn. Wesley therefore from: www.butz-verlag.de. vice playing is limited. play due to their charming simplicity. wrote the anthem for treble and bass, “Intrada,” “Cornet Voluntary,” “Andante” is a highlight in this collec- Far from perfumed parlor music, there but rewrote it in 1834, adding the inner “Andante,” “Melodie,” “Elegie,” tion and appropriate for service playing. is something for everyone to enjoy in this voices, before departing for Exeter in “Scherzo,” “Cantabile,” “An Irish Toc- Using a triple meter throughout, the tex- collection. One or more emoji smiles 1835. He had meanwhile married the catina,” “Adagio,” and “Marsch.” ture is similar to others in this collection are bound to emerge from players and dean of Hereford’s sister. John Blow’s Lambert Kleesattel (b. 1959) gradu- but at a more relaxed tempo and quieter listeners alike. gorgeous anthem Salvator mundi has ated from the Musikhochschule Köln, registration. A website contributor made Why is this volume noteworthy in also long been among my favorites. Germany, in 1986 with principal studies reference to Kleesattel’s “juicy chords 2020? Amid the proliferation of brief The works on this compact disc by in harmony and organ prior to complet- and tasty tunes;” to be sure, this selection and simplistic settings of chorale-based lesser-known twentieth- and twenty- ing his church music examinations. He offers progressions reminiscent of the works offered by some United States- fi rst-century composers are of consider- served as organist and choir director at Romantic idiom with a bit of a British based church music publishing houses, able interest. Philip Lawson’s Lullay St. Andreas in Wesseling, situated in the accent. A key to the success of this piece, Dr. J. Butz Musikverlag offers something My Liking weds a traditional carol text western Rhineland region. though, is its accessibility and the absence refreshing and markedly different. As with a rich contemporary tune. Patrick In the preface to his fi rst collection of dense harmonic texture. He introduces Kleesattel’s collection harkens back to Hadley (1899–1973) deserves to be well of organ pieces, Kleesattel indicates what I call a “raindrop” embellishment a harmonic idiom popular more than a known as a composer, but unfortunately the inspiration for his compositions in the “B” section that returns just prior century ago, Orgelwerke: Zehn Stücke buried himself in Cambridge academia derives from the restoration of a small, to the selection’s fi nal single note; a nice für Orgel solo will likely bring joy to many in a semi-reclusive manner. He wrote the single-manual organ in a village church touch to a charming piece. homes, teaching studios, and churches Easter anthem My beloved spake in 1938. in the Rhineland region. Translated from “Cantabile” features an expansive for those with an open mind and spirit. It shows a certain affi nity with some of German, he writes, “using the organ’s and sighing melody underscored by a This collection is highly recommended. the music of Ralph Vaughan Williams. resources, I wrote several organ com- pattern of left-hand suspensions. After —Jeffrey Schleff The Ascension anthem The Lord is positions ‘from the heart’ in a romantic twenty-eight measures, a “B” section Gainesville, Texas King was written by Timothy Parsons, idiom for contemporary times,” designed introduces a series of key changes based the organist on this compact disc. It has for instruments of one or two manuals on fl orid running sixteenth notes, fi rst a mysterious and awe-inspiring char- with pedal “for the pleasure of listeners, in the right hand and then the left, and New Recordings acter designed to evoke a sense of the service playing, or recitals.” related in spirit to the raindrop embel- A Year at Exeter. The Choir of holy. Anthony Piccolo, children’s chorus Kleesattel indicates that his suggested lishment in “Andante.” The opening Exeter Cathedral, Timothy Noon, director of the Metropolitan Opera, is registrations may need to be adapted accompaniment of suspension patterns director, Timothy Parsons, organ. the only American composer featured on based on each organ’s disposition and returns in the last ten measures, round- Regent Records, Ltd., compact disc the compact disc. Jesus Walking on the acoustical setting. While the individual ing out this selection. REGCD524, available from www. Waves was written for St. Peter’s Day, preludes are not chorale based, the Compared to “Cantabile,” “An Irish regentrecords.com. which among other things is the patronal composer has successfully met his goal Toccatina” is a non-liturgical chestnut A Hymn for St. Cecilia, Herbert How- feast of Exeter Cathedral. The text is by in creating light and upbeat music in an with the opening inscription from Fr. ells; Ave Maria, Robert Parsons; Lullay Richard Fleming, a former chorister of engaging harmonic idiom, and certain Andrew Greeley’s “A Saint Patrick’s My Liking, Philip Lawson; Videte mirac- Canterbury Cathedral. The fi nal work on selections may be appropriate for ser- Blessing:” “May you dance a reel for ulum, Thomas Tallis; Hear my prayer, this recording is Jonathan Dove’s Seek vice music. St. Patrick’s sake and toast the many Henry Purcell; Salvator mundi, John Him That Maketh The Seven Stars, an The opening “Intrada” is in ternary united in one.” This offering is a bit of an Blow; Blessed be the God and Father, anthem for the feast of Christ the King. form, both in terms of key centers (C “outlier” for this selection. For the right Samuel Sebastian Wesley; My beloved The anthem, dating from 1995, begins major–F major–C major) as well as the- occasion, the adventurous organist might spake, Patrick Hadley; The Lord is King, with a sense of yearning that gradually matic material. The concluding thirty- be compelled to include this as a hearty Timothy Parsons; I saw the Lord, John transforms into a dancelike paean. measure coda, marked “Maestoso,” postlude—possibly! Stainer; Jesus Walking on the Waves, Altogether this compact disc is a brings material from the contrasting The fi nal selection in this collection Anthony Piccolo; Seek Him That Maketh credit to Exeter Cathedral, its director, “B” section (A-B-A-b′). Phrases are is a very engaging “Marsch.” While a The Seven Stars, Jonathan Dove. and assistant director. The works by predictable and even in length, and bit fanciful for all but the most cheerful One of the recent compact discs lesser-known twentieth- and twenty- the homophonic texture is of moderate postlude, this composition would make in “A Year at . . .” series from Regent fi rst-century composers are particularly Records features Exeter Cathedral in worthy of note. Devon, England. The foundation of —John L. Speller Exeter Cathedral dates from 1050, and Port Huron, Michigan the present building was completed by around 1400. Ever since its founding, except for the disruption of the Civil New Handbell Music War in the seventeenth century, there Tower Praises, arranged for 3, 4, 5, does not seem to have been any time or 6 octaves of handbells, by Karen when Exeter Cathedral did not have one Lakey Buckwalter. Choristers Guild, of the outstanding music programs in the CGB1045, Level 3 (D-), $5.25. Church of England, a record that must Written for the Greater Dallas Church of Saint Jude the Apostle be very unusual. The director of music, Handbell Association, this piece begins Wauwatosa, Wisconsin Timothy Noon, has had a distinguished by imitating tower bells from afar. An Three manuals – forty ranks musical career that has included posts as original melody is presented and weaves director of music at St. David’s Cathe- throughout the entire work along with A RTISTRY – R ELIABILITY – A DAPTABILITY dral (Church in Wales) and Liverpool a host of dynamics, rhythms, and har- Metropolitan Cathedral (Roman Catho- monic material. The English “method” lic). The assistant director of music, of tower ringing known as “Plain Hunt Timothy Parsons, who plays the organ Major” is introduced into this cacophony on this recording, has held similar posts of sound, taking the ringers back to the at Hereford Cathedral and Worcester roots of tower ringing. This is an unusual Cathedral. He also directs the St. Peter’s and masterful work. Singers, Exeter Cathedral’s adult volun- —Leon Nelson tary choir. Vernon Hills, Illinois

12 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM On Teaching By Gavin Black

The way of the world making it clear that I am happy to chat up creating. But I fi nd that this current The meta theme of this column over with anyone informally or answer ques- state of affairs gives me a more real and the last several months has been unpre- tions by email.) human awareness of how such things dictability. As I have recounted, it was My time off has reminded me of some- might have affected people—even those as early as October that I became aware thing. While this is a global concern, every great artistic fi gures whom we struggle to that a shoulder injury was preventing student always has their own concerns. I know not just as names or monuments me from working on upcoming perfor- think that I try to be aware of that as a but as people—all those years ago. mances of Johann Sebastian Bach’s The general matter and to react to whatever a 3) I noticed something interesting Art of the Fugue. This was a bit awk- student brings to a lesson based on their in my approach to physical therapy ward, as the subject of the column was life circumstances. Music is a part of life, exercises. It is usually not the exercises supposed to be the process and progress interconnected with everything else. Our that are new, diffi cult, or painful that of my work on that piece. Then after awareness of this is heightened at a time I am tempted to skip or shortchange. surgery in December, I found myself like this, but so is our awareness of the Rather, the ones that have become easy, unable to write, which precluded my complexities. Some people would like that seem to have “worked.” Take, for January and February columns. When I for the time being to put lessons aside example, rolling a big ball along a table. was ready to resume writing, I found that and focus on the gravity of the situation; I essentially could not do this at all a I could not fi nd a fruitful way to write others would like to delve even more month ago. But now it seems so effort- as voices, motifs, and subjects, not to about The Art of the Fugue or about deeply into music as a distraction or as less that after I have done it once or mention answers, inversions, counter- music and teaching in general—partly an affi rmation of life, or as some of both. twice, it takes more willpower than I can subjects, cancrizans, diminutions, and because I still was not actually playing, Some people use their involvement with always manage to do it the prescribed so on. It requires us only to have an and partly because of my state of mind as music to help them with diffi cult things thirty times. This reminds me of one of awareness of what it means for things I recuperated. I started recounting some by heightening emotions and awareness, the characteristic dangers of the practic- to happen at the same time and of what of my experience of that recuperation, while others use that involvement as a ing and learning process: that a piece it means for things to be different from particularly of physical therapy, which way of gaining access to joy or peace or or a passage that has become basically one another. There can be interesting had some interesting implications for certain kinds of understanding. learned—or seems to have done so—will things to say about each of these around the music learning process and teaching. A few random thoughts from the last be neglected thereafter. I do this, and the edges, since they are both recogniz- Then the current public health crisis month or so: students do this. When there is limited able, familiar concepts that arise not out hit. As I write this, a scheduled presiden- 1) I mentioned in an earlier column time or concentration, it is tempting to of music but out of life. tial primary is not taking place, sections that during my convalescence I was focus on whatever seems to need the I had that thought vividly the fi rst time of the country are in quarantine, most experiencing music more by hearing it in most work. That is not always a source I entered the physical therapy clinic. businesses in the area where I live are my head than by actual listening. I later of danger, but it has to be monitored for Here were people (the patients), none closed, and various curfews are in place. realized that most of the time whatever becoming one. Often the passages that of whom had ever met or heard of each My practice of watching a bit of a base- piece was going through my head was seemed easy in the fi rst place or that other, and who were not exactly meeting ball game or golf tournament to take a doing so at a very slow tempo. For exam- seemed to get learned easily end up now. They were there doing similar but break from writing is in abeyance—most ple, there was a time when the piece being the shakiest in performance. different things in a kind of dance or of what we all do is in abeyance. When in question was Mozart’s “Rondo Alla I say that I am prone to doing this, and counterpoint. Of course, this is a clichéd you read this, six weeks or so further on, Turca,” the last movement of the Sonata that is true. But it is fascinating to see or trite point. things will likely be different, but we do in A Major, K. 331. This is a piece that myself falling prey to the same tempta- As far as music is concerned, this not know in what ways they will be dif- I have never played. I tapped out the tion in a situation when I am without reminds me of several ideas about coun- ferent. All of our mid-March selves hope beat in my head at about quarter note any particular expertise or overarching terpoint that occurred several years ago, that by early May things will have turned equals 95 beats per minute. The slowest awareness of the dynamic of what is mainly as a result of my experiences the corner. But we do not know. recordings that I found of it in a brief going on. To put it another way, I am with theater, in particular immersive I am not sick, nor is anyone I know survey were at about 120. Another time, doing the work at someone else’s behest, or participatory theater. (I have briefl y personally. That is one of the things that the piece was one that I have played a something that I never do when playing alluded to this in prior columns, and may change. My shoulder feels almost lot: Bach’s Fughetta super Dies sind die music. This may change my way of think- will soon—the Fates permitting— fi ne—close enough not to impede most heil’gen zehn Gebot, BWV 679. As it ing in my own practicing or conversa- write about it at length and relate it to activities—and I have gotten past the went through my head, I discovered that tions about it. memory, to the passage of time, and malaise that accompanied my early recov- the eighth notes were going at about 110 4) I have been trying to turn back to The Art of the Fugue.) The notion ery period. Therefore, I should be able to beats per minute. Recordings of it that I these last few weeks to thinking about is that whereas it is normal, valid, and focus well on writing and on practicing. checked were all between two and three the music that I want to play. That important to think of counterpoint as Indeed I should be able to take advantage times that fast. means The Art of the Fugue, of course, a conversation between two voices or of the relative absence of things to do to So I began to speculate, are these the at least in large part for now. However, among more than two voices, it makes a catch up. But rather than that, I fi nd it tempos that I really want? I certainly I fi nd myself thinking more about different kind of sense and has a differ- harder to concentrate and focus right like the admittedly abstract experience counterpoint in very general terms, that ent kind of power to see counterpoint around now than at any other time that I of “hearing” them that way internally. is, about the concept of counterpoint as a representation of or analogue to all can remember. So do many people. Each of those pieces, and others, as a part of life. This is abstract and, experience, whether of people passing I have written about my attempts to seemed to have a wonderful feeling perhaps, just the musings of someone through the physical therapy center be assiduous during my physical therapy of suspense and freedom as well as a who was abstracted from normal life together or of the planets circling one exercises, and that those attempts have convincing overall arc. But this is imagi- and activity for a couple of months for another—or millions of people working been fairly successful, if not quite as suc- nary. Would I like actually hearing them one reason and now expects to be for from home and staying in touch as best cessful as I had hoped or even assumed. this way? These tempos were extremely another couple of months for different they can. Q I can report that on one recent day I slow. If I really would like them this reasons. But I have felt strongly the simply forgot to do them; I forgot that I slow, does that mean that I could expect force of what I think of as the basic defi - To be continued. was a physical therapy patient. The next other people to? Or is it something nition of counterpoint, namely two or day, my initial reaction was to wonder quirky about me, or about how one more things that are different from one Gavin Black is director of the Princ- whether I should bother to start them hears one’s own playing as opposed to another happening at the same time. eton Early Keyboard Center, Princeton, up again. I did, though it was a kind of anyone else’s? As I get back to playing This is a way of looking at it that at least New Jersey. He can be reached by email half-hearted job. and teaching, I want to re-think tempo, somewhat downplays such specifi cs at [email protected]. This is a global concern that affects mainly as a matter of infl uence. Where everyone’s focus. I have read and agree should we get our tempos? Our own Confident pedal work that teachers in general should not innermost thoughts? If not that, why evaluate or judge their students right not? Do students feel free to try to get comes with practice and now. Perhaps we need to do away with in touch with their own innermost feel- grades and exams for now and tolerate ings about tempo? What about other the right shoes mediocre or late work. For this week and interpretive matters? Where might next, I am not seeing students for any those feelings come from? How can I on the sort of regularly scheduled lessons, not help students connect with them? even remote ones. These are said to be 2) There are periods in history that pedals the two weeks when we either will or will have seen the creation of music that not turn things around. Nothing about refl ects diffi cult times. Composers in the x Men’s & Women’s Organ Shoes long-distance teaching would violate seventeenth century lived through the the kinds of measures that we are being Thirty Years War. I have always assumed with suede soles and heels asked to accept and implement. My that this is one source for the sadness and x Whole & Half reason for taking a short break is about intensity of much of the organ music of Sizes in 3 Widths focus. As I recently put to a colleague, I Scheidt, for example. The mid-twentieth need to take a deep breath. I believe that century was of course another such time, x Quick & Easy a number of my students also need this, and Messiaen’s Quartet for the End of Returns though I am aware that for some of them Time is one response to it. As I write this lessons right now would be a good dis- it is much too soon to know what scale of OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET traction. (I have balanced that possibility misery, dislocation, and sadness the cur- 44 Montague City Rd Email: [email protected] with my own needs at the moment by rent public health emergency will end Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 13 In the wind...

