THE DIAPASON NOVEMBER 2017

Church of St. Ignatius Loyola New York, New York Cover feature on pages 26–28 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 11, In this issue Whole No. 1296 This month, we present an article by Andrew Forrest on the res- NOVEMBER 2017 toration of the Casavant organ at the Cathedral-Basilica of Notre Established in 1909 Dame de Québec, carried out by Létourneau Organs. Noel Beck Stephen Schnurr ISSN 0012-2378 reports on Indiana University’s Sacred Music Intensive Workshop, 847/954-7989; [email protected] held in Bloomington in June. Ennis Fruhauf takes us on a fantasy www.TheDiapason.com An International Monthly Devoted to the Organ, journey, of sorts, with Johann Sebastian Bach and Louis March- the Harpsichord, Carillon, and Church Music and, centered on Bach’s Fantasy in G Major, BWV 572. Fruhauf’s our January issue. The deadline for updates is November 15. “fantasy” is based on the legendary story of the meeting of these Please send any necessary items to me at [email protected]. CONTENTS two musicians—giants in their own worlds—some 300 years ago. FEATURES In “In the Wind . . . .,” John Bishop introduces us to the elev- The gift that will be remembered on a monthly The restoration of the chancel organ at the enth municipal organist for Portland, Maine. Bishop illuminates basis Cathedral-Basilica of Notre Dame de Québec for us the process by which James Kennerley was selected for As we approach the holiday gift-giving season, please con- by Andrew Forrest 20 what has become a rare musician’s position in the United States. sider a gift subscription to The Diapason for your colleagues Sacred Music Intensive Workshop, Jacobs Gavin Black, in “On Teaching,” continues his topic of helping who are church musicians, university teachers, and even those School of Music, Indiana University, Bloomington: June 5–9, 2017 students choose fi ngering. In “Harpsichord News,” Larry Palmer who are harpsichord and carillon afi cionados. You subscribe to by Noel Beck 23 provides us with a background to the Aliénor Harpsichord Com- this journal for the benefi ts it brings to your life. Share those Johann Sebastian Bach’s Fantasy in G Major, position Competition and its upcoming celebration in Ann Arbor, benefi ts with a like-minded friend! BWV 572: A Legendary Opus Michigan, in May 2018. Palmer also introduces us to the Mead- by Ennis Fruhauf 24 ows Museum on the campus of Southern Methodist University, Thanksgiving, Advent, and Christmas NEWS & DEPARTMENTS home to a Caetano Oldovini organ of 1762, as well as an exhibit The staff of The Diapason wishes you a happy, healthy, Editor’s Notebook 3 of paintings by Francisco de Zurbarán. Our cover feature is the and safe Thanksgiving holiday. For those who are preparing Here & There 3 N. P. Mander organ at the Church of St. Ignatius Loyola, New for the seasons of Advent and Christmas, may you have a suc- Appointments 6 York City, which celebrates its 25th anniversary in 2017–2018. cessful journey in these weeks ahead in providing inspiring and Harpsichord News by Larry Palmer 13 uplifting music to your congregations. Be sure to check our In the wind . . . by John Bishop 16 2018 Resource Directory Calendar and Here & There sections of this issue for notices of On Teaching by Gavin Black 18 This is your fi nal reminder to notify us of any changes in your Lessons & Carols services and Christmas concerts. While you REVIEWS contact information or staff for our 2018 Resource Directory of may be working hard on your own Advent and Christmas pre- Choral Music 14 businesses in the world of the organ, carillon, harpsichord, and sentations, take the time to enjoy the music of your colleagues New Organ Music 14 church music. The directory will be published and mailed with nearby. And take a friend along! Q New Handbell Music 15

CALENDAR 29 Here & There ORGAN RECITALS 33 2018, 1/14, 1/21, 1/28, February 4, 2/11, CLASSIFIED ADVERTISING 34 Events The Lafayette Master Chorale 2/25, March 4, 3/11, 3/18, April 22, 4/29, of Lafayette, Indiana, announces its May 13, 5/20. 2017–2018 season, the organization’s Concerts include: November 12, Karl THE DIAPASON 53rd: November 4, Prayer for Peace, Jenkins, The Armed Man: A Mass for NOVEMBER 2017 featuring Fauré, Requiem, St. John’s Peace; December 10, Handel, Messiah; Episcopal Church; 11/12, Patchwork for March 25, Bach, St. John Passion; May Peace, with children’s voices, Immanuel 6, Bach, Easter and Ascension Oratorios; United Church of Christ; December 17, July 18, Farewell Concert for the choir’s Heavenly Peace, Lessons & Carols, First residency at Durham Cathedral, UK. Baptist Church; April 15, A Peaceable For information: Kingdom, featuring the work of Ran- www.christchurchgp.org.

Church of St. Ignatius Loyola New York, New York Cover feature on pages 26–28 dall Thompson, St. Boniface Catholic Church; April 21, Peace on Earth . . . and Lots of Little Crickets, with children’s voices, Immanuel United Church of COVER Mander Organs, London, England; Church of Christ. For information: St. Ignatius Loyola, New York, New York 26 http://lafayettemasterchorale.org.

The Dessoff Choirs, Malcolm J. Editorial Director STEPHEN SCHNURR Merriweather, music director/conductor, and Publisher [email protected] announces its 2017–2018 season in New 847/954-7989 York City: November 5, Multidimen- Washington National Cathedral St. Chrysostom’s Church, Fisk organ President RICK SCHWER sional Magnifi cence, at The Riverside [email protected] Church, featuring Michael Hey (a 847/391-1048 member of The Diapason’s 20 Under Axel Flierl; 4/22, Jamila Javadova- St. Chrysostom’s Episcopal 30 Class of 2016), organist; December Spitzberg; 4/29, Joseph Ripka; May Church, Chicago, Illinois, continues Consulting Editor JOYCE ROBINSON [email protected] 8, Welcome Yule, at St. Peter’s Church, 6, Aaron Goen; 5/13, Jeremy Filsell; its 2017–2018 season of musical events: 847/391-1000 repeated 12/10 at St. John’s Episcopal 5/27, Mark Thewes and Chad Pitt- November 11, Third Coast Baroque, Church, Brooklyn; 12/9, Messiah Sing!, man; June 3, Chuck Seipp and Randall performing music of Bach, Handel, and Sales Director JEROME BUTERA [email protected] at Union Theological Seminary; March Sheets, trumpet and organ; 6/10, Rob- Scarlatti; December 3, Advent Lessons 608/634-6253 11, 2018, The Little Match Girl Passion, ert Knupp; 6/17, Michal Markuszewski; & Carols; 12/17, Caroling with the Caril- Circulation/ at the Basilica of St. Patrick’s Old Cathe- 6/24, Tyler Boehmer; July 4, Indepen- lon; January 14, 2018, 125th anniversary Subscriptions DONNA HEUBERGER [email protected] dral; April 28, Freedom Concert, at the dence Day Concert. For information: Evensong; February 9, Richard Hoskins 847/954-7986 Church of St. Paul and St. Andrew. For https://cathedral.org/music/organ/. with guest vocalists and instrumental- information: www.dessoff.org. ists; February 23, Café Zimmerman, Designer KIMBERLY PELLIKAN Christ Church, Grosse Pointe with Jason Moy and friends; April 22, [email protected] 847/391-1024 Washington National Cathedral, Farms, Michigan, announces its 2017– Choral Evensong; 4/24, Jory Vinokour, Washington, D.C., continues Sunday 2018 season of musical events: Novem- harpsichord, and Anna Reinhold, mezzo- Contributing Editors LARRY PALMER afternoon organ recitals: November ber 5, Durufl é, Requiem; December 3, soprano; May 20, David Schrader per- Harpsichord 5, Jeremy Filsell; 11/19, Kipp Cortez; Advent Procession; 12/17, Candlelight forms Mendelssohn’s six organ sonatas. BRIAN SWAGER 11/26, Matthew Michael Brown; Feb- Services of Lessons & Carols; January For information: www.saintc.org. Carillon ruary 11, 2018, George Fergus and 5, Epiphany Procession; February 2, Benjamin Straley; 2/18, Ryan Hebert; Feast of the Presentation (Candlemas Madison Avenue Presbyterian JOHN BISHOP In the wind . . . March 11, Anthony Williams; 3/18, Procession); April 15, Easter Lessons Church, New York, New York, con- Jeremy Filsell; April 1, Easter Day & Carols. Choral Evensong Sundays tinues its 2017–2018 concert season, GAVIN BLACK organ recital; 4/8, James Kealey; 4/15, at 4:30 p.m.: November 19, January 7, ³ page 4 On Teaching