Closing the gates with groceries, booze, and household St. Peter took some hard knocks. In supplies. With a baby in the house, we the hours before Jesus was crucifi ed, sure do not want to run out of laundry he shamed himself by fulfi lling Jesus’s detergent, and with fi ve of us here, we prediction that he would deny his asso- are running the dishwasher twice a day. ciation with Christ, “before the cock Social distancing is our new way of life. crows three times . . . ,” and sometime In a matter of days, we have eschewed around 60 A.D., he was crucifi ed under the pleasant practice of physical contact the Emperor Nero of fi ddling fame. (If when greeting both friends and strang- Peter was in his twenties when Christ ers. Handshakes and hugs are suddenly was crucifi ed, he would have been over physically threatening. Public assembly eighty when he died.) After all that, is an important part of our society, but Peter was named the gatekeeper of now restaurants, bars, theaters, and con- heaven, which I suppose is one of those cert halls are closed, and we are advised dream jobs that come with “be careful to avoid airplanes, trains, taxis—and any what you wish for.” His image appears in other place where a stranger may have David Geffen Hall, Lincoln Center, New York, fi ve minutes before the March 10 con- countless paintings, statues, stained-glass wiped his nose or sneezed before touch- cert of the New York Philharmonic with music of Debussy, Ravel, and Scriabin (photo windows, even kneeling cushions, and he ing something. Someone sneezed in a credit: Mark Pacoe) is always depicted holding a huge ornate subway car, and people started shouting. key. Ecclesiastical buildings named for Many are lamenting the loss of choir The word virus is derived from the closed, bars closed, sidewalks emptied. him bear iconic images of keys, and rehearsals. It may be easy for the organ- Latin vʅrus, meaning “poison” and “slimy The traffi c was signifi cantly lighter as my many a cartoon shows him sitting at a ist and director to feel the grind of yet fl uid,” as is the word virulent. This lively son-in-law and I drove out of the city on lectern wafting in the clouds before a another Thursday evening, but for etymology became especially prescient Saturday morning. And no sooner had I great gate, the fortunate throngs enjoy- countless devoted volunteers, that eve- when the churchly conversation took up arrived in Maine, when Mayor De Blasio ing themselves inside with wings afl utter ning of collaboration, conviviality, and the epidemiological issue of the common of New York City announced the closure and harps strumming, the hopeful stand- creativeness is important, even essential cup. I have been receiving communion of the public schools. ing in line awaiting judgment. “You’re a to their well-being. One colleague won- using the common cup for over fi fty When organbuilders are at work inside tenor? We don’t admit many singers, but dered online if there is any internet plat- years, and I have never thought much an organ, it is common for one to yell for we’re short a few tenors. In you go.” Or form that would support anything like a about the sanitary aspect of it.1 Until last the blower to be shut off in order to open “It’s all here on Facebook. Denied.” Or choir rehearsal. Sunday when I refused the cup, I have an access panel or clamber across a reser- “Your account is not coming up. Give me A colleague mentioned that he had willingly put my lips to the wine. I know voir. Organ Clearing House lingo for this your username and password again.” watched one of the late-night comedy that the purifi cator is sacred, but it is a is “Organ off!”2 Someone at the console On March 16, the most prominent shows and thought it strange how the stretch to believe that it has scientifi c fl ips the switch, and you sit inside the earthly edifi ce honoring Peter dra- host who is usually hilarious fell fl at in the antiseptic properties. instrument watching reservoirs go down, matically shut its doors as Pope Francis vacuum of the empty theater. Public per- swell shutters fl ick open, and the wind announced that Easter services would formance of any type depends so much on Grinding to a halt noise dying away, maybe a little distant not be open to the public at Saint Peter’s the energy exchanged between audience In the beginning of last week, sig- whimper of a cipher adding an eerie Basilica in Vatican City. The Archdiocese and performers. Thousands of organists nifi cant cancellations started to appear. comment. You witness the life going out of New York has cancelled public Masses, and clergy have hastily scheduled staff All of the in-season professional sports of the instrument. The great instrument and countless other dioceses are doing meetings to work out the logistics and leagues suspended games, and colleges that was so vital and full of life is reduced the same. At this moment, the American dynamics of live-streaming worship from and universities announced campus clos- to dead weight. New York City felt like public is hunkering down and buying empty churches. One colleague whose ings and the advent of distance learning that to me last week as the great machine everything they are uneasy about doing church has just received delivery of a and teaching. On Thursday, March of Gotham ground to a halt. without. The structure of the supply large sophisticated new organ noted on 12, the vibe in New York City changed This brings a converse experience chain that we normally take for granted is Facebook how strange it was to lead wor- dramatically as all the major cultural to my hopeful mind. When we leave a wobbling and threatening to topple. Will ship playing in an empty room. institutions closed at once, including the dock or mooring in our boat, we use the distribution centers close so that noth- New York Philharmonic, the Metropoli- “Iron Wind,” the snappy little twenty- ing will be shipped from warehouse to Out, damn spot! tan Opera, the Metropolitan Museum horsepower diesel engine located in a store? While we are used to the airwaves Wash your hands. We have shared lots of Art, the Museum of Modern Art, and well under the cockpit deck. It is reliable being full of breathless urgent reporting of ways to count off twenty seconds. Sing the forty-one theaters that comprise and easy to control and saves us from of breaking news, writing for a monthly the alphabet. Sing “Happy Birthday.” Broadway. Wendy and the troupe had ourselves when our sailing skills are out- journal with submission dates six weeks Recite the Lord’s Prayer or the Prayer of left for Maine on Tuesday, and this news witted by fl uid situations, but it is noisy before publication is hardly immediate, St. Francis. How about the bit from Act V, was enough for me. I held two meetings and contrary to the pleasures of sailing. and by the time you are reading this, the Scene 1 of Shakespeare’s Macbeth, when on Friday—they seemed safe enough Once we are in open water, we motor world may be a different place. We are Lady Macbeth shouts regret for her evil because they included just a few people into the wind to raise the sail, “fall off” learning a lot about what makes us tick ambitions as she washes her hands? in empty churches, and I drove instead the wind to fi ll the sail, and shut down as we witness otherwise civilized people of taking the subway and then spent the the engine. It is a liberating and exhila- brawling over toilet paper. Out, damn spot! Out, I say! — One, afternoon ransacking our pantries and rating moment, and I look for it, allowing Wendy and I have left New York two. Why, then, ’tis time to do’t. Hell is cupboards to add to the hoard in Maine. the wind to take over. I look forward to City for our home in Maine. That is not murky! — Fie, my Lord, fi e! A soldier, and It was fascinating and eerie to watch it each time we set out. As the boat goes afeared? What need we fear who knows it, unusual as we come and go from this when none can call our power to account? the city grind to a halt. The subway system quiet, it becomes more powerful. Twenty house at all times of the year, balanc- Yet who would have thought the old man to that ordinarily carries 5.5 million riders horsepower is nothing when compared ing the rapid pace of city life with the have so much blood in him. each day saw a drop of 18.5% on Wednes- to an ocean full of wind. more relaxed setting at the end of a day. Ridership on the principal commuter Will we gain strength through this half-mile gravel road. But this time we railroads, Long Island Rail Road and ordeal? Will this interruption of our are joined by daughter, son-in-law, and I read it to myself in exactly twenty Metro-North, dropped 31% and 48%, routines bring creative ideas, new chal- granddaughter who live in Brooklyn. We seconds. If you emote a little, your hands respectively. (Metro-North runs through lenges, and refreshed outlooks? I hear arrived here separately, fi lling each car will be cleaner for it. New Rochelle, New York, the site of a vir- friends talking about all the new music ulent breakout of the virus.) Restaurants they will be learning. Maybe our exiles will strengthen our relationships with those close to us. Maybe we will fi nd new Saving organs throughout A. E. Schlueter Pipe Organ Co. and quieter ways to be creative and pow- erful, like the sailboat gaining its true America....affordably! power when the mechanical propulsion is removed. Six weeks from now, when you read this, you can let me know.

It’s personal. As colleges and universities are clos- ing, there has been a lot of chatter about what private lessons for performance majors will be like. Teachers are on social media asking each other how they plan  New Instruments  Tonal Additions  Rebuilding  Maintenance  New Consoles  Tuning 1-800-621-2624 How can we help you? foleybaker.com 800-836-2726 www.pipe-organ.com

14 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM By John Bishop

written just as World War II was coming heart a social medium, and it desperately to a close. There was no audience pres- needs contact.” ent. The orchestra has long had facility If an orchestra plays to an empty hall, for high-resolution broadcasts of their is it a performance? If a teacher instructs concerts in Berlin’s Digital Concert Hall, a student over FaceTime, is it an effec- normally available through expensive tive lesson? Live artistic performance subscription. This concert was offered such as music or theater is an exchange free, and Alex Ross, longtime music of energy. The actor sees the audi- critic for The New Yorker, wrote of the ence through the footlights and knows power of the event, but he noted how whether they are excited or bored. Even strange it was when Rattle walked onto when playing a large organ sitting scores the stage not to the applause of a huge of feet from the nearest audience mem- audience, but the polite foot-shuffl ing ber, the organist feels the energy of the and tea-time clapping of the orchestra, listeners. That energy rebounds to the not to mention the vacuum of silence at musician, and the cycle continues as the the conclusion of each piece. music grows more and more exciting. (photo credit: Félix Müller) In his article in The New Yorker We are being advised to limit gather- of March 14, Ross continued with a ings to ten people. Ten people can make Rather than reporting the news as it hap- description of a similar concert pre- a wonderful party, but it is not enough to pens, I am offering a point of reference for sented by the Philadelphia Orchestra generate the excitement of hearing music the future. Let me know how you did. Q “Mister, we have no potatoes today.” under Yannick Nézet-Séguin. Beethoven as part of a thrilled throng. I wonder if (photo credit: John Bishop) gave his Fifth Symphony a high-octane our lives will be going back to normal Notes 1. During the distribution of Holy Com- conclusion with a succession of thun- when these words reach you. I wonder munion on a sweltering summer evening, to manage one-on-one “distance instruc- dering cadences and swift tempos that what lasting damage there might be to the priest inadvertently wiped his forehead tion,” and all sorts of online meeting whip the usual audience into a frenzy. our society, our economy, our tolerance with the purifi cator between communicants. platforms are being discussed and com- Ross wrote, “The leaden silence that fol- and patience with each other. I hope we Wendy and I were taken aback. 2. We have other lingo that is useful for par- pared. I wonder if this could have a long- lowed was unnerving. Nézet-Séguin and can all move forward with the power of a ticular situations. “The tremolo’s running” is term effect on the dynamic of teaching his players looked a little ashen as they new wind as the engine of everyday life code for “other people have just come into the music. One of the strongest memories stared out to the cameras. Music is at rattles to a stop. church,” which means watch your language. I have of my organ lessons at Oberlin was the sound of my teacher’s red pencil making circles and notes on my score as I played from memory with my back to him. My ears would burn, and I would NORTH AMERICA’S itch to be fi nished so my inadequacies could be revealed. It was immediate, PREMIER PIPE ORGAN intimate, and very personal. I wonder if those emotions could be translated BUILDING, REBUILDING through Skype? AND SERVICE FIRMS As with any other musical instrument, private organ lessons are essential to the development of a musician. 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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 15 Gruenstein Award winning entry

Reevaluating Andrea Antico’s Frottole of 1517 Figure 1: the location and activity of Andrea Antico and notable publications

By Alexander Meszler

n December 1516, Pope Leo X aspects of economics, reception, genre, Irevoked Ottaviano Petrucci’s exclu- authorship, instrumentation, and Frot- sive 1513 privilege to print keyboard tole intabulate’s famous frontispiece. intabulations. A lesser-known publisher, Finally, I analyze the intabulation tech- Andrea Antico, was awarded rights to nique in Antico’s collection, proving that the genre. Just one month later, January the diffi culty and artistic merit are well- 1517, Antico delivered Italy its fi rst col- situated with other contemporaneous lection of printed keyboard music, Frot- compositions and arrangements. tole intabulate da sonare organi, Libro primo (henceforth, Frottole intabulate). Andrea Antico This collection is the fi rst known pub- The most comprehensive second- lication of keyboard music in Italy, the ary source on Andrea Antico, both for second known keyboard publication his life and music, is Catherine Weeks anywhere (after Arnolt Schlick’s Tabula- Chapman’s more than four-hundred- tur etlicher Lobesang of 1512), and the page Harvard University dissertation second extant collection—manuscript from 1964.4 Though not impossible or published—of keyboard music in to obtain a copy, her document is not Italy (after the fi fteenth-century Codex widely available. Chapman’s work, Faenza, Biblioteca Comunale 117).1 No though signifi cantly dated, is thorough other collection is single-genre, and and is still the baseline source for the no other similar collection is almost Grove Music Online encyclopedia entry entirely secular in content. Though on Antico by Martin Picker. Figure 1 is future Italian keyboard collections con- compiled from these sources and may tinued to include song intabulations, serve as a reference point and visual no other publication represents the guide to Antico’s life; this chart and late-fi fteenth, early-sixteenth century the following sketch of Antico’s life and frottola genre. publications serve as an outline, not a Clearly, Frottole intabulate is special comprehensive biography. if only based on the merits of its inno- It is not uncommon that the lives of Figure 2: contents of Andrea Antico’s Frottole intabulate da sonare organi, Libro pri- vative, fi rst-of-its-kind, and in some sixteenth-century fi gures be shrouded mo (1517), tentative English translations, potential sources, and original composers. respects, one-of-a-kind status. Yet in in a degree of ambiguity, and Antico is histories and critiques of early keyboard no exception. However, since publishers Between 1518 and 1520 Antico was intabulations. Intabulations are arrange- literature, the collection is consistently were held in high regard and typically in partnership with the Giunta family ments of vocal pieces for an instrument, received coldly. In a textbook on histori- claimed ownership of their work, the of printers in Venice. Nothing is known particularly keyboard or lute. cal performance, Jon Laukvik, without level of uncertainty related to Antico’s about why he moved north or the cir- Frottole intabulate is a collection abridgment, writes only, biography is unusual. Antico began his cumstances around why he partnered of twenty-six frottola intabulations for life sometime around 1480 in Montona, with another printer, but Antico’s name keyboard. As is the case with most early Frottole intabulate da sonare organi li- present day Croatia, then governed by continued to be featured prominently music, certain aspects of performance bro primo, published in 1517 by Andrea Venice. Some editors and authors have in his work. After this, for more than practice are and will probably always Antico, are the fi rst Italian keyboard works to appear in print. These frottole, intabu- confused Montona with Mantua. It is ten years between 1522 and 1533, refer- remain unknown. Maria Luisa Baldas- lations of simple songs, are in four parts not known why or when he moved, but ences to Antico disappear. It is likely that sari suggests that there are numerous throughout and contain ornamental fl our- Antico’s fi rst work surfaced in Rome he continued his work in Venice with possible ways to perform the music ishes (groppi) already familiar to us.2 around 1510. During this early part of the Giunta family or some other pub- in Antico’s collection including as an his career, Antico was exceptionally pro- lisher. Still in Venice, Antico resurfaces accompaniment for a solo voice or as Even more apathetically, Willi Apel lifi c. Chapman states, in 1533 working with the Scotto family works for keyboard alone.7 Until recently writes: “as the title indicates, it [Frottole of publishers. During this time period, there were two original surviving copies intabulate] contains only intabulations of From 1510 through 1521, Antico ac- he produced what might be considered of Frottole intabulate, one in Prague frottole, and is thus of little interest for tually produced more music books than his magnum opus, Mottetti di Adrian (National Museum, Nostitz Library) 3 Petrucci—a great many more if reprints the history of keyboard music.” If Frot- are included. But it is less the volume of Willaert, libro secondo a Quattro voci and another in Milan (Private Library tole intabulate is so unique, why has it Antico’s output than his use of a printing (1539). After this publication, little more Polesini), but the Milan copy (originally been received unenthusiastically? method fundamentally different from Pe- is known about Antico’s life. missing a single folio) has been lost. All While “reevaluate” in the title of trucci’s that makes him an important fi gure but two vocal models survive in other this essay might on the surface seem in the early history of music printing.5 Frottole intabulate da sonare Antico publications that predate Frot- disingenuous given Frottole intabulate’s organi, Libro primo (1517) tole intabulate.8 One of the remaining obscurity to today’s keyboardists, the Not only was Antico a prolifi c printer, The frottola (frottole, plural) is a genre two intabulations exists in a Petrucci reality remains that there is a substantial but he also worked by using woodcuts of secular Italian song that was popular publication that also predates Frottole body of writing related to this collection. instead of movable type, the method during the late-fi fteenth and early-six- intabulate, and the other has no known Reevaluate, then, is to reexamine and used by Petrucci. Antico was Petrucci’s teenth centuries. It is widely considered vocal model.9 perhaps “re-present” the body of schol- fi rst signifi cant competitor. Although to be a predecessor to the emerging, Frottole intabulate does not include the arship related to the collection, but also Petrucci produced the fi rst prints of more complex, and now more well- original texts other than what is provided to reconsider its value as keyboard music polyphonic music, Antico was the fi rst known madrigal.6 The frottola generally in the title, but many of the songs would for listeners and performers of today. I to do so in Rome in 1510 with Canzoni contains a text with lighthearted themes have been very well known. Even though begin by presenting a brief overview of nove con alcune scelte de varii libri di and elements of humor. Frequently frottola texts are generally lighthearted, Antico’s life and the contents of Frottole canto (henceforth, Canzoni nove). It was strophic, any discernible text painting the lyrics are important to a successful intabulate. Next, I contextualize the key- during his years in Rome that Antico quickly dissolves. Thus, at least in theory, interpretation of the pieces because their board collection within the framework produced Frottole intabulate, his only the frottola can be easily accommo- themes still vary signifi cantly from song to of early print culture by considering collection for the keyboard. dated by textless versions like keyboard song. Despite access to almost all the texts

16 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM There are no extant copies from a was unsuccessful since lute was still the second printing of Frottole intabulate, primary domestic instrument, which and it is unlikely that one ever existed. would be further supported by the fact If nothing else can be said about the that there was never a second volume economics of Antico’s keyboard collec- of keyboard intabulations. Second, his tion, it could not have been too suc- attack on lute intabulations depicted in cessful since its subtitle, Libro primo, the title page was trivial and was of no implies a future second volume which consequence to the later publication of never came to fruition. While it is likely his own collection for lute and voice. that economics was a factor in Antico’s It is probably some combination of the failure to produce a second volume, this two of these. The important element to is far from verifi able and was certainly consider from this frontispiece is not the not the only factor. debatable specifi cs of the meaning of each of its characters and features, but Reception rather that the very concept of intabula- Very little can be said about the tion for keyboard might have been con- reception of Frottole intabulate. As dis- troversial as a starting point at all. The cussed above, multiple reprints can be frontispiece demonstrates that Frottole considered a sign of positive reception intabulate’s publisher was self-aware; and continued appreciation of musical indeed, it was the fi rst of its kind. Figure 3: frontispiece of Andrea Antico’s Frottole intabulate da sonare organi, Libro repertoires, but it is unlikely that this primo (1517) occurred for Frottole intabulate. Almost Genre nothing is known about the logistical dis- The frottola was a popular genre in from the original vocal models, transla- received, interrelationships of printers semination of this collection, but there the late-fi fteenth, early-sixteenth cen- tions are unavailable in all the modern and patrons, and profi tability. Because must have been some reason to print an tury. Ottaviano Petrucci, for instance, editions of Frottole intabulate; this is of the passing of time, trying to compre- edition of secular song intabulations: an produced more than ten books of most likely due to the problematic nature hend the cultural background of these audience, a patron, a desire to do some- frottole. In addition to the multi-voice of translating fi fteenth- and sixteenth- prints can seem futile, but not doing so thing innovative? Since there was never original frottola compositions, a tradition century poetic Italian into modern Eng- can make the music itself seem distant a second volume, likely no reprints, no of single voice versions accompanied by lish. I have included tentative translations and irrelevant. Newer research into similar frottola or other single-genre lute developed, both improvised and in of the titles in Figure 2 in an effort to the early decades of music printing has keyboard publications in sixteenth- print. The fewer resources needed to increase the accessibility of this music to unlocked many previously inaccessible century Italy, the print was probably not execute a performance with just one or performers and listeners. aspects of the culture and music. a wide-ranging success. two musicians instead of an ensemble of By including partial translations in the singers allowed for greater versatility and liner notes to his Antico recording, Glen Economics Antico’s frontispiece improvisation. Anthony Cummings has Wilson also recognized the importance The printing process was expensive The publishing rivalry between examined this performance practice and of these texts. Because he only translated and time consuming; having a print in Petrucci and Antico is apparent in Frot- found evidence that the practice of play- lyrics that he felt particularly infl uenced the early decades of the existence of tole intabulate. Not only did Antico’s ing solo versions with self-accompanied his interpretations, some of his transla- printing technology brought the owner papal privilege to print keyboard intabu- improvised lute parts was widespread.17 tions only include the title while others pride and prestige. Thus, just like the lations result in the revocation of Petruc- Unwritten music (most music in the include signifi cant portions of text. Some origins of the music that was composed ci’s ability to do so, Antico fl aunted it in fi fteenth and sixteenth centuries) infl u- of the extended texts signifi cantly change and played in the fi rst place, what was the frontispiece to Frottole intabulate enced publishers. Both Petrucci and the meaning of the title. For instance, printed was largely controlled by patron- (Figure 3). This frontispiece, probably Antico produced volumes of frottole for “Fiamma amorosa e bella” (number 13) age. As machinery and materials later by Antico’s regular collaborator, Giovanni single voice accompanied by lute: Anti- alone translates to “Flame loving and became less expensive, demand for Battista Columba, has been interpreted co’s Frottole de Misser Bortolomio Trom- beautiful,” but with more context from more publications also increased, and in numerous ways in the twentieth and boncino & Misser Marcheto Carra from the rest of the poetry, Wilson translates, publishers needed to compete to stay twenty-fi rst centuries. It is likely that around 1520 and Petrucci’s two books “Beautiful fl ame of love, why have you in business. It is tempting to posit that the monkey holding a lute represents from 1509 and 1511, Tenori e contrabass turned to ice?”10 Still other pieces intro- this caused printing businesses to func- Petrucci because he previously pub- intabulate col sopran in canto fi gurato duce elements of humor only after the tion within a framework similar to free- lished two sets of frottola arrangements per cantar e sonar col lauto, arranged by initial title like in “Che farala che dirala” market capitalism, but Kate Van Orden for voice and lute. The woman dismisses Franciscus Bossinensis. (number 21), which alone becomes maintains this competitiveness comes the monkey and his lute intabulations in There is severely limited evidence for “What will she do when she hears?” only from complexifying relationships favor of Antico’s superior arrangements a similar improvised tradition of per- With additional context, however, it of patronage.14 Even late in Antico’s life, for keyboard. Antico’s decision to later forming frottole on the keyboard. If there becomes something akin to “what will but certainly for the publication of Frot- publish frottola arrangements for voice was a signifi cant unwritten precedent for she do when she hears I have become tole intabulate, privileges that limited and lute, a style he derided in this fron- Antico’s intabulations, it is diffi cult to a monk?”11 Though the translations I the legal printing rights of different tispiece can be interpreted in two chief understand why Petrucci would not have provide in Figure 2 are a starting point, publishers were controlled by persons of ways: fi rst, Antico’s Frottole intabulate printed for the medium while he had held a future resource might work with an authority, local governments, and even expert on literature of the Italian renais- the pope. These privileges regulated the sance to complete full translations. majority of competition among publish- Scattered leaves ... from our Scrapbook Figure 2 is a complete list of the con- ers. Disobeying a papal privilege for tents of Frottole intabulate. It contains exclusive printing rights, for instance, the number, title, tentative English could result in “excommunication, a translation of the title, a potential source fi ne, and confi scation of the offending 15 for the intabulation, and possible origi- copies.” The exclusivity of these privi- I am not ashamed of sentiment, nal composers. leges affected the publication of Frottole without which no one, I think, intabulate. Not only did Antico obtain Contextualizing Antico’s frot- a papal privilege in order to print his can really love music with his tole in the print culture of the keyboard intabulations, but doing so also whole heart. Cleverness in early-sixteenth century resulted in the inability of other publish- musical form and development Very little is known about the culture ers to print something similar, including may make a certain appeal, but of early-sixteenth-century music print- Petrucci, his rival. one who is devoid of sentiment ing, and it is easy to imply inaccurate Aside from the complexities and cost or sympathy can never get to generalities. Stanley Boorman states, of getting permission to print, the cost of the heart of music. carrying out the printing was astronomi- We can hardly begin to say anything cal; the cost of printing was so high, in Alfred Hollins about the general acceptance of music, fact, that it is diffi cult to ascertain why beyond the assumption that printed edi- someone would venture to do it at all. tions reached many more readers than did manuscripts.12 For Boorman, fi nancial gain could not have been a primary motive. Given these high costs, a print that was successful Boorman suggests that scholars have enough to result in subsequent prints often arbitrarily considered smaller, would be one of the only conceivable less productive companies to be more ways to make a profi t.16 In reprints, important than others based on prede- materials could be reused, saving the termined ideas about value and qual- printer the time and money associated Schoenstein & Co. ity.13 Evaluating a print’s signifi cance with making the materials for the initial consists of studying, among numerous print run. Thus, the existence of multiple Established in San Francisco š 1877 other factors, the success or lack of suc- editions or reprints could be evidence www.schoenstein.com ❧ (707) 747-5858 cess of individual prints, how they were for profi t of these early sources.

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 17 Gruenstein Award winning entry

Figure 4: table of contents of Andrea Antico’s Liber quindecim missarum (1516) the papal privilege to do so. It is unlikely Though the notion clashes with modern that there was a signifi cant precedent defi nitions of authorship, one could say Figure 5: frontispiece of Andrea Antico’s Liber quindecim missarum (1516) for Antico’s collection. Nevertheless, as that it was not composers who authored printed books, but printers, printer-book- I have already stated, the frottola, which 19 publisher over the composer. While often contains texts deemed “frivolous”18 sellers, and editors. Antico provides the names of the com- and disconnected from the music, lends posers in its table of contents (Figure itself nicely to textless versions. Composers were not able to title their 4), the more prominent title page shows own music in anthology publications and only Antico and his audience with Pope Authorship their music was “rebranded” to suit the Leo X (Figure 5).20 Given the beauty of Understanding authorship in the needs of the publisher. The frontispiece the entirety of this Antico anthology (see Renaissance is obscured by modern of a different Antico publication, Liber Figure 6), one can begin to understand notions of intellectual property and quindecim missarum (1516), visually the printer’s prominence. copyright. Van Orden states, demonstrates the prominence of the The elevated importance of publisher over composer in the Renaissance can be seen in Frottole intabulate. Van Orden states, “once again, Antico visually claims authorship of the volume, even though it is devoted almost entirely to the Frottole of Bartolomeo Tromboncino.”21 In the case of Frottole intabulate, unlike Liber quindecim missarum, there is an added layer: arrangement. Many past scholars have attempted to attribute or unattrib- ute the arrangement of the frottole in this publication to Antico himself. There is Figure 6: fi rst page “Kyrie” of Andrea not adequate evidence for or against such Antico’s Liber quindecim missarum an attribution. This lack of information (1516) regarding who arranged the songs for keyboard can serve as yet more evidence Frottole intabulate it is attributed to Bar- that musical factors were less important tolomeo Tromboncino. Both Christopher than the publications themselves. Hogwood and Peter Sterzinger, editors of Confl icting attributions among differ- two modern editions of Frottole intabu- ent publications with the same content late, seem to ignore this issue. Sterzinger are pervasive in the early decades of simply keeps the attributions from Frot- music printing. This further illustrates the tole intabulate, while Hogwood does not indifference publishers had for original include attributions, yet provides refer- authorship since correct attributions were ences to all the vocal sources. Hogwood’s clearly a lower priority than the overall preface seems as though he is aware of quality of the publication. For example, the issue but is unsure how to approach “Fiamma Amorosa e bella,” number 13 it. Maria Luisa Baldassari, the editor of in Frottole intabulate, fi rst appears as another modern edition, does not dwell number 6 in Canzoni sonetti strambotti on the issue of attribution, but she denotes et frottole, Libro tertio (henceforth, Libro possibilities above each individual piece. www.ruffatti.com tertio) and is ascribed to Marco Cara Another type of borrowing in early (Marchetto Cara).22 In the 1520 reprint in print culture involves using the previously Venice with Giunta it is anonymous and in printed content of other publishers. It is