Reviewers Richard Hoskins THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Jeffrey Schleff Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. Jay Zoller 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Leon Nelson Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. at the rate of one copy for every fi fteen students. Such copies may be reused for other POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite courses or for the same course offered subsequently. 201, Arlington Heights, Illinois, 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 3 Here & There

³ page 3 at noon: December 6, Dallas Grambrill; 12/13, Josiah Armes; 12/20, members of the Space Coast chapter of the American Guild of Organists. For information: www.adventlutheranbrevard.org.

Madison Avenue Presbyterian Church, New York, New York (photo credit: Lee Ryder) Eighth International Organ Competition Musashino-Tokyo fi nalists and judges (photo credit: Daisuke Ikeguchi) Sundays at 3:00 p.m., except where noted: November 12, Julliard415 per- The Eighth International Organ Competition Musashino-Tokyo, Japan, forms chamber works of François Cou- announces prize winners after its fi nal round of the competition, September 17, and perin; 11/19, Haydn Harmoniemesse and Prize Winners’ Concert, September 18. First Prize is awarded to Amanda Mole Schubert Mass in G with the St. Andrew (United States, a member of The Diapason’s 20 Under 30 Class of 2016), Second Chorale and Orchestra; December 3, Prize to Thomas Gaynor (New Zealand, also a member of The Diapason’s 20 Christmas on Madison Avenue, with Under 30 Class of 2016), Third Prize to Katelyn Emerson (United States, a mem- the New York City Children’s Chorus; ber of The Diapason’s 20 Under 30 Class of 2015), Fourth Prize to Yasuko Chida 12/17, 4:00 p.m., 13th Annual Carol (Japan), Fifth Prize to Risa Kimura (Japan), and Audience Prize to Yasuko Chida. Sing; January 28, 2018, Meeting of The competition received 57 applications from organists of 16 nationalities. The Musical Minds, with the Steinberg Duo jurors for the fi nal round were Guy Bovet, Hans-Ola Ericsson, François Espinasse, (violin and piano); February 11, Steven Bernhard Haas, Hiroe Rie, Shin Dong-Il, and David Titterington. Vanhauwaert, pianist; March 4, Weather Cathedral Church of St. Paul, Detroit, Reports, with the Amuse Singers; 3/18, Michigan, Pilzecker organ (photo credit: Margaret Mills, pianist; 3/25, Bach, St. Christian Hooker) Matthew Passion, with the St. Andrew Chorale and Orchestra; Friday, April 13, The Cathedral Church of St. Paul, 7:30 p.m., Manhattan School of Music Detroit, Michigan, continues choral organ department recital; 4/22, Nadejda Evensong services for the 2017–2018 Vlaeva, pianist; 4/29, Memories, Dreams, season, Sundays at 4:00 p.m.: November Refl ections, with Trio Appassionata; May 12 (Service of Thanksgiving and Act of 6, New York, New York!, with the New Remembrance), 11/26, December 3 York City Children’s Chorus. For infor- (Advent Procession), 12/17 (Lessons and mation: www.mapc.com/music/sams. Carols), January 14, 2018, February 11, 2/25, March 11, 3/25 (Passiontide Con- The Cathedral of St. Philip, cert), May 10 (Evensong for Ascension). Atlanta, Georgia, continues Sunday For information: Shanghai International Organ Competition and Festival jury and prizewinners concerts at 3:15 p.m. followed by Cho- www.detroitcathedral.org. ral Evensong at 4:00 p.m.: November The inaugural International Organ Competition and Festival was presented 12, David Lamb; 11/19, Jason Klein; by the Shanghai Conservatory of Music and the Shanghai Oriental Art Center in Shang- 11/26, Clara Gerdes; December 3, hai, China, September 12–17. The presidents of the jury were Paul Jacobs (United Advent Procession with Lessons & Car- States) and Xuntian He (China). Also serving on the jury were John Walker (United ols; 12/17, Christmas Lessons & Carols; States), Jurgen Kursawa (Germany), David Hamilton (Scotland), Aude Heurtematte January 7, 2018, Chase Loomer; 1/14, (France), Thierry Mechler (Germany), and Cherry Rhodes (United States). First Alvin Blount; 1/21, Gail Archer; 1/28, prize, $6,000, was awarded to Michael Hey (United States, a member of The Dia- Karen Black; February 4, Alan Lewis; pason’s 20 Under 30 Class of 2016), second prize, $4,000, to Zhen Piao (China), third 2/11, Robert Poovey; 2/18, Clayton prize, $3,000 to Yunjung Lee (Korea), fourth prize, $1,000, to Mahela Reichstatt State Collegium Vocale; 2/25, Chris- (Germany), and fi fth prize, $1,000, to Mariia Lebedeva (Russia). In addition to the topher Lynch; March 4, Mark Pacoe; competition, the festival included concerts by members of the jury and the winners, 3/11, Jeremy McElroy and Clinton as well as masterclasses. For information: http://organartcenter.org/en/index_en.html. Miller; April 8, Bryan Dunnewald; 4/15, Grace Lutheran Church, River Forest, Jason Roberts; 4/22, Stefan Kagl; 4/29, Illinois, Berghaus organ David Henning; May 6, Georgia Boy Choir; 5/13, Caroline Robinson; 5/20, Berghaus Pipe Organ Builders of Bruce Neswick. For information: Bellwood, Illinois, will present a recital www.stphilipscathedral.org. honoring the company’s 50th anniver- sary, November 12, 4:00 p.m., at Grace Advent Lutheran Church, Mel- Lutheran Church, River Forest, Illinois. bourne, Florida, announces its 2017– The featured performers are Mark 2018 concert series, Sundays at 3:00 Laubach, Jonathan Oblander, Michael p.m.: November 12, From Sea to Shining Costello, and Derek Nickels. A recep- Sea, with Jeannine Jordan; February 25, tion follows the program. For informa- 2018, Monica Czausz; May 6, Kathrine tion: www.berghausorgan.com. Handford. In addition, there is an Advent series of short concerts on Wednesdays Westminster United Church, Win- nipeg, Manitoba, Canada, announces Albert Schweitzer Organ Festival competitors and judges, left to right: Daniel Seg- organ recitals, Sundays at 2:30 p.m.: ner, Evan Cogswell, Reilly Xu, Aaron Patterson, Katherine Johnson, Joshua Ehle- November 12, Joshua Stafford; February bracht, Vaughn Mauren, Diane Meredith Belcher, and Colin MacKnight. Not pictured: A. E. Schlueter Pipe Organ Co. Grant Wareham, David Hurd, and Christian Lane. (photo credit: Nathan Lively) 18, 2018: Raúl Prieto Ramírez; April 8, Rachel Mahon. For information: http://westminsterchurch.org. The 20th annual Albert Schweitzer Organ Festival Hartford, Connecticut, (ASOFHartford) awarded its top performance competition prizes on October 1 to The Eastman School of Music Grant Wareham of Houston, Texas, in the Young Professional division, and to Aaron Department of Organ, Sacred Music, Patterson of Philadelphia, Pennsylvania, in the High School division. Both organists and Historical Keyboards announces also won the Prize of the Audience in their respective divisions. Evan Cogswell of its fi rst biennial Utech Hymnody Bloomington, Indiana, was awarded second prize and Daniel Segner of Glen Ellyn, Symposium and Festival, November Illinois, won third prize in the Young Professional division. Second prize among the 17–18, in Rochester, New York. Paul High School division went to Joshua Ehlebracht of Kitchener, Ontario, Canada, with Westermeyer will deliver the keynote third prize to Reilly Xu of Suffern, New York. Winners of the hymn playing competi-  New Instruments  Tonal Additions address, followed by a panel discussion tion were Reilly Xu and Daniel Segner.  Rebuilding  Maintenance on new hymn texts. Bruce Neswick will The festival’s 2017 season was dedicated to the memories of David Spicer, founder  New Consoles  Tuning lead a hymn festival that will include the and artistic director of ASOFHartford, and Robert Clement, a founding board member. fi rst performance of the winning hymn Competition judges were Diane Meredith Belcher, David Hurd, and Christian Lane. How can we help you? text from the Utech Hymn Text Compe- Beginning in 2018, ASOFHartford will hold its High School and Young Professional tition. Neswick will also coach Eastman competitions in alternating years. Next year’s festival will be held September 28–30 800-836-2726 organ students in a master class on hymn September at Trinity College in Hartford and will feature the High School division www.pipe-organ.com ³ page 6 competition. For information: www.asofhartford.org.