18 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM publishers were not commonly musi- though, the focus of who arranged the cians. Van Orden states, frottole is probably a misguided ques- tion in the fi rst place—one raised by a Though many [publishers] had or ac- quired some musical literacy, none were modern perspective. If anything is to be composers. Rather, they were inventors, learned from this discussion of author- printers, engravers, woodcutters, type ship in early print culture, who arranged founders, and booksellers, developers of a the frottole was inconsequential. new technology.26 Instrumentation Though not frequently musicians Intended instrumentation of early themselves, there is no doubt that keyboard music is frequently a source publishers possessed remarkable talent. of mystery. The frontispiece of Frottole Nevertheless, Antico’s musical literacy intabulate (Figure 3) shows the collec- and abilities remain ambiguous at best. tion being performed on a stringed key- There is not enough biographical evi- board instrument. However, as is usually dence to draw any conclusions regard- the case for early music, the pieces can ing his abilities as a musician. On the certainly be performed on other key- other hand, given that he signed them, board instruments. In the preface to his it is possible that two of his own frottole edition of Frottole intabulate, Christo- appear in Libro tertio.27 Kimberly Mar- pher Hogwood states, shall summarizes, Nothing in the style of the intabulations Who actually arranged the pieces for suggests a preference for one type of key- keyboard is not known, but in the absence board instrument over another, and the of precise attributions, it has been as- title-page illustration itself reinforces the sumed that the publisher Antico was him- interpretation of “organo” as meaning any self the transcriber.28 keyboard instrument—a usage that was normal in Italian for several centuries.30 While Marshall questions the assump- tion that Antico arranged the frottole, The shorter compass of sixteenth- Glen Wilson, going a step further, cat- century organs (starting on F) that is evi- egorically denies such an attribution: denced by existing organs and treatises not only suits most of the ranges of the [Antico] was also clever in his choice of arranger (it was not Antico himself, as is frottole, it accounts for the transposition often thought, any more than the printer/ of several of them; numbers 5, 11, 12, 21, publisher Attaingnant arranged the fi rst 22, and 23 are all transposed up a fourth lute publications in France around the or fi fth.31 Modern recordings have gen- same time, or than Bennett Cerf wrote Ulysses). This anonymous master, doubt- erally favored the harpsichord over the less one of the countless Italian organists organ, but Baldassari’s recording persua- whose works have been lost, produced sively makes the musical case for using a very early example of a fully-balanced many different instruments. While they polyphonic keyboard style. In 1517 Josquin still had four years to live, and voice cross- are playable on many instruments, there ings and gothicisms still frequently appear are characteristics of each keyboard that even in frottole. In Antico’s book there is favor different styles. For instance, I fi nd a radical change: generally keeping the all- that “Me lasserà tu mo” (number 24), important melody and bass lines free and intact (except for modest amounts of added if played slowly, is enhanced by perfor- ornamentation), the arranger substituted mance on the organ to accommodate supple, idiomatic inner voices for the spiky the sustained tones. A testament to the originals, which are often mere fi ller. Once instrumentation’s fl exibility, Baldassari Figure 7: frontispiece of Giovanni Pierluigi Palestrina’s Missarum liber primus (1554) the notational fog is dispersed, his work turns out to deserve a place of high honour successfully uses the spinetta for the in the annals of music history.29 same piece. If approached creatively and common to see repeated pieces among is holding actually belongs to Morales.25 openly, there are a great many possibili- competing publishers without noting who Despite almost forty years of separation, Wilson’s ideas about the need for a ties for instrumentation, including the published it fi rst. For example, Antico’s Palestrina’s frontispiece remains strikingly skilled and creative arranger to set the addition of text with a singer. Canzoni nove borrowed nearly half of its similar to Antico’s (see Figure 5). idiomatic inner voices in Frottole intabu- contents from Petrucci, his direct compet- The overall lack of information is not late are further supported in my analysis Intabulation technique: itor. A publication like Frottole Intabulate the only reason that making an attribu- below. However, Wilson provides no con- an analysis is embedded in the notion of borrowing tion to Antico himself as the arranger crete evidence for his categorical rejec- An analysis of characteristics in given the nature of arrangements. of Frottole intabulate is not possible: tion of Antico as arranger. Ultimately Antico’s keyboard intabulations and the Separately, composers worked to gain their own independent identity in print. Signifi cantly later, in 1554, for instance, Palestrina paid for the publi- cation of a high-quality volume of his own music.23 Similarly, one can look as graduate study in far back as Petrucci’s Josquin publica- tion, the fi rst publication dedicated to organ performance a single composer. While it is possible at Yale Institute of Sacred Music and Yale School of Music that this is a humanistic turn (the rising importance of the singular creative mind associated with the Renaissance), this is likely not the case. Boorman maintains that the publication of single-composer volumes like those by Petrucci (inclusive of Josquin, Obrecht, and Brumel) are probably an attempt to gain the favor of composers or fl atter them into taking a position somewhere.24 When composers did fi nally accomplish the publication of their own oeuvre, the line of authorship remained blurred: another publisher, Valerio Dorico, took inspiration from Antico’s frontispiece to Liber quindecim missarum for the publication of Cristóbal de Morales’s Missarum liber secundus in 1544. Dorico later modifi ed this woodcut yet again to serve as the famous title page of Palestrina’s Missarum liber primus of Yale Institute of Sacred Music, 406 Prospect Street, New Haven, CT 06511 1554 (Figure 7). Although Dorico modi- tel 203.432.9753 · ism.yale.edu/musicprograms fi ed the woodcut from the version he used [email protected] from the Morales publication, the changes were minimal; the music that Palestrina

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 19 Gruenstein Award winning entry

Figure 8: surface-level feature comparison of excerpts from Andrea Antico’s “Dolce ire dolci sdegni” (number 18) from Frottole intabulate da sonare organi, Libro primo (1517), measures 14–16, and Marcantonio Cavazzoni’s “Plus ne regres” from Recer- chari, motetti, canzoni . . . libro primo (1523), measures 61–63 intabulation technique itself reveals that it is possible to attribute this difference the simplicity of this collection has been to less artistic merit of the Antico, these overstated. Comparing Antico’s frottole differences are better explained by the with Marcantonio Cavazzoni’s Recer- type of pieces they are arranging for chari, motetti, canzoni . . . libro primo keyboard in the fi rst place. The motet is from 1523 reveals many similarities, a longer, more complex, and freer form both in terms of intabulation technique than the frottola. The simplicity of some Figure 9: parallel thirds in one hand in excerpts from Andrea Antico’s “Che fara- and performance diffi culty. Though the of Antico’s intabulations is symptomatic la che dirala” (number 21) from Frottole intabulate da sonare organi, Libro primo (1517), measures 6–10, and Marcantonio Cavazzoni’s “Plus ne regres” from Recer- textures are different due to the frot- of the straightforwardness of the frot- chari, motetti, canzoni . . . libro primo (1523), measures 54–55 and 58–59 tola’s less complex contrapuntal starting tola genre as well as specifi c elements of structure, the technical diffi culty and single pieces. Nevertheless, in isolated aesthetic results are comparable. examples like those provided in Figures state, it gleans only the most basic infor- An analysis of only the outer voices, Through pointing out shared character- 8 and 9, it is diffi cult to distinguish mation about differences between vocal the cantus and bassus, indicates that a istics of Cavazzoni’s “Plus ne regres” and between the two genres. originals and their intabulations. much lower percentage of “cells” contain Antico’s “Dolce ire dolci sdegni” (number Since there is an extant copy of almost This system is put into practice to alterations. 42% of the two outer voices 18) and “Che farala che dirala” (number all the original vocal models for the analyze the differences between “Amor include changes, but this time, 63% of 21), Figures 8 and 9 demonstrate simi- arrangements in Frottole intabulate, it is Quando fi oriva mia speme,” number 1 in that 42% are easily categorizable dif- larities between the Antico and Cavazzoni possible to place the intabulations side- Frottole intabulate, with the vocal model ferences. This indicates two things: (1) intabulations. In Figure 8, both examples by-side with the vocal originals to illus- from Antico’s second book of frottole (Fig- keeping the outer voices recognizable, have surface-level ornamentation in trate the degree of difference between ure 10).32 The comparative graphic model either by having a lower total amount of the cantus part (circled in yellow). This the two. Using a prototype comparative of “Amor Quando fi oriva mia speme” alterations or using far fewer uncatego- ornamentation is generally stepwise with graphing system, I demonstrate that the reveals that it is far from a simple note- rizable alterations, is a priority, probably few leaps, almost always in the opposite intabulations of the original vocal mod- for-note intabulation of the vocal original. to retain the essential characteristics of direction than the way the line was previ- els are less exact than has often been It seems to indicate the opposite: Antico’s the original song; and (2) large amounts ously moving. Both examples also have assumed. This approach removes the setting is as complex and irregular as it of voice crossing in the vocal original non-cantus ornamentation and elements complexities of musical notation allow- is categorical. By calculating the average make it impossible to set the inner voices of moving counterpoint (circled in blue). ing for measure-by-measure compari- number of “cells” that contain alterations with a high degree of accuracy while the While moving inner voices might seem son between the vocal original and the from the vocal original, this comparative outer voices are easier to retain. Another like a given, the reception of the Antico intabulation. The system is temporally graphic model reveals that slightly over noticeable but predictable element is pieces as somehow simpler or completely oriented, meaning that each column 58% of the piece’s measures include at that the bassus contains signifi cantly homophonic is not demonstrated in these represents one voice for one measure. least one alteration from the vocal origi- fewer alterations than does the more excerpts. From a technical perspective, Measure numbers are indicated along nal. Because of the system’s need to defi ne adventurous cantus. This aligns with both examples include challenging left- the x-axis, and the voices from the vocal temporal units (here, one measure), what was likely the performance practice hand position changes (circled in green). model as they relate to the intabulation this percentage indicates the number of embellishing the melody. While these hand position changes hardly are along the y-axis. Thus, there is one of measures that contain alterations. In Another piece in the collection, “Per constitute “diffi cult,” they are markedly “cell” for each voice per measure. The other words, the 58% does not indicate Mio Ben te Vederei” (number 2), further active and noticeably similar. shading within these “cells” represents the exact percentage difference between demonstrates the high rate at which A comparison of different excerpts differences between the vocal model and the original and the intabulation because the cantus is altered while the bassus reveals another similarity. Both Antico’s the intabulation. There are three degrees the measure unit does not account for remains virtually unchanged (Figure “Che farala che dirala” (number 21) and of shading: (1) no shading if the voice in every note. A percentage difference that 11). Around 71% of the measures in Cavazzoni’s “Plus ne regres” demonstrate the intabulation is identical to the vocal accounted for every note would result in a “Per Mio te Vederei” contain alterations a consistent use of parallel thirds in one original; (2) light grey if a voice is embel- signifi cantly lower number. in the cantus voice, and 63% of that 71% hand (Figure 9, circled in red). In addi- lished in an easy-to-categorize manner; Out of all of the “cells” that include a dif- are not easily categorizable. Meanwhile, tion to considering the thirds as a musi- and (3) dark grey if the voice is altered ference, only 34% contain easily categoriz- only around 10% of the measures con- cal element, they also present a technical in a hard-to-categorize manner or does able alterations. This seems like a very low tain alterations in the bassus voice. challenge of comparable diffi culty. not resemble the original model. This number, but it is important to note than Based on these prototype analyses, it One signifi cant difference not evi- macro level analysis leaves many details many of the embellishments that modern seems safe to conclude that an experi- denced by these examples is that these undescribed, and because of this, there ears associate with “easy to categorize” enced musician, beyond someone who musical elements are almost always is a signifi cant degree of subjectivity. If were less common in the renaissance. has basic musical literacy, would be present in the Cavazzoni and not always the analysis system was refi ned to be Some ornamentation and embellishment required to arrange a polyphonic song in the Antico (entire Antico pieces not more precise, this subjectivity would all in the Antico intabulations may be more as skillfully as has been done in Antico’s presented here lack these elements). but disappear, but the distillation would categorical than this system assumed. collection. Signifi cantly more conclusive Figure 9, for instance, involved using a also necessarily be more complex. Thus, 58% of the overall number of cells is data could be drawn if this kind of note- different Antico intabulation than Figure My goal is not to design a complex anal- a more useful and accurate number. for-note comparative analysis was done 8, while the same Cavazzoni piece could ysis system, but rather to uncover general As Glen Wilson identifi es in his liner for the entire collection of intabulations be retained. Antico’s pieces generally mix characteristics about the Antico intabula- notes, the inner voices of the intabulations as well as if the system was further fewer elements than Cavazzoni’s. While tions, I have opted to keep the system in Antico’s collection are signifi cantly refi ned. However, even in its present simpler, sacrifi cing specifi city that would altered: “the arranger substituted supple, state, these analyses demonstrate that reduce subjectivity. Since there is cur- idiomatic inner voices for the spiky Antico’s collection is well situated and rently no systematic way to do an analysis originals.”33 Figure 10 supports Wilson’s comparable in diffi culty with other con- of intabulation technique, a refi nement of claim because around 75% of the interior temporaneous keyboard music. this graphing system could be useful for “cells” in the comparative graphic model analyzing intabulation technique across contain alterations, and well more than Editions, recordings, and the repertoire. However, in its current half of these are substantial. conclusions Given the obscurity of this collection, Jacques Stinkens it is surprising that there are several Orgelpijpenmakers B.V. A. Thompson-Allen Co., LLC modern editions of Frottole intabulate. sinds 1914 11 Court Street The most extensive preface is in Chris- Flues - Reeds New Haven, Connecticut 06511 topher Hogwood’s edition published by Your personal wishes are in good hands 203.776.1616 Zen-On Music in 1984.34 Although still www.stinkens.nl www.thompson-allen.com worthwhile, its editorial practices are [email protected] less consistent and some of the ideas in