4 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker James D. Hicks Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Organist Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Atlanta, GA Califon, NJ

Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Wynford S. Lyddane Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Pianist/Instructor Brooklyn, New York San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Washington, D.C.

Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Organist/Conductor Organist Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Boston, Massachusetts Reno, Nevada U of Nebraska-Lincoln Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

Anna Myeong David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Organist/Lecturer Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Madison, Wisconsin Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ and Piano Viola and Organ & Timothy Allen University of Missouri-Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano and Organ Melody Steed, organ, Bethany College U of Alberta, King's U, Canada St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 30th year of operation Here & There

³ page 4 15, Katelyn Emerson, Shadyside Presby- playing and hymn-based improvisation. terian Church. For information: Appointments Events are free of charge and open to http://organseries.com/. Karin Brookes is appointed executive direc- the public. For information: tor of Early Music America, leaving a position www.esm.rochester.edu/organ/utech/. Christ Church, Easton, Maryland, as development director for Early Music Seattle announces its 2017–2018 season of since 2015. A native of the UK, Brookes lived and events: November 19, Annapolis Cham- worked in London, Philadelphia, and Glasgow ber Players; December 10, Advent Les- before moving to Seattle in 2011. Before moving to sons & Carols; January 21, 2018, Monte the United States, she was assistant to Christopher Maxwell; February 11, The American Hogwood and manager of the Choir of King’s Col- Boychoir; March 18, Trio Galilei; April lege, Cambridge. Brookes has degrees in French 22, Suspicious Cheese Lords; May 20, and music from the Universities of Edinburgh and Wes Lockfaw with the Christ Church Cambridge, and a Master of Journalism degree Brass. For information: from Temple University, Philadelphia, Pennsylva- www.christchurcheaston.org. Karin Brookes nia. For information: www.earlymusicamerica.org.

St. Paul’s Episcopal Church, Delray Richard Gray is appointed organ scholar Beach, Florida, continues its 2017–2018 for St. George’s Episcopal Church, Nashville, season of musical events, Sundays at Tennessee, for the 2017–2018 year, where he 3:00 p.m.: November 19, Duo Beaux will work with music ministries director Woosug Arts; December 17, Advent Lessons & Kang and associate music director-organist Gerry Carols; January 21, 2018, Klotz, Callo- Senechal in the newly created position. Gray will way, Strezeva Trio; February 18, Serafi n play regularly for services, accompany choirs, and Quartet with pianist Roberta Rust; work within a strong Anglican tradition. A native of March 18, Bach’s Art of the Fugue with Beaufort, South Carolina, he holds degrees from harpsichordists Michael Bahmann and Richard Gray (photo credit: Oberlin Conservatory of Music, Oberlin, Ohio, Ransdell Chapel, Campbellsville Paul Cienniwa; April 15, Amernet String Abi Poe Photography) and Southern Methodist University, Dallas, Texas. University, Campbellsville, Kentucky Quartet; May 20, Bach arias with Cam- erata del Ré; June 10, Palm Piano Trio. Weston Jennings is appointed director Campbellsville University, Camp- For information: of music and organist for First Presbyterian bellsville, Kentucky, continues its 10th www.music.stpaulsdelray.org. Church, Tyler, Texas, where he serves as the Annual Noon Concert Series with organ principal musician, directs the Chancel Choir, recitals at 12:20 p.m. in Ransdell Chapel oversees two children’s choirs, one handbell or Our Lady of Perpetual Help Catholic choir, and plans the annual fi ne arts series. First Church: November 14, Mark DeAlba; Presbyterian Church is home to the largest organ February 6, 2018, James Sperry; March in East Texas, built by Casavant Frères, Limitée, 6, John A. Deaver; April 10, Wesley in 2000, which is played regularly both for wor- Roberts. In addition, recitals are offered ship services and concerts. Jennings also serves at 8:00 p.m. in Ransdell Chapel: January as artistic and executive director of the Tyler 30, Wesley Roberts; February 27, Kevin Weston Jennings (photo Civic Chorale, now in its fi ftieth season. A gradu- Vaughn. For information: credit: Gerry Szymanski) ate of the Yale School of Music and Institute www.campbellsville.edu. of Sacred Music, New Haven, Connecticut, he Christ Church, Bradenton, Florida, also holds degrees from the Eastman School of Music, Rochester, New York, Létourneau organ and previously served as organ scholar of Canterbury Cathedral, Chelmsford Cathedral, and Royal Festival Hall in the UK. He continues an active concert Christ Church, Bradenton, Florida, schedule with upcoming performances in Moscow, San Francisco, and with announces its 2017–2018 Sacred Music the Baylor Brass. Jennings is a member of The Diapason’s 20 Under 30 in a Sacred Space series: November Class of 2017. For information: www.westonjennings.com. 19, Solomon Eichner, piano; 11/26, Schubert, Mass in G; December 10, James Kennerley is appointed eleventh Advent Lessons & Carols; 12/10, Sara- municipal organist for the city of Portland, Maine, sota Young Voices; February 11, 2018, one of only two cities remaining in the United Mozart, Mass in F; March 4, Ahreum States with a municipal organist (the other being Han, organist; 3/18, Craig Cramer, San Diego, California). The appointment is effec- organist; May 12, Jakob Hamilton, tive January 1, 2018, following the retirement of organist. Two concerts for the Sarasota- Ray Cornils, the longest-serving municipal organ- Manatee Bach Festival are hosted by ist for Portland since the position was created in Christ Church: January 14, Richard 1912. Kennerley is and will continue as organist Benedum, Cynthia Roberts-Greene, and and choirmaster for St. Ignatius of Antioch Epis- Shadyside Presbyterian Church Ann Stephenson-Moe, organists; Feb- copal Church, New York, New York. He was pre- ruary 18, Adam DeSorgo, oboe, Carol James Kennerley (photo viously organist and choirmaster for the Church The Organ Artists Series of Pitts- Lieberman, baroque violin, Christopher credit: Christopher Duggan) of St. Mary the Virgin, also of New York City. A burgh, Pennsylvania, continues its Schnell, cello, and others. native of Exeter, UK, he studied organ at Cam- 2017–2018 series: November 19, Ivan An Advent recital series is presented bridge University, and served as organ scholar at St. Paul’s Cathedral, London. Bosnar, Amanda Mole, and Caroline on Thursdays at 12:15 p.m.: December For further information, see “In the Wind . . . .” in this issue (pages 16–17). Robinson, East Liberty Presbyterian 7, Julane Rodgers, harpsichord; 12/14, Church; March 9, 2018, Benjamin John Fraser Jull; 12/21, Peter Madpak. Sunghee Kim is appointed visiting assistant Sheen, Calvary Episcopal Church; April ³ page 8 professor of music and interim director of cha- pel music for Valparaiso University, Valparaiso, Indiana. She will additionally serve as university organist and conductor of the campus choir, Kan- Saving organs throughout torei. Kim holds degrees from the Jacobs School of Music at Indiana University, Bloomington, the America....affordably! University of North Texas, Denton, and Ewha Woman’s University, Seoul, South Korea. She is a former fi rst prize winner in the Fort Wayne National Organ Playing Competition, Fort Wayne, Indiana. She comes to Valparaiso having served at Sunghee Kim Pennsylvania State University at Abington and as director of music at Concordia Lutheran Church in Wilmington, Delaware. Q

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6 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Sharing Th e Joy!

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³ page 6 will perform works of Dominick Argento, A Lenten recital series is offered Thurs- David Evan Thomas, Randall Davidson, days at 12:15 p.m.: February 15, James Stephen Paulus, Abbie Betinis, J. David Guyer; 2/22, Robert Edwards; March Moore, Cary John Franklin, Barbara 1, James Culver; 3/8, Glen Olsen; 3/15, Rogers, Libby Larsen, Tim Takach, Nancy Siebecker; 3/22, James Walton. Daniel Kantor, Steve Heitzeg, and Paul For information: Manz. Also, two winning compositions www.christchurchswfl a.org. from this year’s Welcome Christmas Carol Contest will be announced. For information: www.vocalessence.org.

Joey Brink peforms on the new Salis- Carillon tuner Richard Watson of Meeks, bury University carillon Watson & Co.

Salisbury University, Salisbury, Maryland, dedicated its new Brown and Church Carillon on September 6 before an audience of local residents, students, and caril- lonneurs from across the United States. Meeks, Watson & Company of George- town, Ohio, designed, crafted, and installed the 48-bell, concert pitch carillon that is housed in the Patricia R. Guerrieri Academic Commons, which features a 147-foot Madonna della Strada Chapel, Goulding tall tower to house the bells. & Wood organ The two largest bells, with a combined weight of some four tons, were provided by the Whitechapel Foundry in London, UK, which closed earlier this year after Loyola University, Chicago, Illinois, fi ve centuries of bellcasting. The other bells were cast and tuned by Meeks, Watson announces its 2017–2018 organ recital Methuen Memorial Music Hall & Company to go with the larger bells. Margo Halsted served as consultant for the series, held on the third Sunday of project. Joey Brink, carillonneur at the University of Chicago’s Rockefeller Chapel each month at 3:00 p.m. in Madonna Methuen Memorial Music Hall, and a member of The Diapason’s 20 Under 30 Class of 2015, was the dedication della Strada Chapel and featuring Methuen, Massachusetts, continues its recitalist. His hour-long program included two of his own compositions, as well as the three-manual Goulding & Wood 2017 series of organ recitals and events: pieces by Geert D’hollander, John Courter, and Ronald Barnes. He also played clas- organ: November 19, Melody Turner; December 1, Holiday Open House with sical transcriptions, movie themes, and some Leonard Cohen. December 17, Joseph Burgio; January organ music; December 2–3, “A Merry The donor, Delaware entrepreneur William D. Church, was honored by university 21, 2018: Thom Gouwens; February Music Hall Christmas,” with Ray Cornils president Janet Dudley-Eshbach. Church gave the instrument in memory of his late 18, Christa Miller; March 18, Jonathan and trumpets. For information: partner, Sam Brown. Oblander; April 15, Grant Nill; May 20, www.mmmh.org. Christine Kraemer. For information: www.luc.edu/campusministry/ sacramental_life/organ/.

Music Institute of Chicago Chorale (photo credit: Elliot Mandel)