20 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Figure 10: comparative analysis of “Amor Quando fi oriva mia speme,” number 1 in Frottole intabulate, with its vocal model, Alexander Meszler “Amor Quando fi oriva mia speme” from [Canzoni libro secondo] 26. Ibid., 38–39. She says that Gardano (Gardane) is an exception since he was a pro- fessional musician fi rst. 27. Grove Music Online, s.v. “Andrea An- tico,” accessed January 14, 2019, http://www. oxfordmusiconline.com/subscriber/article/ grove/music/01015. Some have posited that Andrea Antico is the same person as the com- poser of frottole featured in Petrucci’s publi- cations called A. de Antiquis. Martin Picker, Figure 11: comparative analysis of “Per Mio Ben te Vederei,” number 2 in Frottole intabulate, with its vocal model, “Per Mio Ben however, posits that Antico never signed his te Vederei” from Canzoni nove con alcune scelte de varii libri di canto name this way and that it is unlikely that they are the same person. 28. Kimberly Marshall, ed., Historical Or- its preface are dated. Another modern intabulate is that it was innovative, but suggested that number 19 may have been in gan Techniques and Repertoire: An Historical edition by Peter Sterzinger published by this was relatively unimportant during Antico’s lost fi fth book of frottole. This would Survey of Organ Performance Practices and Doblinger is widely available.35 I highly its time. If given the chance, the music make number 19 the only intabulation that Repertoire, vol. 9, Renaissance 1500–1550 was published before its vocal model, and (Colfax, South Carolina: Wayne Leupold Edi- recommend the most recent edition, transcends simple innovation. The song there is no reason beyond wild speculation to tions, 2004), 9. which is edited by Maria Luisa Baldas- intabulations in Antico’s collection can assume this would be the case. Christopher 29. Wilson, 3. sari and published by Ut Orpheus.36 be charming, fun, serious, emotional, and Hogwood, ed., Frottole da sonare organi, Li- 30. Hogwood, 8. bro primo, Andrea Antico, 1517 (Tokyo: Zen- There are also several complete intensely beautiful. The short duration of 31. Ibid. On Music, 1984), 6. 32. These analyses were completed us- recordings of the collection. Fabio Anto- almost all its pieces (some can be less than 10. Glen Wilson, Animoso mio desire: 16th- ing modern editions except the fi rst book of nio Falcone performs the entire keyboard one minute!) make them easily program- Century Italian Keyboard Favourites, liner frottole, which is readily accessible online. notes, Naxos 8.572983, 2015, 5. Baldassari.; Francesco Luisi, ed. Il Secondo oeuvre of Marcantonio Cavazzoni and mable in a variety of modern contexts. 11. Ibid., 6. Andrea Antico in The Renaissance Key- With a little creativity and musical imagi- Libro Di Frottole. Andrea Antico (Rome: Pro 12. Ibid., 131. Musica Studium, 1976). board produced by Brilliant Classics in nation, these pieces can come to life. Q 13. Stanley Boorman, “Thoughts on the Pop- 33. Wilson, 3. 2015.37 He uses the organ for the Cavaz- ularity of Printed Music in 16th-Century Italy,” Fontes artis musicae 48:2 (April 2001): 130. 34. Hogwood. See complete citation above. zoni and the harpsichord for the Antico. Alexander Meszler’s performances and 14. Kate Van Orden, “Music Books and 35. Peter Sterzinger, ed., Frottole intabulate As previously mentioned, Glen Wilson research aim to inspire new perspectives Their Authors,” in Music, Authorship, and da sonare organi, Libro primo, Andrea An- tico, 1517 (Vienna: Doblinger, 1984). has also recorded the complete collection. on the organ. He spent 2018–2019 in the Book in the First Century of Print (Berk- ley, California: University of California Press, 36. Baldassari. See complete citation above. To affect, his recording, Animoso mio Versailles, France, on a Fulbright grant 2013), 36. 37. Fabio Antonio Falcone, Andrea Antico desire: 16th-Century Italian Keyboard to study secularism and the organ. In 15. Ibid. & Marc Antonio Cavazzoni: Complete Key- Favourites, produced by Naxos in 2015,38 2020, he completed his Doctor of Musi- 16. Boorman, 132–134. board Music, Brilliant Classics BC95007, 2015, compact disc. is mixed with dances from manuscript cal Arts degree in organ at Arizona State 17. Anthony M. Cummings, “The ‘Great Italian Songbook’ of the early cinquecento: 38. Glen Wilson, Animoso mio desire: 16th- sources. All his performances are on harp- University with Kimberly Marshall. He Arrangements of frottole for voice and lute,” Century Italian Keyboard Favourites, Naxos sichord or spinetta. My own complete is a member of THE DIAPASON’s 20 Under Studi musicali 2:1 (2011): 25-48. 8.572983, 2015, compact disc. recording is the only to use exclusively the 30 Class of 2019. 18. Grove Music Online, s.v. “Frottola.” 39. Alexander Meszler, “Andrea Antico: 19. Van Orden, 30. Frottole intabulate da sonare organi, Libro organ. Experimental in nature, my unpro- 20. Ibid., 31. Primo (1517) (Complete Collection),” ac- duced recording was made in conjunction The research for this project was com- 21. Ibid., 34. cessed January 14, 2019, https://www.you- with a related research project on early pleted in part thanks to funding from 22. William F. Prizer, “Local Repertories tube.com/playlist?list=PLc8LXDy2nGngm1h secular keyboard music across Europe.39 The Arizona Center for Medieval and and the Printed Book: Antico’s Third Book mp2tNfcS2jYswvHbcT. of Frottole (1513),” in Music in Renaissance 40. Maria Luisa Baldassari, Andrea Antico: I most highly recommend Maria Luisa Renaissance Studies. Cities and Courts: Studies in Honor of Lewis Frottole intabulate da sonare organi, Book 1, Baldassari’s complete recording, Andrea Lockwood, 347–372, eds. Jessie Ann Owens Tactus TC480101, 2015, compact disc. Antico: Frottole Intabulate, Libro Primo, Notes and Anthony M. Cummings (Michigan: Har- 41. Kimberly Marshall, Sienese Splendor, 1517, produced by Tactus in 2017.40 Her 1. The intended instrumentation of the monie Park Press, 1997), 352. Loft LRCD-1046, 2002, compact disc. Faenza collection has been debated. See Tim- 23. Van Orden, 42. 42. Francesco Cera, The Organ at Europe- recording embraces, to great success, othy J. McGee, “Once again, the Faenza Co- 24. Ibid., 44. an Courts, Brilliant Classics BC95240, 2016, the instrumentation possibilities of the dex: A reply to Roland Eberlein,” Early Music 25. Ibid., 58–59. compact disc. collection. Her performance includes 20:3 (August 1992): 466–68; Roland Eberlein, the spinetta, clavichord, clavisimbalum, “The Faenza Codex: music for organ or for lute duet?” Early Music 20:3 (August 1992): harpsichord, and organ. Her choices are 460–66; and Timothy J. McGee, “Instruments effective, but there is no reason perform- and the Faenza Codex,” Early Music 14:4 ers should feel obliged to adhere to her (November 1986): 480–90. 2. Jon Laukvik, Historical Performance

instrumentation decisions. While I gener- Practice in Organ Playing: An Introduction ally prefer Baldassari’s interpretations, based on selected Organ Works of the 16th– much can be learned from the varied 18th Centuries, trans. Brigitte and Michael tempi and stylistic choices of many of the Harris (Stuttgart: Carus, 1996), 113. other performances. 3. Willi Apel, The History of Keyboard Music to 1700, trans. Hans Tischler (Bloom- There are innumerable recordings ington, Indiana: Indiana University Press, that only include several pieces. In many 1997), 109. ways these recordings are more success- 4. Catherine Weeks Chapman, “Andrea ful since listening to twenty-six intabula- Antico,” microfi lm (PhD diss., Harvard Uni- versity, 1964). tions in the same style is not particularly 5. Ibid., 1. captivating. While I do not intend to pro- 6. Grove Music Online, s.v. “Frottola,” ac- vide a complete list, two notable record- cessed January 14, 2019, http://www.oxford- musiconline.com/subscriber/article/grove/ Proud builders of the ings of this type are Kimberly Marshall’s pipe organ kit Sienese Splendor, produced by Loft in music/10313. 41 7. Baldassari, v. 2002 and, though it only includes one 8. Antico’s second book of frottole is of of Antico’s frottole, Francesco Cera’s The questionable origins. What seems like an exist- Organ at European Courts produced by ing copy is missing its title page in the Biblio- follow 42 teca Marucelliana in Florence. This particular us on Brilliant Classics in 2016. copy is probably a reprint from around 1520. facebook! Antico’s frottole, now more than fi ve 9. Giuseppe Radole cited a manuscript hundred years old, still sound fresh if in the Biblioteca Nazionale Centrale di Fi- given the energy of a thoughtful per- renze as containing the bass part to number Photo courtesy of Eric Harrison 3. However, Baldassari has determined that former. This short essay revisits two areas, this was initially incorrect and, despite being cultural context and musical analysis, to an error, has been repeated by editors who inspire new interpretations of this collec- had not seen the Florence manuscript. Maria 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA tion. Though frequently acknowledged, Luisa Baldassari, ed., Frottole intabulate da t 800 625-7473 [email protected] sonare organi, Libro primo, Andrea Antico, Visit our website at www.letourneauorgans.com Antico’s collection has been largely 1517 (Bologna: Ut Orpheus Edizioni, 2016), ignored for its contents. The only factor v. In addition to existing in Petrucci’s eleventh that seems to attract attention to Frottole book of frottole, Christopher Hogwood has

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 21 Cover feature

A. Thompson-Allen Company, LLC, New Haven, Connecticut Skinner Organ Company Opus 736 Blessed Sacrament Catholic Church Worcester, Massachusetts From the builder Having tuned and maintained the organ for about ten years, we had a good idea of what was needed to get the organ back into fi rst class condi- tion. There were a number of dead notes, and the organ would not stay in tune. The organ had survived remark- ably well, having very little work done to it since 1928 when it was installed as Opus 736. Normal wear and tear combined with some water damage from the tower made it clear the time had come to give the organ a full restoration to its original condition. Before this could happen, the organ’s environment had to be addressed. There were three covered windows within the chamber that were collapsing, leaking, and drafty. These could only be repaired by fi rst remov- ing the entire instrument. We did so in 2017, and while all of the components of the organ were in our shop in New Haven, Connecticut, we fully restored the organ without any changes to the pipes or the chassis. All of the perishable materials in the organ mechanism have been fully replaced. Skinner organs are world famous for being the very fi nest that money could buy, and Opus 736 is no exception. Now restored, its beauty of tone can again be fully appreciated. It truly is a masterpiece! The windows have been fully restored, and the Saint Cecilia window in the tower has been fi tted with LED lights so that it can be seen from the outside Nicholas Thompson-Allen, Father Richard Trainor, Elizabeth Noone, Thomas Murray of the church. This window had been sealed up since the organ was installed in designed and constructed out of the very Please visit our website for a detailed The quality of the original construc- 1928. The two side windows, which were fi nest materials that it can be renewed specifi cation of the organ. tion was such that, though clearly in plain glass, have been removed and fi lled over and over. We at the A. Thompson-Allen Com- need of restoration, the instrument was in with matching stone. The roof and The rededication recital of the organ pany are very grateful for the opportu- playable and in continuous use right up tower have all been properly repaired to was performed by Thomas Murray on nity to renew this superb instrument. until its removal to New Haven. keep the interior of the church and the October 6. Professor Murray is a very —Nicholas Thompson-Allen The fi rst time I played the fully restored organ dry and free from plaster debris. well-known organist and expert on Skin- Co-Director instrument I was astounded! I expected The interior of the organ chamber ner organs, having held the position of A. Thompson-Allen Company, LLC the sound to be cleaner and brighter. I has been repaired and fully painted. university organist at Yale University for Curators of Organs at Yale University did not expect to feel that I was hearing New work lights have been installed as the last thirty-eight years. Yale is home to Pipe Organ Maintenance and Restoration the instrument for the fi rst time! well. The oak case and pipes, which had the incredible 12,600-pipe Skinner organ The genius of E. M. Skinner’s tonal been painted the same color as the wall, from 1928 in Woolsey Hall, Opus 722. From the organist design is now fully apparent, everything have been fully restored to their original The restoration could not have hap- On fi rst visiting the Opus 736 Skinner, is balanced and suitable to the space, appearances. The original blower has pened without the full support of the Nicholas Thompson-Allen remarked from the magnifi cent 16′ Waldhorn in been restored by Joseph Sloane with a Diocese of Worcester, Elizabeth Noone that it was in pristine condition for resto- the Swell to the delicacy of the string new three-phase motor. (director of music), Father Richard ration. The organ had been maintained combination in the Choir. The full tonal This beautiful instrument is now Trainor, The Bradley Foundation, throughout its history, but nothing had spectrum can now be heard. All of the ready for another ninety to one-hundred Broome and Company, LLC, Royal ever been altered. voicing was done using the specifi cations years of service, at which time, this can Finishing Company, and the members of A complete, historic restoration seemed original to this specifi c instrument, so we all be done again. The organ is so well Blessed Sacrament Church. like a dream. It is now a dream realized. truly have a sense of what it sounded like

Skinner Organ Company Opus 736

GREAT ORGAN (Manual II) 8′ Voix Celeste (CC, same as Salicional) 16′ Bourdon (Pedal, 56 pipes; 5 pipes) 4′ Octave (60 scale, 1/5 mouth, linen lead, 2′ C = 8) 8′ First Diapason (43 scale, 1/4 mouth, linen lead, 2′ C = 6) 4′ Flute Triangulaire (common, 2′ C = 11) 8′ Second Diapason (45 scale, 1/5 mouth, linen lead, 2′ C = 7) III Mixture (C-14, 1/5 mouth, spotted metal, 15-19-22) 8′ Flute Harmonique (“new” scale, Cavaillé-Coll type, spotted metal, 2′ C = 9) C–A 15 – 19 – 22 = 22 notes 8 – 15 – 22 50 scale 4′ Octave (58 scale, 1/5 mouth, linen lead, 2′ C scant 7) A#–F 12 – 15 – 19 = 20 notes 12 – 19 52 scale 2 II Grave Mixture (C-11, 1/5 mouth spotted metal, 2 ⁄3′ 53 scale, scant 9; F#–C 8 – 12 – 15 = 19 notes 2′ C 50 scale, scant 9) 61 notes 16′ Waldhorn (common, English) CHOIR ORGAN (Manual I, enclosed, vertical shutters) 8′ Trumpet (common, English) 8′ Concert Flute (“new” scale, C1–B12 stopped wood; C13–B36 open wood; 8′ Oboe (common, bells with no caps) C37–C61 harmonic metal; C#62–C73 not harmonic, all plain metal) Tremolo 8′ Dulciana (56 scale,1/5 mouth, zinc and spotted metal, 2′ C = 13) 8′ Unda Maris (TC; same as Dulciana) PEDAL ORGAN 4′ Flute (#2 harmonic fl ute, plain metal, harmonic at middle C, 2′ C = 10) 16′ Diapason (common) 8’ Clarinet (common) 16′ Contre Basse (common) Tremolo 16′ Bourdon (common) 8′ Octave (ext 16′ Diapason) SWELL ORGAN (Manual III, enclosed, horizontal shutters) 8′ Gedeckt (ext 16′ Bourdon) 8′ Diapason (46 scale, 1/4 mouth, spotted metal, 2′ C = strong 8) 4′ Flute (ext 16′ Bourdon) 8′ Rohrfl öte (common, Willis III type, wood and stopped plain metal with bored stoppers) 8′ Salicional (60 scale, 1/5 mouth, spotted metal, 2′ C = 14, soft on account of no Flute Celeste)

22 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Elizabeth Noone, director of music, plays the organ to an empty church during the COVID-19 pandemic, April 6, 2020 Great main pitman chest during reinstallation

Blessed Sacrament Catholic Church, Worcester, Massachusetts in 1928. I fi nd the results comparable to From the pastor the restoration of an old master’s paint- Liturgy is the work of the people. ing: it was already wonderful, but resto- The work of all the people that brought ration brings to light a whole new world about the total restoration of our E. M. of beauty. Skinner organ reminded me of the craft Professor Thomas Murray’s October 6 guilds of the Middle Ages in Europe. At re-dedication recital was truly a joyous, the level of Master Craftman was the celebratory event. hallmark of these workers who restored The instrument is a delight to play and the wonderful warm sounds of this we look forward to its music in service instrument. Our Faith Community now to the parish and concert use for years makes an even more “Joyful sound unto Swell division, front main chest, from left: 8′ Oboe, 8′ Trumpet, 4′ Flute Triangulaire, to come. the Lord.” 8′ Diapason, 8′ Salicional We at Blessed Sacrament are so grate- —Rev. Richard F. Trainor, Pastor ful to everyone at the A. Thompson-Allen Blessed Sacrament Catholic Church Co., the Joseph Bradley Foundation, and Worcester, Massachusetts all those who worked on this project. —-Elizabeth Noone Builder’s website: Organist and Director of Music www.Thompson-Allen.com Blessed Sacrament Church Church website: blessedsacrament.us

Blessed Sacrament Catholic Church, Worcester, Massachusetts

PEDAL COUPLERS DIVISIONAL PISTONS Great to Pedal Swell 6 Swell to Pedal Great 4 Choir to Pedal Choir 4 Swell to Pedal 4 Pedal 4

UNISON COUPLERS MISCELLANEOUS CONTROLS Swell to Great General Cancel Choir to Great Sforzando reversible Swell to Choir Great to Pedal reversible Pedal to Manual on Great OCTAVE COUPLERS Pedal to Manual on Swell Swell to Great 16 Pedal to Manual on Choir Swell to Great 4 Set Swell to Choir 16 Swell to Choir 4 23 stops Choir to Great 16 26 ranks Choir to Great 4 1,696 pipes Choir 16 Choir 4 Swell 16 Swell 4 Another view of the Swell pipework