The Music Institute of Chicago Left: Marshall Joos. Right: Young Organists Cooperative students at May 13 recital: The Vienna Boys Choir (photo © Lucas Chorale announces its 2017–2018 sea- Noah Jacobs, Colette Sevey, Gillian Croteau, Emmeline Sevey, Sophie Blair, Ade- Beck) line Parker, Connor Reed, Benjamin Pajunen, Marshall Joos, Demetrius Phofolos, son, the group’s 31st: December 2, Holi- Brigham Parker, Carson Petrie, and Thomas Latham. day Concert with the Chicago Children’s The Vienna Boys Choir will per- Choir’s Rogers Park and Humboldt Park form a concert of sacred music at the Neighborhood Choirs and the North- The students of the Young Organist Cooperative, centered in Portsmouth, New Cathedral of St. Joseph the Workman, book Symphony at Our Lady of the Hampshire, performed a group concert on May 13, on the Lively-Fulcher organ at La Crosse, Wisconsin, November 20, Brook Catholic Church, Northbrook; Christ Episcopal Church, Exeter, New Hampshire. The organization, funded by 7:00 p.m. For information and tickets: March 18, Mozart, Mass in C Minor, donations, provides students from Southern Maine, the seacoast of New Hampshire, www.viterbo.edu/fac. with orchestra, Nichols Concert Hall, and northeastern Massachusetts in seventh through twelfth grades with fi nancial Evanston; June 10, a program of works support for lessons with local organists, opportunities for masterclasses, and fi eld VocalEssence, Philip Brunelle, by Chicago composers, Nichols Concert trips to regional pipe organs and organbuilders. The recital included works by Bach, founder and artistic director, presents Hall. For information: Pachelbel, Widor, Franck, and Jongen. On June 17, the organization awarded its its Welcome Christmas concerts, focus- www.musicinst.org/chorale. Penn Brown Memorial Scholarship for Advanced Organ Study to Marshall Joos, of ing on works of Minnesota composers: Somersworth, New Hampshire. December 2, Shepherd of the Valley St. John’s Episcopal Church, Lutheran Church, Apple Valley; 12/8, West Hartford, Connecticut, continues Roseville Lutheran Church, Roseville; its 2017–2018 Music at the Red Door choirs of St. John’s Church and St. Paul’s of Harmony: American Choral Gems, 12/9 and 12/10, Plymouth Congrega- events: December 10, Candlelight Fes- on-the-Green Episcopal Church, Nor- Holland Theatre, Bellefontaine. For tional Church, Minneapolis. The Vocal- tival of Nine Lessons & Carols; March walk (repeated March 11 at St. Paul’s); information: www.quirecleveland.org. Essence Chorus and Ensemble Singers 10, 2018, Fauré, Requiem, with the April 22, Fa-Re-La Duo, piano and cello; May 4, The Yale Whiffenpoofs. Choral Evensong is offered on Sun- days at 5:00 p.m. with the parish Adult MANDER ORGANS Choir unless otherwise noted: January 28, 2018, February 25, March 25, and April 29 (Youth and Adult Choirs). St. New Mechanical Action Organs John’s Pipes Alive! organ recital series is presented Sundays at 12:30 p.m.: Janu- ary 7, 2018, Scott Lamlein; February 4, James Barry; March 4, Jacob Street; May 6, Ezequiel Menendez; June 3, Susan Carroll. For information: www.reddoormusic.org.

Quire Cleveland continues its 2017– Merrill Auditorium, Portland, Maine, the 2018 season, the organization’s tenth: Kotzschmar Organ ³ St. Peter’s Square - London E 2 7AF - England December 15–17, Carols for Quire from Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 the Old and New Worlds, Trinity Epis- Friends of the Kotzschmar Organ, Continuo Organs [e] [email protected] copal Cathedral and St. Peter Catholic Merrill Auditorium, Portland, Maine, www.mander-organs.com Church, Cleveland; April 27–29, 2018, continues programs featuring the audito- Let the Heavens Rejoice: Celebratory rium’s historic Austin organ: December Psalms for Voices and Instruments, 19, Kotzschmar Christmas with Cornils Imaginative Reconstructions Cleveland and Akron; May 12, The Land ³ page 10

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³ page 8 Erfurt, Weimar, Merseburg, Speyer, Baker, and others. The book contains 432 performed numerous concerts raising 2017, marking Ray Cornils’s fi nal per- Tokyo, Moscow, Kaliningrad, Astana, pages, hardcover, with numerous pho- money for various charities and insti- formance as municipal organist. For Lausanne, Pistoia, Boston, Bruges, and tographs, musical examples, and organ gated the Spreckels Organ Scholarship information: www.foko.org. several others. He has performed around specifi cations. Included is a CD record- awards for young organists and various the world with symphony orchestras and ing of the premiere of Roth’s Missa beu- other outreach programs. Now based in period instrument ensembles as well as ronensis, with the Mönchschola Beuron Lynchburg, Virginia, Williams maintains Conferences in solo recitals. and Daniel Roth, organ, at the Beuron her concert schedule and composing. Augsburg Fortress, Hinshaw Music, Archabbey in Germany. For informa- For information: www.melcot.com. and MorningStar Music Publishers tion: www.butz-verlag.de (order no. BuB announce their National Confer- 23), or www.organsociety.org. The Hymn Society in the United ence of Sacred Music: Leading the Also in production is a separate CD States and Canada honored four Church’s Song, January 3–5, 2018, at of Roth playing organ works by Bach, people as Fellows of the society, the First Presbyterian Church, Charlotte, Saint-Saëns, Widor, and improvisations highest honor given by the organiza- North Carolina. Clinicians include Isa- on the organ of Saint Sulpice. The Missa tion, at its July conference in Waterloo, belle Demers, Zebulon M. Highben, beuronensis is also included in this Ontario, Canada. John R. Watson Heather Potter, and Andre Thomas. recording. For information: michael. was recognized as an eminent scholar Worship leaders are David Bone and [email protected]. of hymnology and advocate of hymns Mary J. Scrifes. For information: and hymn singing. He is Professor www.augsburgfortress.com/ncsm. Philip Crozier Emeritus of the University of Durham, England, where he served as professor The University of Michigan, Ann In July and August, Montréal organist of English and public orator. He is co- Arbor, invites proposals for events Philip Crozier performed four recit- editor of The Canterbury Dictionary at its 58th annual organ conference, als in Germany (Friedenskirche, Siek; of Hymnology and author of numerous September 30–October 2, 2018, on the Wallfahrtkirche, Andechs; Sankt Nikolai, books and articles on hymnology. John theme: “Trailblazers: Women’s Impact Kiel; Klosterkirche, Riddagshausen) Ambrose is recognized for his work on Organ, Harpsichord, Carillon, and and one in Austria (Stadtpfarrkirche, as an editor, compiler, and encourager Sacred Music.” Requirements for pro- Mödling). Upon his return he played a of congregational song, as well as his posal submissions and further details are recital on the historic Eusèbe Brodeur contributions to the work of the Hymn available from James Kibbie at jkibbie@ organ in l’Église Saint-Georges, Cacouna Society. He served as managing editor umich.edu. (Québec). In October 2016 he was Mateusz Rzewuski of Voices United, the hymnal of the appointed music director at Westmount United Church in Canada, and project Park United Church, Montréal. He also Mateusz Rzewuski of Warsaw, coordinator for Hymns in Times of Cri- People serves as organist at St. George’s Angli- Poland, has been making his fi rst recital sis, a digital hymnal of the Hymn Soci- can Church, Montréal from September tour to the United States in October and ety. João Wilson Faustini is honored through Pentecost. November. Rzewuski, age 26, earned a for his work as a composer, publisher, master’s degree from the Fryderyk Cho- translator, educator, and practitioner of pin University of Music in Warsaw in the church music, particularly the music of organ class of Andrzej Chorosinski and his native Brazil. An ordained minister a master’s degree from the Musikhoch- and a church musician, he founded schule in Lübeck, Germany, in the organ the Brazilian Millennium Presbyterian class Franz Danksagmüller. He then Community in Hillside, New Jersey. completed his concert diploma in organ He is noted as having published the and improvisation at Conservatoire à largest collection of sacred music Rayonnement Régional in Paris, France, in the Portuguese language. Melva James David Christie studying with Christophe Mantoux. He W. Costen is honored for her work has performed recitals and won awards as a scholar, editor, and practitioner James David Christie has been in competitions across Europe. His of church music with a particular named recipient of the New York City American tour performances include emphasis on African-American con- Chapter of the American Guild of Organ- appearances at the University of Tampa, gregational song. She is Helmar Emil ists’ 2017 International Performer of the Florida (October 22), Good Shepherd Nielsen Professor Emeritus of Worship Year Award. The award was created in Catholic Church, Minneapolis, Min- and Music at the Interdenominational 1978 to recognize excellence in organ nesota (October 29), Grace Episcopal Theological Center, Atlanta, Georgia, performance and to increase public Cathedral, Topeka, Kansas (November and was visiting professor of liturgical awareness of the organ and its perform- 3), and the Cathedral of St. Mary of the studies at the Institute of Sacred Music ers. Christie is chair and professor of Assumption, San Francisco, California at Yale Divinity School, New Haven, organ at Oberlin College Conservatory Daniel Roth (November 5). For information: Connecticut. Her publications include of Music, Oberlin, Ohio, distinguished www.mateuszrzewuski.eu. African American Christian Worship artist-in-residence at the College of the Dr. J. Butz-Musikverlag announces (1993, rev. 2007) and In Spirit and in Holy Cross, Worcester, Massachusetts, the publication of a festscrift to celebrate Truth: The Music of African American and serves as college organist for Welles- the 75th birthday of Daniel Roth, Worship (2004). For information: ley College, Wellesley, Massachusetts. organist of St-Sulpice Church, Paris, www.thehymnsociety.org. He has served on international organ France. Licht im Dunkel—Lumière dans competition juries in Paris, St. Omer- tes ténèbres, edited by Prof. Dr. Birger Wasquehal, Chartres, Biarritz, Bét- Petersen, contains essays in German Competitions hune, St. Albans, Amsterdam, Lübeck, with short synopses in French and Eng- Bordeaux, Dublin, Worcester, Calgary, lish. Authors include Yannick Merlin, Montréal, Columbus, Dallas, Leipzig, Kurt Lueders, Michael Grüber, George

San Diego Councilmember Chris Ward, representing the Balboa Park city dis- trict, presents Carol Williams a procla- mation naming her San Diego Civic Or- ganist Emerita (phot credit: Mike Cox) Chartres Cathedral organ Carol Williams played her San Diego Church of Saint Jude the Apostle closing night concert at the Spreckels Association des Grandes Orgues Wauwatosa, Wisconsin Organ Pavillion in Balboa Park August de Chartres announces its 26th Inter- Three manuals – forty ranks 28, performing with her band (The national Organ Competition “Grand Prix CWB) a Doors Tribute for about 3,500 de Chartres,” August 29–September A RTISTRY – R ELIABILITY – A DAPTABILITY people. After an entrance carriage ride 9, 2018. The jury will consist of Daniel through the audience, she was presented Roth, chair, Véronique Le Guen, Olivier a proclamation awarding her the title of Vernet, Susan Landale, Jon Laukvik, San Diego Civic Organist Emerita. Wil- Dong-ill Shin, and Stephen Tharp. The liams served as civic organist to San Diego fi nal round will be held September 9. for 15 years, introducing to Spreckels Deadline for application is April 30, Organ fans the music of David Bowie, 2018. For information: the Von Trapp Family, The Doors, and http://orgues-chartres.org. many other local popular musicians. She ³ page 12

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³ page 10 SATB, £1.95. For information: OHS Press is accepting subscrip- The Organ Artists Series of www.encorepublications.com. tions for its upcoming publication, The Pittsburgh, Pennsylvania, announces Aeolian Pipe Organ and Its Music, a a composition competition to honor Michael’s Sheet Music Service newly revised and expanded edition the organization’s 40th anniversary. announces sheet music restorations: Sum- of Rollin Smith’s book from the 1990s. New, unpublished works for organ may mer Fancies, by Rossetter Gleason Cole, a The new edition is now in publication be submitted by April 1, 2018, with a pastoral, light-hearted piece by this Chi- and, in addition to emendations and winner announced by June 15. Works cago composer who was well known a cen- many new photographs, the annotated may be single- or multiple-movement tury ago; Organ Recital Pieces by Anton opus list of over 900 organs (with and should be suitable for worship and Vodorinski, published in 1911, when the contract dates, prices, additions, and recital. The prize award is $5,000. The composer became music editor of Chap- alterations) has been updated to refl ect winning composition will be premiered pell and music director of the Columbia subsequent activity of the Aeolian in recital by Nathan Laube during the Gramophone Company; March of the Company, America’s oldest, largest, 2018–2019 season and will be published Toys by Oscar Schminke, an easy, yet fun and longest-lived residence organ by Selah Publishing Co., Inc. For infor- piece; Overture to Prometheus by Ludwig company. For information: mation: organseries.com. van Beethoven, arranged by Samuel War- www.organsociety.org. Raymond Chenault—Concert Favorites ren. For information: www.michaelsmusicservice.com. Paul Tegels of Pacifi c Lutheran Uni- at All Saints’ Episcopal Church, Atlanta, Publishers versity, Tacoma, Washington, announces Georgia. For information: publication of a series of transcriptions www.gothic-catalog.com. entitled Out on Eight Limbs, music for two performers on one organ with two or more manuals and pedal. Publications include: Duetto in F Major, op. 18, J. C. Bach; “Ricercar a 6” from The Musical Offering, BWV 1079, J. S. Bach; Ser- enade in D, No. 6 (Serenata Notturna), KV 239, W. A. Mozart, and Studies for the Pedal Piano, Six Pieces in Canon, op. 56, Robert Schumann (transcribed with Augsburg Chorale Book Dana Robinson). Cost is $9 per volume plus shipping. For information: Augsburg Music announces the www.plu.edu/organ/out-on-eight-limbs/. publication of its Augsburg Chorale Book, an anthology of 29 chorale set- Trumph AB announces new organ tings based on the tradition of German music publications. They include chorale tunes for choirs of all sizes and works by Jens Claesson (25 Chorale Wild Card abilities, edited by Zebulon M. Highben Preludes, T068002), Magnus Kilvén (ISBN 9781506426303). Settings are (Two Organ Suites on Traditional Raven announces a new CD, Wild composed by Bach, Brahms, Buxtehude, All Things Bright and Beautiful Swedish Folk Dances, vol. 2, T048009), Card (OAR-142) featuring Yun Kim F. Melius Christiansen, Telemann, and and Miguel Robaina (7 Marches, performing on the organ built by Dob- others from the Renaissance through the MorningStar Music Publishers T061004). Trumph has also released son Organ Builders at First Presbyterian present day. For information: announces new publications: All Things ten new publications by Paul Spicer: Church, Battle Creek, Michigan, an www.augsburgfortress.org. Bright and Beautiful: Eight Hymn Set- Dreams of Derry, T062006; Elegy and instrument of three manuals, 57 ranks, tings for Organ, by Clay Christiansen Retrospect, T062009; Fanfares and incorporating some pipework from Skin- Encore Publications announces (10-664, $22), consists of settings of Dances, T062008; Fanfares for Chad, ner Organ Company Opus 720. Included new choral publications for Advent and familiar hymns such as “Abide with T062007; March, T062002; Prelude, on the disc are works by Louis Vierne, Christmas: O Night, Peaceful and Blest, Me,” “All Things Bright and Beauti- T062004; Saraband, T062011; Suite, Johannes Brahms, Johann Sebastian by David Blackwell, for SATB and organ, ful,” “For the Beauty of the Earth,” T062003; The Land of Lost Content, Bach, Robert Ampt, Iain Farrington, £1.95; A Little Child on the Earth Has and “Sing Praise to God Who Reigns T062010; The Martyrdom of St. William Grant Still, and Sergei Proko- Been Born, by Paul Trepte, for SATB Above.” Birthday Parodies for Organ, Oswald, T062005. For information: fi ev/Jean Guillou. Yun Kim is organist for (with divisi), organ or brass with per- by Dan Miller (10-452, $10), consists www.trumph.se. Christ Episcopal Church, Dayton, Ohio, cussion, choral edition £2.50; Advent of four parodies of “Happy Birthday to and teaches at Sinclair Community Col- Responsories, by Sarah MacDonald, You,” in the styles of Bach, Beethoven, lege. For information: for SSAT soli, SATB (with divisi), with Scott Joplin, and John Philip Sousa. For Recordings www.ravencd.com. or without organ, £2.95; and Behold a information: Simple Tender Babe, by June Nixon, www.morningstarmusic.com. Organbuilders The service department of John- Paul Buzard Pipe Organ Builders of Champaign, Illinois, recently completed A Precious Gift several projects. On the Old Gillett Farm in Elkhart, Illinois, in St. John from the Past the Baptist Episcopal Chapel, the 1891 Hook & Hastings organ was refurbished, with the entire action restored and for the Present stoppers for the Pedal Subbass pipes repacked. A complete restoration of and the Future M. P. Möller Opus 7212 (two manuals, three ranks) including the releathering Supremely beautiful and blendable A Russian Journey of the reservoir, expression equipment, tonal color – a Gift from the Venetian tremolo, and all windchests, as well as School of organbuilding, a monumental part of our Gail Archer has released her eighth keyboard and pedalboard rebushing and compact disc, A Russian Journey, fea- pipe reregulation, is underway in the JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH turing works of 19th and 20th century factory, with the organ to be installed at SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN Russian composers: Cesar Cui, Sergej St. Paul’s Lutheran Church, Brimfi eld, Ljapunov, Alexander Glasunov, Sergej Illinois. For the Alexander Fine Arts Intriguing? Let us build your dream. Slonimsky, Alexander Schaversaschvili, Auditorium, Concord University, Ath- and Modest Mussorgsky. The project for ens, West Virginia, Buzard rebuilt the the CD was inspired by Archer’s concert console and installed a new relay and tours to Russia in 2013 and 2016. For combination action for Casavant Opus information: www.gailarcher.com. 3002 (three manuals, 30 stops, built in 1968). In Danforth, Illinois, the fi rm Gothic announces a new CD release: installed a new relay and combination Raymond Chenault—Concert Favorites action, replaced the Swell expression (G-49305-06, $29.98), features Chenault engine, repacked stoppers for the Bour- Builders of Fine Pipe Organs to the World in his fi rst solo organ release, two discs don and Subbass pipes, and undertook featuring works of Monnikendam, restorative repairs to the Harp for the www.ruffatti.com D’Indy, Jongen, Dubois, Tournemire, c. 1935, two-manual Wicks organ at St. Langlais, Messiaen, Dupré, and others. John Lutheran’s Church. For informa- Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 The featured organ is Buzard Opus 29 tion: https://buzardorgans.com.