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 23 Organ Projects

Marceau Pipe Organ Builders, space below an angled ceiling. With that Inc., Seattle, Washington change, the possibility of tonal additions Community United Methodist was investigated. The 1978 Möller con- Church, Coeur d’Alene, Idaho sole was in good condition; the shell was Marceau Pipe Organbuilders, Inc., retained with new keyboards, new draw- has completed its Opus 36 for Commu- knob units, and a Syndyne control system. nity United Methodist Church of Coeur A look at the stoplist reveals two dis- d’Alene, Idaho. The organ is signifi cantly tinct principal choruses, one on the Great infl uenced by its rather extensive history and the other on the Swell. The Great of over 100 years, incorporating vintage retains the Principal stops (Möller at 8′ sounds blended with new windchests and 4′) with the addition of a 2′ Super and a modern digital electrical system. Octave and IV Mixture from Marceau The original organ for this church inventory. The Swell retains the 8′ Violin was built by the Estey Organ Company Diapason (Estey) and the existing Great of Brattleboro, Vermont, and installed Mixture (Möller, recomposed for greater in the congregation’s fi rst sanctuary in color and clarity), adding a 4′ Geigen downtown Coeur d’Alene. The fi rst Principal (Reuter). Also in the Great, an major renovation project took place in Open Diapason (Austin) was added for 1978 when M. P. Möller of Hagerstown, foundational support at 8′ pitch. Maryland, added a new Great division The fl utes bring a variety of color and along with a new two-manual drawknob dynamic contrast. The Great retains console. When the church moved to a the 8′ Rohrfl ute (Möller), adding a 4′ new location, the organ was brought Spillfl ute from Marceau inventory. The along and installed in two chambers Swell is a blending of Estey pipework above the main fl oor. This new build- (8′ Holzgedeckt and 4′ Harmonic Flute) 2 ing, the fi rst phase of a long-range set and Möller ranks (2 ⁄3′ Nasard, 2′ Block- 3 of plans, was to become the gymnasium fl ute, and 1 ⁄5′ Tierce—which was the 2′ with a new sanctuary planned for the Flute, repitched). The Pedal 16′ Subbass second phase. Unfortunately, these goals is from Marceau inventory, replacing were never realized, and Celebration the original Estey pipes that had expe- Hall has continued to do double duty for rienced unsuccessful previous repairs over forty years. from cracks in the wood. Our fi rst visit to the church took place The strings bring a varied set of colors in 1997 for service work. While the and character. The Great 8′ Viol d’Amour organ was in good playing condition, we (Estey) is relocated from the Swell. The noticed some early signs of age-related Swell 8′ Salicional and 8′ Voix Celeste problems to the windchests. The organ (Reuter) add an orchestral character that utilized the original Estey and Möller the previous instrument did not have. windchests of 1978, and some home- The Swell Trumpet (Austin) is extended built units that accommodated the unit to play at 16′ in the Pedal. The 8′ Oboe (of stops. The electrical system was an unknown origin) was from the previous electro-mechanical unit from 1978. Dur- organ; this rank was thoroughly repaired ing the next fi fteen years, the problems and regulated to be the dynamic and Front Swell chest became more frequent and expensive to character counterpart to the Trumpet. repair. Going hand-in-hand with that was The organ was dedicated on Novem- a tonal design that was unable to support ber 11, 2018. We are indebted to the and lead congregational singing. leadership of Mark Habermann, whose It was at this point that the church presence and support helped to make approached us about some possible solu- this project a true success. He chaired tions to the status of the organ. After sev- the organ committee, coordinated all eral meetings we were able to develop an church help, and provided food and overall plan to improve the capabilities lodging during our on site visits. of the organ that could be realized with —René A. Marceau, the modest budget that was available. president and tonal director We felt that the existing windchests Sean Haley, operations manager took up too much fl oor space, making Marceau Pipe Organ Builders, Inc. it impossible to contemplate any mean- ingful tonal changes or additions. New Builder’s website: windchests were built in the Marceau www.marceaupipeorgans.com shop that would fi t in the limited fl oor Church website: www.cdaumc.org

Console

Marceau Pipe Organ Builders, Inc. Community United Methodist Church, Coeur d’Alene, Idaho

GREAT (Manual I, unenclosed) 2′ Blockfl ute 61 pipes 3 16′ Lieblich Gedeckt (Sw) 1⁄5′ Tierce 61 pipes 8′ Open Diapason 61 pipes 2′ Mixture III 183 pipes 8′ Principal 61 pipes 8′ Trumpet 61 pipes 8′ Rohrfl ute 61 pipes 8′ Oboe 61 pipes 8′ Viol d’Amore 61 pipes Tremulant 4′ Octave 61 pipes 4′ Spillfl ute 61 pipes PEDAL (Unenclosed) 2′ Super Octave 61 pipes 32′ Resultant 1 1⁄3′ Mixture IV 244 pipes 16′ Subbass 32 pipes 8′ Trumpet (Sw) 16′ Lieblich Gedeckt (Sw) Chimes 8′ Diapason (Gt) 8′ Gedecktbass 32 pipes SWELL (Manual II, enclosed) 8′ Holzgedeckt (Sw) 16′ Lieblich Gedeckt (ext 8′) 4′ Choralbass (Gt) 8′ Violin Diapason 61 pipes 4′ Flute (Sw) 8′ Holzgedeckt 73 pipes 16′ Posaune (Sw) 8′ Salicional 61 pipes 8′ Trumpet (Sw) 8′ Voix Celeste (TC) 49 pipes 4′ Clarion (Sw) 4′ Geigen Principal 61 pipes 4′ Harmonic Flute 61 pipes 27 ranks, 1,589 pipes 2 2⁄3′ Nasard 61 pipes Great chest

24 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Christ Cathedral organ rededication Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organ Systems NEW YORK Bloomingdale, IL

Christopher Babcock Michael J. Batcho Director of Music St. Andrew’s by the Sea, Hyannis Port CATHEDRAL OF ST. JOHN MILWAUKEE

Dean W. Billmeyer University of Minnesota Minneapolis 55455 • [email protected]

GAVIN BLACK Byron L. Blackmore Princeton Early Keyboard Center Crown of Life Lutheran Church 732/599-0392 Sun City West, Arizona www.pekc.org 623/214-4903

Christ Cathedral, Garden Grove, 1:15 p.m.: David Ball recital on the Fred THOMAS BROWN California, has found it necessary to post- Swann Organ Carson Cooman UNIVERSITY pone its dedication weekend of events 2:00 p.m.: book and CD signing with PRESBYTERIAN CHURCH Composer and Concert Organist for the Hazel Wright Organ, which David Crean, Fred Swann, and David Harvard University was to be held May 15–17. In addition, Ball CHAPEL HILL, NORTH CAROLINA www.carsoncooman.com all of the previously announced monthly 4:00 p.m.: masterclass with some of the ThomasBrownMusic.com organ recitals that were to follow that featured artists of the weekend on the weekend will be rescheduled. (For more Fred Swann Organ information on the Hazel Wright Organ, Your professional card see the April 2020 issue, pages 22–24.) Tuesday, January 5 DELBERT DISSELHORST The next scheduled concert will be 6:45 p.m.: carillon recital by Steven Ball could appear here! “Christmas at the Cathedral” with the 7:30 p.m.: concert with Paul Jacobs and Professor Emeritus Contact: [email protected] choirs of Christ Cathedral on December the Pacifi c Symphony on the Hazel University of Iowa–Iowa City or 608/634-6253 18. The rededication weekend for the Wright Organ Hazel Wright Organ has been resched- uled for January 3–5, 2021. Weekend packages and ticket prices The cathedral celebrates the renova- Weekend “all events” pass (no handi- STEVEN EGLER tion of its Fratelli Ruffatti organ. The cap access—concert seating in section JOHN FENSTERMAKER Central Michigan University organ was removed from its chambers F): $390 starting in December 2013. The work, Weekend “all events” pass (handicap School of Music TRINITY-BY-THE-COVE supervised by Piero Ruffatti, was accom- access—concert seating in sections A, B, Mt. Pleasant, MI 48859 plished by six workers from the Ruffatti C): $300 [email protected] NAPLES, FLORIDA factory plus cathedral organ curators Brian Sawyers and Scott Clowes. All Individual events and ticket prices: Norberto pipes were cleaned and repaired as Celebration dinner—Christ Cathedral necessary, and the chests restored. No Cultural Center, fi rst fl oor: $100 changes were made in the specifi cation. Susan Goodson Guinaldo Although the entire organ remains Hazel Wright Organ rededication Emanuel United Church of Christ His Music in place as before, all visible woodwork concert: Manchester, Michigan See—Listen—Buy portions have been painted white to Main fl oor (with handicap access) www.GuinaldoPublications.com blend with changes in the cathedral inte- Sections A, B, C: $100 rior. Most exposed wooden pipes were Sections D, E: $50 also painted white. Balconies (no handicap access) A Professional Card in Four manuals, 263 pipe stops, 265 Section F: $150 STEPHEN HAMILTON pipe ranks, 16,000 pipes Section G (East and West): $100 The Diapason Section H (East and West): $50 For rates and digital specifi cations, recitalist–clinician–educator Hazel Wright Organ contact Jerome Butera www.stephenjonhamilton.com rededication weekend Post-concert reception—Christ Cathe- 608/634-6253; [email protected] Sunday, January 3 — Monday, Jan- dral Cultural Center, third fl oor: $45 uary 4 — Tuesday, January 5, 2021 The artists and special guests for All-access Monday pass—Christ the weekend: David Ball, Steven Ball, Cathedral campus (multiple locations, David Herman Michael Barone, Diane Bish, David open seating for all events): $35 Crean, Paul Jacobs, Hector Olivera, Trustees Distinguished Professor Emeritus of Music and University Organist Frederick Swann, and the Pacifi c Sym- Concert with Paul Jacobs and the phony, Carl St. Clair, conductor. Pacifi c Symphony on the Hazel Wright The University of Delaware Q [email protected] Organ Sunday, January 3 Main fl oor (with handicap access) 5:00 p.m.: celebration dinner Sections A, B, C: $65 6:45 p.m.: carillon recital by Steven Ball Sections D, E: $25 Gail Archer 7:30 p.m.: Hazel Wright Organ rededi- organist cation concert with Frederick Swann, Balconies (no handicap access) Paul Jacobs, and Hector Olivera Section F: $100 www.gailarcher.com Lorraine Brugh, Ph.D. Post-concert “Meet the Artists” reception Section G (East and West): $50 Professor of Music Section H (East and West): $25 Vassar College Barnard College, Columbia University University Organist Monday, January 4 [email protected] Valparaiso, Ind. 10:00 a.m.: Hazel Wright Organ dem- For information: (212) 854-5096 onstration with David Crean, Piero www.christcathedralmusic.org valpo.edu Ruffatti, and Fred Swann www.hazelsback.org Promotion 219.464.5084 11:45 a.m.: carillon recital by Steven Ball email: [email protected]; SOZO Media [email protected] 12:30 p.m.: box lunch phone: 714/620-7912 [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar Madison Avenue Presbyterian Church 1650 James Street 24 MAY New York, NY This calendar runs from the 15th of the month Syracuse, NY 13203-2816 of issue through the following month. The deadline Robert Gallagher; Cathedral of St. (315) 471-8451 www.andrewhenderson.net is the fi rst of the preceding month (Jan. 1 for Matthew the Apostle, Washington, DC Feb. issue). All events are assumed to be organ 3:30 pm recitals unless otherwise indicated and are grouped Anna Judkins; Washington National within each date north-south and east-west. •=AGO Cathedral, Washington, DC 5:15 pm Richard Barrick Hoskins chapter event, • •=RCCO centre event, +=new organ Brian Jones dedication, ++= OHS event. 27 MAY Director of Music & Organist Information cannot be accepted unless it Bridgette Wargovich; Methuen Director of Music Emeritus specifi es artist name, date, location, and hour in St. Chrysostom's Church writing. Multiple listings should be in chronological Memorial Music Hall, Methuen, MA Chicago TRINITY CHURCH order; please do not send duplicate listings. 7:30 pm [email protected] BOSTON THE DIAPASON regrets that it cannot assume Andrew Sheranian; St. Paul’s Epis- responsibility for the accuracy of calendar entries. copal, Greenville, NC 7 pm Jens Korndörfer; Peachtree Road KIM R. KASLING JAMES KIBBIE UNITED STATES United Methodist, Atlanta, GA 12 noon East of the Mississippi D.M.A. The University of Michigan 28 MAY St. John’s University Ann Arbor, MI 48109-2085 Michael Messina; St. Paul’s Cha- 734-764-1591 FAX: 734-763-5097 15 MAY pel, Trinity Church Wall Street, New Collegeville, MN 56321 email: [email protected] Blue Heron; First Church Congrega- York, NY 1 pm tional, Cambridge, MA 7:30 pm Peter Richard Conte; Cathedral 29 MAY David K. Lamb, D.Mus. of St. Agnes, Rockville Centre, NY Carol Feather Martin; National City Karen Schneider Kirner 7:30 pm Christian, Washington, DC 12:15 pm Director of Music Michael Hey; Pine Street Presbyte- Monica Czausz; St. Luke Catholic Director, Notre Dame Handbell Choir Trinity United Methodist Church rian, Harrisburg, PA 7 pm Church, McLean, VA 7:30 pm Assistant Director, Notre Dame Folk Choir New Albany, Indiana Chelsea Chen; First Presbyterian, University of Notre Dame 812/944-2229 31 MAY Wilmington, NC 7:30 pm Erik & Chuyoung Suter; Washing- Nicholas Schmelter, with piano; ton National Cathedral, Washington, Cherry Hill Presbyterian, Dearborn, DC 5:15 pm MI 7:30 pm Scott Dettra; Stambaugh Audito- David Jonies; St. Mark’s Episcopal, rium, Youngstown, OH 4 pm A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS Glen Ellyn, IL 7 pm 3 JUNE 345 SADDLE LAKE DRIVE 16 MAY ROSWELL-ATLANTA, GEORGIA 30076 David Michael Kenney, Sr.; Methuen (770) 594-0949 Benjamin Sheen; St. Thomas Memorial Music Hall, Methuen, MA Church Fifth Avenue, New York, NY 7:30 pm 3 pm Pittsburgh Camerata; Shadyside Choral concert; Cathedral Church of Presbyterian, Pittsburgh, PA 7 pm ANDREW PAUL MOORE LEON NELSON St. Paul, Detroit, MI 7 pm Virginia Bolena; St. Paul’s Episco- Director of Traditional Music pal, Greenville, NC 7 pm CHRIST CHURCH Southminster Presbyterian Church 17 MAY Rosalind Mohnsen; Trinity Church, 5 JUNE SHORT HILLS Arlington Heights, IL 60005 Boston, MA 12:15 pm Mark King; St. John’s Episcopal, St. Ignatius Children’s Choirs and Hagerstown, MD 7 pm Canticum Sacrum; St. Ignatius Loyola Zacchaeus Lock; National City Catholic Church, New York, NY 3 pm Christian, Washington, DC 12:15 pm The sta@ of THE DIAPASON congratulates Canterbury Choral Society, Mozart, Erik Matson; First Presbyterian, Alexander Meszler as the winner of the inaugural Mass in c; Church of the Heavenly Evansville, IN 7 pm Gruenstein Award. Rest, New York, NY 4 pm 7 JUNE Sam Backman; Advent Lutheran, Benjamin Straley; St. John’s Epis- Melbourne, FL 3 pm copal, West Hartford, CT 12:30 pm Lance Luce; Senate Theater, De- Karl Robson; Washington National troit, MI 3 pm Cathedral, Washington, DC 5:15 pm Nicholas Schmelter, with piano; PHILIP CROZIER LARRY PALMER Jefferson Avenue Presbyterian, De- 8 JUNE troit, MI 4:30 pm Michael Hey; Southern Illinois Uni- CONCERT ORGANIST Harpsichord – Organ Thomas Bara; First Presbyterian, versity, Carbondale, IL 7:30 pm ACCOMPANIST Ypsilanti, MI 4 pm Professor of Music, Emeritus 9 JUNE John Weit; Loyola University, Chi- 3355 Queen Mary Road, Apt 424 Johann Vexo; First Presbyterian, cago, IL 3 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Glens Falls, NY 7:30 pm Canada 20 MAY 10 JUNE (514) 739-8696 Recitals — Lectures — Consultancies Pipedreams Live (young artist con- Kyle Bertulli; Methuen Memorial [email protected] cert with Michael Barone); Methuen Music Hall, Methuen, MA 7:30 pm [email protected] + 214.350-3628 Memorial Music Hall, Methuen, MA Kris Rizzotto; St. Paul’s Episcopal, 7:30 pm Greenville, NC 7 pm Wendy Johnston; St. Luke Catholic Gail Archer; Sinsinawa Mound, Sin- Church, McLean, VA 12 noon sinawa, WI 7 pm Kirk Rich; Peachtree Road United Methodist, Atlanta, GA 12 noon 11 JUNE A gift subscription to Just Bach; Luther Memorial Church, Edward Moore; St. Paul’s Chapel, Madison, WI 12 noon Trinity Church Wall Street, New York, NY 1 pm The Diapason 21 MAY Julian Wachner; St. Paul’s Chapel, 12 JUNE The perfect gift for Trinity Church Wall Street, New York, Christopher Reynolds; Nation- + organist colleagues + choir directors NY 1 pm al City Christian, Washington, DC 12:15 pm + students + organ builders Ascension Evensong; Emmanuel + teachers + clergy Episcopal Church, Chester Parish, 13 JUNE Chestertown, MD 6 pm Peter Richard Conte; John Dick- Each month your gift will keep on giving by providing the Choral Evensong; Cathedral inson High School, Wilmington, DE important news of the organ and church music fi eld. Know that Church of the Advent, Birmingham, 7 pm your gift will be just right. AL 5:30 pm For information, The Diapason, P.O. Box 300, Lincolnshire, IL Choral Evensong; Cathedral Church 14 JUNE 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: of St. Paul, Detroit, MI 7 pm Bradley Burgess; Washington Na- 847/763-4933. Or visit www.thediapason.com and click “subscribe.” tional Cathedral, Washington, DC 22 MAY 5:15 pm $44 one year USA; $35 one year digital; $20 one year student Michael Britt; National City Chris- Isabelle Demers; Trinity Lutheran, tian, Washington, DC 12:15 pm Rockford, IL 7 pm