12 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Harpsichord News By Larry Palmer

From “A” to “Z” Dorsa, Graham Lynch, Ivan Božicevic, Dina Smorgonskaya, and Andrew Col- A = Aliénor lett, the May program will include two On Saturday evening, May 12, 2018, at newly commissioned pieces composed the University of Michigan, Ann Arbor, by Thomas Donahue and Mark Janello, the closing program for the forthcom- heard in premiere performances by ing 2018 conference of the Historical Donahue and retiring Aliénor artistic Keyboard Society of North America director Funaro. (HKSNA) is scheduled to be a “Retro- Be sure to include this “once-in-a- spective Event” reprising representa- lifetime” celebration on your “to-do” tive contemporary harpsichord works schedule for the fast-approaching spring selected from each of the nine Aliénor of 2018. Harpsichord Composition Competitions that have occurred, beginning with the Z = Zurbarán fi rst in Tallahassee, Florida, in 1982, and If you are interested in unusual art culminating with the ninth in Montréal, exhibitions and reside closer to Dallas, Québec, Canada, in 2015. Texas, than to New York City, you might Founded in 1980 by George Luckten- wish to take advantage of the current berg, both the Southeastern Historical presentation at the Meadows Museum Keyboard Society (SEHKS) and the on the Southern Methodist University Aliénor Competitions were developed (SMU) campus. The Meadows has under the same organizational banner, scored quite a coup as it shows, for the Richard Kingston, Elaine Funaro, harpsichord decorator Lisa Creed, Opus 333 the contemporary emphasis providing an fi rst time in the western hemisphere, a (Courtesy of Elaine Funaro) unusual added concept to the mission of complete set of thirteen life-sized paint- the fl edgling early music organization. As ings by the Spanish artist Francisco de preparations began for a third iteration of Zurbarán (1598–1664). The only other the Aliénor Competition, Lucktenberg venue for this exhibition will be the Frick sent a letter (dated May 19, 1990) to Collection in New York. the recently chosen Honorary Advisory The Meadows is home to one of the Board of ten professionals, from whom most comprehensive collections of Ibe- he sought help and suggestions as he for- rian art in the world. Current museum mulated the rules and requirements for director Mark Roglán has forged an publication in the printed materials to be impressive relationship with Madrid’s sent to prospective participants. Prado Museum, so we in Dallas have Re-reading the names of these board become accustomed to rare and rarer members brought back memories viewing experiences. One of the current of an especially vibrant time in the showings, “Jacob and His Twelve Sons— harpsichord’s 20th-century revival and Paintings from Auckland Castle,” is on demonstrated the remarkably broad view from September 17, 2017, through geographical spread of Lucktenberg’s January 7, 2018. It follows another acquaintanceship! In alphabetical order: spectacular offering seen earlier this William Albright (Michigan), Frances year: all the extant drawings (together Bedford (Wisconsin), Frank Cooper with several remarkable oil paintings) by (Florida), Elaine Funaro (North Caro- the esteemed Spanish artist Jusepe de lina), Derrick Henry (Georgia), Igor Ribera (1591–1652) which, incidentally, Caetano Oldovini organ (photo credit: Kipnis (Connecticut), Linda Kobler contained the only portrayal I have ever Michael Bodycomb, courtesy of the Meadows (New York), Larry Palmer (Texas), seen of music’s patron Saint Cecilia at Museum) Keith Paulson-Thorp (Florida), and the clavichord! Elaine Thornburgh (California), all of From the press materials provided by that such a set of pieces would require whom were deeply involved in writing, the Meadows Museum: too many minutes, and that choosing an promoting, and/or playing contemporary all-encompassing selection ranged from . . . Zurbarán was inspired by the biblical harpsichord music. Lucktenberg wrote, text Genesis 49, in which Jacob, Patriarch diffi cult to impossible, with impossible “I’d like more music which is not impen- of the Israelites, gathers his twelve sons and eventually tipping the scales. Zurbarán’s painting of Jacob (photo credit: etrably diffi cult to read and perform, yet delivers a prophetic blessing for each. [The Then, on one late-August morning, Colin Davison) is fi rst-class composing, and identifi ably series] consists of thirteen canvases with at last a burst of inspiration led to this all but one remaining in the collection of late-20th-century, all at the same time. a single owner at Auckland Castle, County playlist: from the time of the artist Zur- oldest playable pipe organ in Texas. The WHO can give us that? How shall we get Durham (UK) since 1756. [Bishop Richard barán, a festive opener by Cabanilles only possible rival for that designation it?” His words certainly gave the board a Trevor of Durham extended the long din- (1644–1712) followed by the quiet and might be the “Raisin” organ, now at the good idea of the parameters he hoped to ing room of his Auckland Castle residence poignant Obra de falsas chromáticas University of North Texas in Denton. to assure a suitable venue for these life- put in place. sized oil portraits.] This is the fi rst time the from the Martin y Coll Manuscript A painstakingly researched and well- Eventually, after the addition of a majority of paintings in this exhibition have (seventeenth century). Two pieces by expressed 16-page history of this instru- harpsichord performance competition been presented in the Americas—indeed, John Bull (1562/3–1628) to celebrate the ment, Raising the Raisin Organ, written named in honor of its sponsors Mae it is the fi rst time any such series of paint- long-term British venue for the paint- by Susan Ferré in 2006, is accessible ings by Zurbarán has been seen as a whole and Irving Jurow, the SEHKS board [on this side of the Atlantic]. ings: Coranto ‘Battle’ and Prelude and online by searching