26 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Calendar Tiffany K. Ng, PhD DEREK E. NICKELS, DMA University Carillonist | New Music Performer Church of the Holy Comforter 17 JUNE 24 MAY The University of Michigan, Ann Arbor Kenilworth, IL 60043 [email protected] Filippa Duke; St. Paul’s Episcopal, Jin Kyung Lim; Cathedral of St. soundcloud.com/carillonista (847) 251-6120 • [email protected] Greenville, NC 7 pm Mary of the Assumption, San Fran- cisco, CA 4 pm 19 JUNE Monica Czausz; Walt Disney Con- Alain Truche; National City Chris- cert Hall, Los Angeles, CA 7:30 pm tian, Washington, DC 12:15 pm ANDREW PETERS GREGORY PETERSON Nicholas Schmelter; Basilica of 29 MAY Professor of Music Joseph Adam Organ Recitals – Silent Movies – Hymn Festivals the National Shrine of the Immaculate , works of Vierne; St. and College Organist Conception, Washington, DC 6 pm Joseph Catholic Cathedral, Seattle, www.AndrewJPeters.com Luther College, Decorah, Iowa WA 7:30 pm 21 JUNE Bob Knupp; Washington National 31 MAY Cathedral, Washington, DC 5:15 pm Bradley Hunter Welch; Bentwood ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. Trail Presbyterian, Dallas, TX 7 pm Luther Memorial Church (ELCA) 24 JUNE Tactus; Cathedral of St. Mary of the Organist/Director of Music Madison, Wisconsin Mark Pacoe; St. Paul’s Episcopal, Assumption, San Francisco, CA 4 pm First Presbyterian Church Greenville, NC 7 pm [email protected] Gainesville, Texas Michael Hey; Cathedral of Christ 6 JUNE Recitals — Hymn Festivals [email protected] the King, Atlanta, GA 7:30 pm Ken Cowan, masterclass; Cathedral of St. John, Albuquerque, NM 10 am 25 JUNE Ben Bachmann; Grace Cathedral, Avi Stein; St. Paul’s Chapel, Trin- San Francisco, CA 4 pm ity Church Wall Street, New York, NY STEPHEN SCHNURR 1 pm 7 JUNE Saint Paul Catholic Church Organogenesis Artists LLC Bruce Power, Poulenc, Organ Valparaiso, Indiana [email protected] 26 JUNE Concerto; Church of the Holy Cross, Aaron Comins; National City Chris- Shreveport, LA 3 pm tian, Washington, DC 12:15 pm Vincent Dubois; St. Mark’s Epis- copal Cathedral, Shreveport, LA ROBERT L. 28 JUNE 7:30 pm Carson Cooman; Washington Na- Ken Cowan; Cathedral of St. John, Mark Steinbach tional Cathedral, Washington, DC SIMPSON Albuquerque, NM 3 pm Brown University 5:15 pm Christ Church Cathedral David Brock; Cathedral of St. Mary 1117 Texas Avenue 29 JUNE of the Assumption, San Francisco, CA Houston, Texas 77002 Paolo Bordignon, with Philadelphia 4 pm

Orchestra; St. Bartholomew’s Church, 14 JUNE ] New York, NY 7 pm Jonathan Dimmock; St. Mark’s THOMAS R. THOMAS Joe Utterback Episcopal, Berkeley, CA 4 pm Organist/Choirmaster

]] ] UNITED STATES John Karl Hirten, works of Tour- St. Luke’s Episcopal Church www.jazzmuze.com West of the Mississippi nemire; Cathedral of St. Mary of the Live Oak, Florida 32064 203 386 9992 Assumption, San Francisco, CA 4 pm [email protected] 15 MAY • Ken Cowan; University of Nevada 19 JUNE Las Vegas, Las Vegas, NV 7:30 pm David Boeckh; Christ Episcopal, Lynne Davis; Trinity Episcopal Ca- Tacoma, WA 12:10 pm Kevin Walters thedral, Portland, OR 7:30 pm David Wagner 20 JUNE DMA M.A., F.A.G.O. 17 MAY Temple Hill Choir & Orchestra, Gar- www.davewagner.net Bruce Neswick; St. Andrew Episco- ner, Lamb of God; Cathedral of St. Rye, New York pal, Tacoma, WA 3 pm Mary of the Assumption, San Fran- Choral Evensong; Epiphany Episco- cisco, CA 7 pm pal, Seattle, WA 5 pm 21 JUNE Alan G Woolley PhD KARL WATSON 22 MAY Michal Kopycinski; Cathedral of St. Musical Instrument Research

Cheryl Drewes; Christ Episcopal, Mary of the Assumption, San Fran- FIRST PRESBYTERIAN CHURCH Edinburgh Tacoma, WA 12:10 pm cisco, CA 4 pm WOODBRIDGE, NJ [email protected]

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected]

2018 - Hazel’s Back!VRPHUHÀHFWLRQVLQDQWLFLSDWLRQRIWKH JDODUHGHGLFDWLRQRIWKH+D]HO:ULJKW3LSH2UJDQDW&KULVW M &DWKHGUDOLQ*DUGHQ*URYH&$ A two-inch Professional Card in The Diapason A For information on rates and specifi cations, contact Jerome Butera: Y 2019 - For Syttende Mai DFHOHEUDWLRQRIDOOWKLQJV 1RUZHJLDQLQREVHUYDQFHRIWKHFRXQWU\¶V1DWLRQDO'D\RQ [email protected] 608/634-6253 WKHWKRI0D\ 2 2020 - A Rising Tide XSOLIWLQJPXVLFIRUWKH)HDVWRIWKH Artist Spotlights 0 $VFHQVLRQ Artist Spotlightspotlights 2 Artist Spotlights DSUHYLHZRIFRPLQJDWWUDFWLRQV 0 2021 - On Board for Ohio are available on GXULQJWKH2UJDQ+LVWRULFDO6RFLHW\1DWLRQDO Your professional card The Diapason &RQYHQWLRQLQDQGDURXQG&ROXPEXV2+ website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

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28 JUNE 2 JUNE David Hatt, works of Vierne; Cathe- Jillian Gardner; Grosvenor Chapel, dral of St. Mary of the Assumption, London, UK 1:10 pm San Francisco, CA 4 pm 3 JUNE 30 JUNE Johannes Trümpler; Kreuzkirche, Stephen Hamilton; Aspen Com- Dresden, Germany 8 pm munity United Methodist, Aspen, CO Jillian Gardner; Cathedral, Brad- 7 pm ford, UK 1 pm Celebrating a 110-year strong tradition

INTERNATIONAL 4 JUNE Jillian Gardner; Minster, Halifax, UK 17 MAY 1 pm Share Your Love for the Nathan Laube; Saint-Sulpice, Par- 9 JUNE is, France 4 pm Organ, Harpsichord, Carillon and Jane Parker-Smith; Selby Abbey, 18 MAY Selby, UK 12:30 pm Church Music Jamie Rogers; Reading Town Hall, Reading, UK 1 pm 14 JUNE Louis Jullien, with choirs; Saint- Purchase a one-year subscription to 20 MAY Sulpice, Paris, France 4 pm THE DIAPASON and receive a free Karen Beaumont; Domkirke, Tons- berg, Norway 12 noon 16 JUNE digital subscription to give to a friend Johannes Matthias Michel; Ashley Grote; Selby Abbey, Selby, Frauenkirche, Dresden, Germany UK 12:30 pm 8 pm 17 JUNE Gail Archer; University of Glasgow, Glasgow, Scotland 1:10 pm Christophe Mantoux; Frauen- kirche, Dresden, Germany 8 pm 26 MAY Thomas Trotter; Royal Festival Hall, 23 JUNE London, UK 7:30 pm Eleni Keventsidou; Selby Abbey, Selby, UK 12:30 pm 27 MAY 24 JUNE *Also applicable to subscription renewals Jillian Gardner; Cathedral, Black- Offer expires May 31, 2020 burn, UK 1 pm Daniel Roth; Kreuzkirche, Dresden, Olivier Latry; St Davids Cathedral, Germany 8 pm St Davids, Wales 7 pm Nicholas Schmelter, with piano; Perfect gift for Yorkminster Park Baptist, Toronto, 28 MAY ON, Canada 12:35 pm • Organist colleagues • Choir directors Nicholas Schmelter; St. Theresa, • Students • Organ builders Weilimdorf, Germany 8 pm 27 JUNE • Teachers • Clergy Jennifer Chou; St. John the Evan- 30 MAY gelist, Islington, UK 7:30 pm Jillian Gardner; Bloomsbury Bap- tist, London, UK 4 pm 28 JUNE 1 year subscription rates to THE DIAPASON Peter Wright; St. John the Evange- Carolyn Craig; Cathedral Church of list, Islington, UK 7:30 pm St. James, Toronto, ON, Canada 4 pm Print Digital $44 $35 31 MAY 30 JUNE Jillian Gardner; Clare College, Charles Harrison; Selby Abbey, Cambridge, UK 5:25 pm Selby, UK 12:30 pm For information, THE DIAPASON, P.O. Box 300, Lincolnshire, IL 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: 847/763-4933. Or visit www.thediapason.com and click “subscribe.” Korakot - stock.adobe.com | EVZ - stock.adobe.com

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

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

28 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Recital Programs

JUSTIN BRUGGEMAN, Cathedral 547, Bach; Prière à Notre-Dame (Suite TX, November 12: Prelude and Fugue glia, Handel; Partita diverse sopra Sei of St. Philip, Atlanta, GA, December 15: Gothique, op. 25), Boëllmann; Spiritual in C, BWV 545, Bach; Sanfte Register– gegrüßet, Jesu gütig, BWV 768, Bach. Fantaisie in A (Trois Pièces pour grand Suite, Kim; Someone to Watch Over Me, Andante, Mittel-starke Register–Mod- orgue, op. 16), Franck; Prelude and Gershwin, transcr. Kim; America the erato, Volles Werk–Alla breve, Sanfte ERIC PLUTZ, St. Mark’s Episcopal Fugue in C, BWV 547, Bach; Adagio in Beautiful, Ward, transcr. Kim; Variations Register–Andante molto (Ten Trios, op. Cathedral, Shreveport, LA, November E, Bridge. on the Church in the Wildwood, Pitts, 49), Rheinberger; Ciacona in f, Pach- 14: Jubilee, Sowerby; Epithalamium, transcr. Kim. elbel; Four Short Journeys to Abbot’s Willan; Toccata in E, BWV 566, Bach; JONATHAN GREGOIRE, Christ Leigh, Martinson. Passacaglia, Sowerby; Symphonie VI in the King Catholic Church, Dallas, TX, PHILLIP KLOECKNER, Church of b, op. 59, Vierne. November 12: Passamezzo antico, Gar- the Gesu, Milwaukee, WI, November 12: KATHERINE MELOAN, Wertheim dano; Ballo del Granduca, Sweelinck; Toccata and Fugue in d, BWV 565, Bach; Performing Arts Center, Miami, FL, No- JOHN SCHWANDT, St. Mark’s Epis- Passacaglia and Fugue in c, BWV 582, Suite du 6ème ton (Pièces d’orgue, op. 2), vember 10: Concerto in d, BWV 596, Viv- copal Cathedral, Shreveport, LA, Novem- Bach; Valse Mignonne, op. 142, no. 2, Chaumont; Batalla Imperial, Cabanilles; aldi, transcr. Bach; Sweet Hour of Prayer ber 14: My Spirit Be Joyful (Cantata 146), Karg-Elert; To Call My True Love to the Blues, Thorn; Sonata III, Lemmens; Con (Gospel Preludes), Bolcom; Grande Bach, transcr. Biggs, Schwandt; Christos Dance, Hakim. Grazia, Andrews; Three Sonatas, Puc- Choeur Dialogué (Six Pièces d’orgue), Patterakis, Perry; Partita on St. Anne, cini; Fantaisie in A, M 35, Franck. Gigout; Danse Macabre, Saint-Saëns, Manz; Sheep May Safely Graze (Cantata STEPHEN HAMILTON, Lord of transcr. Lemare; Variations on a Theme 208), Bach, transcr. Fox; Suite in Antique Life Lutheran Church, Sun City West, JAN KRAYBILL, St. Mark’s Epis- by Paganini, Thalben-Ball; Adagio (Sym- Style From Holberg’s Time, Grieg, transcr. AZ, November 3: Litanies, JA 119, Le copal Cathedral, Shreveport, LA, phonie III in f-sharp, op. 28), Carillon de Ellsasser, Schwandt; improvisation. Jardin Suspendu, JA 71, Alain; Hymne November 14: Coronation March, Westminster (Pièces de fantaisie, Deux- d’Actions de grâces “Te Deum” (Trois Tchaikovsky, transcr. Bennett; Fugue ième suite, op. 53, no. 6), Vierne. RUDY SHACKELFORD, organ & pi- Paraphrases Grégoriennes), Chant de No. 1 (Sechs Fugen über den Namen ano, Bethany United Methodist Church, Paix, Langlais; Choral in E, Franck; Toc- B-A-C-H, op. 60), Schumann; Passaca- LARRY PALMER, Meadows Mu- Gloucester Point, VA, November 24: cata, Villancico, y Fuga, op. 18, Ginas- glia quasi Toccata on B-A-C-H, Sokola; seum, Southern Methodist University, Maple Leaf Rag, Joplin; Bethena–A Con- tera; Resignation, Wondrous Love, New Song of Peace in a Time of War (Hom- Dallas, TX, November 12: Tiento lleno cert Waltz, Joplin, transcr. Shackelford; Britain (The Sacred Harp), Coe; Prelude mage à Langlais), Bennett; Symphonie por B cuadrado, Cabanilles; Obra de Fig Leaf–A High Class Rag, Joplin; Pine and Fugue in B, op. 7, no. 1, Dupré. IV in g, op. 32, Vierne. Falsas Cromáticas, anonymous; Don Apple Rag, Solace–A Mexican Serenade, St. Paul Chapel, Trinity Church, Wall Prados, Sargon; Sonata in C, Seixas; The Easy Winners, Joplin, transcr. Street, New York, NY, November 14: OLIVIER LATRY, Holy Cross Col- Orlos, Dulzainas y Chirimias de ambos Shackelford; Magnetic Rag, Joplin; The Litanies, JA 119, Le Jardin Suspendu, lege, Worcester, MA, November 19: Bal- manos, Lidón. Entertainer, Joplin, transcr. Shackel- JA 71, Alain; Hymne d’Actions de grâces lo del Granduca, SwWV 319, Sweelinck; ford; Golliwogg’s Cake Walk (Children’s “Te Deum” (Trois Paraphrases Grégori- Passacaglia in d, BuxWV 161, Buxtehu- DEREK NICKELS, Holy Commu- Corner), Debussy, transcr. Shackelford; ennes), Chant de Paix, Langlais; Fantasy de; Pièce d’orgue, BWV 572, Passacaglia nion Episcopal Church, Lake Geneva, Graceful Ghost–Rag, Bolcom; Kitten on for Organ, Coe; Prelude and Fugue in B, in c, BWV 582, Bach; Allegro moderato, WI, November 3: Prelude, Largo, and the Keys, Confrey, transcr. Shackelford; op. 7, no. 1, Dupré. Andante, Presto, Andante, Menuett, Fugue in C, BWV 545/529ii, Bach; Vol- Rialto Ripples–Rag, Gershwin & Don- Menuett, Allegro moderato, Vivace, untary in d, op. 59, no. 8, Stanley; An- aldson; Three Preludes for Piano, Ger- CHRISTOPHER HOULIHAN, Hope Menuett, Presto (Flötenuhrstücke, Hob. dante con Variazioni, op. 17, Paine; shwin, transcr. Shackelford; Rhapsody in Lutheran Church, St. Louis, MO, Octo- XIX), Haydn; Piece in F, WoO 33–1, Schmücke dich, o liebe Seele, Mein Jesu, Blue, Gershwin, transcr. Crawford. ber 4: Praeludium in g, BuxWV 149, Bux- Beethoven; Fantasia in f, K 608, Mo- der du mich (Eleven Chorale Preludes, tehude; Master Tallis’s Testament (Six zart; Improvisation. op. 122), Brahms; Prelude on St. Colum- WALT STRONY, First Presbyte- Pieces for Organ), Howells; Four Sketch- ba, Friedell; Fugue à la Gigue, Johnson. rian Church, Kilgore, TX, November es for Pedal Piano, op. 58, Schumann; GARRETT MARTIN, Cathedral of 11: Three-Three-Two F. A.—A March, Passacaglia and Fugue in c, BWV 582, St. Philip, Atlanta, GA, November 10: PATRICK PARKER, Episcopal Sowerby; Dialogue Monastique, Purvis; Toccata, Adagio, and Fugue in C, BWV Coronation March, Meyerbeer; Prelude Church of the Transfi guration, Dallas, Variations on America, Ives; Wedding 564, Bach; Scherzo, Cantabile, Allegro and Fugue in F, BuxWV 145, Buxtehu- TX, November 12: Magnifi cat germani- Dance (Hasseneh), Press, transcr. Smith, (Symphonie II in e, op. 20), Vierne. de; Air, Hancock; Partita on Lobe den cae, Praetorius; All’Offertorio in C, Al Strony; In a Chinese Temple Garden, Herren, Phillips; Carillon, Sowerby. Post Comunio in F, Zipoli; Passacaglia, Ketèlby, transcr. Strony; Monkey on a MARIANNE KIM, Fourth Presby- Pasquini; Ciacona in e, BuxWV 160, String, Agay, transcr. Smith, Strony; Mon terian Church, Chicago, IL, Novem- JOEL MARTINSON, Episcopal Buxtehude; Prelude, Byrd; Sarabande, coeur s’ouvre à la voix, Bacchanale (Sam- ber 8: Prelude and Fugue in C, BWV Church of the Transfi guration, Dallas, Pachelbel; Courante, Byrd; Passaca- son and Delilah), Saint-Saëns.

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

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

WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 29 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Wanted: Organists visiting Maui. Certifi ed appraisals—Collections of Prairie Sounds (OAR-162, $15.98) Hear the Couperin Masses for the Lahaina’s Holy Innocents Episcopal organ books, recordings, and music, features Maxine Thévenot perform- Parishes and for the Convents (21 Church invites visiting organists to play for divorce, estate, gift, and tax pur- ing on the 1930 Casavant organ works in each Mass) played on the its Beckerath Positiv organ at Sunday poses. Stephen L. Pinel, Appraiser. at Holy Rosary Cathedral, Regina, organ François Couperin played when services. Built in 1972 by Rudolf von 629 Edison Drive, East Windsor, NJ Saskatchewan, Canada, with 18th-, he composed the pieces in 1690 as Beckerath and then-apprentice Hans- 08520-5205; phone: 609/448-8427; 19th-, and 20th-century music by organist of St-Gervais in Paris. Titular Ulrich Erbslöh for Honolulu’s Lutheran email: [email protected]. French, Canadian, and British com- organist Aude Heurtematte exquisitely Church, the Shrankpositiv has a 54-note posers. Recent works by Ruth Watson performs the works in a 2-CD set on Henderson, David L. McIntyre, Gilles “split” manual, 30-note pedal, 11 stops, Gatty Sellars, “the world’s great- Raven OAR-153, $15.98 postpaid. Maurice Leclerc, and Philip Moore are 8 ranks Holy Innocents acquired the est descriptive organist,” wrote this Raven, Box 25111, Richmond, VA instrument in 1977. The instrument is recorded for the fi rst time. Other pieces 23260. RavenCD.com. 804/355-6386. gem: “Angelus” is the Latin word for by Denis Bédard, Dupré, Franck, Clara extremely responsive and fi lls the wor- angel and is a daily devotion that com- ship space beautifully. The parish com- Schumann, Jean-Adam Guilain, and memorates the Incarnation of Jesus; Frank Bridge complete the program. Pipe Organs of the Keweenaw munity is “exemplary in its hospitality it originated during the 14th century features historic organs of the to all visitors,” and that includes visiting For information: www.ravencd.com, in the Roman Catholic Church in Italy. 804/355-6386. Keweenaw Peninsula, on Michigan’s organists. For information: 808/661- The name comes from the beginning Upper Peninsula. Organs include an 4202; holyimaui.org. text, “Angelus Domini nuntiavit Mariæ” 1899 Barckhoff and an 1882 Felge- (The Angel of the Lord declared unto Mother’s Day Music? Check out “A maker. The booklet ($8.00, includes PUBLICATIONS / RECORDINGS Mary). He does not call for chimes Woman of Valor”—Seven pieces on postage) is available from the Isle in the printed music here, but he Proverbs 31, by Norberto Guinaldo: Royale and Keweenaw Parks Associ- From Fruhauf Music Publications: used them when playing this piece in More precious than rubies; In her ation, 49445 US Hwy 41, Hancock, MI Sing Joyful Hymns and Songs of Praise concert. michaelsmusicservice.com husband’s heart; Fortitude; Artful and 49930. For information: 800/678-6925. is a three-verse hymn anthem for voices 704/567-1066. charitable; Wisdom and kindness; and organ, based on an original text Gratitude and blessings; The beauty within. 28 pages. See, listen, buy. The Tracker—The Organ Historical and tune. The fi rst verse features uni- World Library Publications: From www.guinaldopublications.com. Society quarterly journal includes son voices with organ accompaniment; the Piano Bench to the Organ Bench, news and articles about the organ the second verse offers a three-part by Alan J. Hommerding. This complete and its history, organ builders, exem- (solo or sectional) harmonization of the method book offers a variety of exer- Raven has released the fi rst CD plary organs, and regional surveys melody and text, and the fi nal verse pro- cises to increase pedal technique and recorded by a woman, also the fi rst of instruments. Both American and vides a hymn of praise for unison voices manual/pedal dexterity. Explore topics CD recorded by a non-British subject, with soprano descant and an organ free such as service playing/accompany- on the 1892 Henry Willis organ at European organ topics are discussed, harmonization. The setting is upbeat ing—when to lead, when to follow; Hereford Cathedral in England: Damin and most issues run 48 pages with and optimistic, and it is published with playing pianistic accompaniments on Spritzer plays “Rhapsodies & Elegies” many illustrations and photographs. the hope that perhaps it might offer the organ; introduction to improvisa- by early 20th-century English compos- Membership in the OHS includes a renewed hope in difficult and deeply tion on the organ; basics of choral ers including Willan, Rowley, Ireland, subscription to The Tracker. Visit the troubling times. Please visit www.fru- conducting from the console; and Darke, Bullock, Grace, Elgar, and Nor- OHS Web site for subscription and muspub.net’s home page bulletin board much more. 003057, $19.95, 800/566- man Gilbert. Raven OAR-156, $15.98; membership information: www.organ- for a link to the score. 6150, Wlpmusic.com. RavenCD.com 804/355-6386. historicalsociety.org.

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

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

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30 Q THE DIAPASON Q MAY 2020 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE HARPSICHORDS/CLAVICHORDS

The new Nordic Journey series Bosch Opus 518 (1968) for sale. Zuckermann one-manual harpsi- of CD recordings reveals premiere Hans-Detlef Klueker, 1964. Best Tracker action, 16 ranks, 12 stops, chord from a kit for sale. Good condi- recordings of symphonic organ offer. Buyer must disassemble, Hauptwerk, Schwellwerk (expressive), tion. 57 keys starting on low A. Outside music—much still unpublished—from pack, and ship. 13 ranks, 10 Pedal. Excellent condition. Detached ″ ″ ″ stops including 4-rank Mix- dimensions 64 x 36-1/2 x 10-1/2 . Nordic composers, played by Ameri- console. Buyer to remove from Seattle, The company sent a jack conversion tuur. Two manuals and pedal; Washington by 2/26/21. Best offer. can organist James Hicks on a variety couplers. Baroque disposition, kit, which must still be cut and installed. of recently restored Swedish organs. Contact for pictures and details: How- slider chest, tracker action. Metal ard Wolvington, [email protected], All materials and instructions are It’s a little bit like Widor, Reger and pipes are high tin content; wood 425/761-4729. included. $300 or best offer. Located Karg-Elert, but with a Nordic twist. pipes are African mahogany. in Newcastle, Maine. Buyer to remove. Check it out at www.proorgano.com Width 128″, depth 62″, height Jay Zoller, 207/380-5949. and search for “Nordic Journey.” 112″. Owners are moving soon. Schoenstein Opus 7, 1891. The For more detailed information, great 1906 San Francisco Earthquake email [email protected], destroyed most of Felix F. Schoen- SERVICES / SUPPLIES The Organ Historical Society has or phone 209/966-3783. Mailing stein’s life work. This two-manual, released its 2020 calendar, celebrat- address: John Schroeder, PO 24-rank mechanical-action instrument Releathering all types of pipe ing the OHS 65th annual Convention Box 189, Midpines, CA 95345. in the German Romantic style is the organ actions and mechanisms. in Columbus, OH, July 26–31 (next only remaining example. It is cur- Highest quality materials and work- month!). The calendar features organs rently in the care of A. David Moore of manship. Reasonable rates. Colum- by Kimball, Schuelke, Koehnken, Skin- Zoller home pipe organ (1985) for Pomfret, VT, who states, “A wonder- bia Organ Leathers 800/423-7003. ner, Klais, Brown, Beckerath, Schantz, sale. One manual and fl at pedalboard, ful example of Nineteenth Century www.columbiaorgan.com/col. Fisk, and Paul Fritts, with photography cherry case with doors, bench. Six organ building infl uenced from earlier by Len Levasseur. Non-members $21; stops divided at middle C: 8′ Stopped times—Full principal chorus on the ′ ′ members $18. For information: organ- Diapason, 8 Krummhorn, 4 Flute; Great with the correct balance of Aeolian/Robert Morton-style ′ ′ ′ upperwork, a diverse selection of 8′s historicalsociety.org. 2-2/3 Nazard, 2 Principal, 1-3/5 and 4′s and a 2′ in the Swell.” His fi rm maroon leather is now available Tierce (no pipes). $15,000 or best from Columbia Organ Leathers! offer, buyer to remove, located New- is prepared to renovate and install it. PIPE ORGANS FOR SALE castle, Maine. 207/563-5679. The organ is offered free of charge Highest quality. 800/423-7003, along with a starter grant to the institu- www.columbiaorgan.com. Pfeffer and Debierre organs. Circa tion providing its new home. Full infor- 1901 Hutchings-Votey 2/10 tracker, mation: [email protected]. 1860 Pfeffer eight-rank organ, avail- Postal regulations require that mail to THE Opus 550. In storage. 508/932-7736. able rebuilt and custom fi nished. Also DIAPASON include a suite number to assure 1884 choir organ by Louis Debierre. Visit www.thediapason.com fre- delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite Both are pictured on the Redman web- Classifi eds work for you! Contact quently for the latest news, videos, 201, Arlington Heights, IL 60005. site: www.redmanpipeorgans.com. Jerome Butera: [email protected]. classifi eds, and so much more!

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

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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2020 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2021

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Katelyn Emerson

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choirs Available

Christ Church Cathedral Oxford, United Kingdom (April 2021)

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Colin MacKnight Amanda Mole Saint Thomas Church Fifth Avenue, New York City (October 2021) New College Oxford, United Kingdom (Spring 2022) Trinty College Cambridge United Kingdom (September 2022) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 99th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young