with the keywords of directors agreed that attempting Carol: Let Us with Pure Heart. A work Raisin organ and the author’s name. the organization and facilitation of two But what, you ask, could be the reason by my longtime SMU colleague, the dis- For further information about the major competitions in alternate years that this artistic coup is featured in this tinguished Jewish composer Simon Sar- Zurbarán exhibition and the various spe- was too heavy an administrative burden column? I hasten to reassure you that gon, who composed Dos Prados (From cial events being offered by the museum for busy volunteer professionals, and there is a connection to early music! As the Meadows) to fulfi ll my request for a during its run, visit the website: https:// the quadrennial Aliénor project and one of many special events scheduled work specifi cally made to fi t the Caetano meadowsmuseumdallas.org. And, should its endowment were reorganized as a during this exhibition there is to be a brief organ, his lovely Pavan with Variations travels bring you to northern Texas this separate entity, but one still welcomed collaboration utilizing another Meadows (1997), expertly crafted to accommodate fall, consider a visit to Fort Worth, as well, as a cooperative program during SEHKS Museum acquisition, the Caetano Oldo- the organ’s bass short octave and its one where the Kimbell Art Museum currently conferences. Elaine Funaro succeeded vini Portuguese organ (1762), which is treble Sesquialtera solo stop. Finally, two hosts a popular art and artifact show based George Lucktenberg as artistic director rarely heard in a concert performance. contrasting short pieces by later Iberian on the travels (and adventures) of the of Aliénor, and after her most successful As an aural “sorbet” to the afternoon composers Domenico Zipoli (1688– rake, Giacomo Casanova, Casanova: The term in that position the gala Ann Arbor segment of the daylong November 14 1726) and José Lidon (1748–1827), the Seduction of Europe (on view through retrospective will be her last “hurrah” as museum symposium devoted to discus- latter specifi cally chosen to close the December 31). Q Aliénor just recently has been returned sion and refl ections about the three recital with a short bit of avian warbling to the control of its former sponsor, no major religions that trace roots back from the organ’s Rossignol stop. Comments and questions are welcome. longer SEHKS, but now the successor to the Twelve Tribes of Israel (Jewish, The Meadows organ, originally Address them to Larry Palmer: lpalmer@ society, HKSNA, which, since 2012, has Christian, and Muslim), I was invited to housed in the cathedral of Evora, Portu- smu.edu or 10125 Cromwell Drive, Dal- been merged with the formerly indepen- fashion a thematically based program to gal, is, as far as can be ascertained, the las, Texas 75229. dent Midwestern Historical Keyboard play for the symposium participants. Society to comprise one inclusive North I spent quite a lot of time attempting American early keyboard group. to fi nd short pieces that might illustrate WEEKEND ORGAN In addition to competition-winning the various virtues and vices mentioned MEDITATIONS works by Ivar Lunde, Roberto Sierra, by Father Jacob as he made predictions Tom Robin Harris, Glenn Spring, John and comments to and about his twelve Grace Church in New York Howell Morrison, Penka Kouneva, Rudy sons. Considering the 35-minute time www.gracechurchnyc.org Davenport, Asako Hirabayashi, James allotment, eventually it became apparent

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 13 Reviews

Choral Music useful for contemplative worship. Rec- Church of God, Elect and Glori- for Anita Eggert Werling on the occasion Church musicians who compose cho- ommended for choirs with very good ous, Michael D. Costello. SATB of her retirement and in recognition of ral music receive such valuable insights intonation and confi dence. with brass quartet, timpani, and her 40 years of teaching at Western Illi- while rehearsing and conducting our organ, Birnamwood Publications, nois University. Veni Creator Spiri- choirs. It is wonderful to make music Adam Lay Ybounden, Charles H. MSM-60-6200, $2.25. Brass parts, tus (Come Holy Ghost, Creator Blest) is with our dedicated choristers, and our Snider. SSATBB a cappella, GIA MSM-60-6200A. a familiar melody for many church musi- own musicianship is enhanced by the Publications, G-8398, $1.80. Michael Costello’s (Grace Lutheran cians, an example of Sarum plainsong (c. many hours we work with them. We For a ravishing alternative to the Church, River Forest, Illinois) many ninth century). benefi t from our growing understanding familiar settings by Boris Ord, Philip hymn concertatos are very useful and John Eggert offers a masterful setting of our chorister’s voices and abilities— Ledger, Peter Warlock, and others, welcome additions to your choral library. of seven variations. The fi rst variation we are constantly learning what works Charles Snider’s (retired from St. Mark’s His texts are very fi ne indeed, his hymn- does not present a full statement of the best for singers and accompanists. This Episcopal Church, Glen Ellyn, Illinois) tunes strong and melodic, encouraging hymn tune, but is taken by the performer vital information, as well as a response beautiful and evocative setting uses vigorous singing by choirs and congrega- and listener as a very effective and suc- to specifi c liturgical seasons and wor- three-part divisi in upper and lower tions. Church of God begins with organ cessful prelude for all that is to come. ship needs, inspires us to write engaging voices to illustrate the text. An unex- and brass in alternating fanfares (or Set in F major, the opening ten measures music that is a joy to sing. pected chord sequence from A minor organ alone if the instrument has a com- are declamatory in nature in a “power- Each of these composers, who have to E-fl at minor lifts the setting from the manding reed stop), followed by unison ful, [and] intense” manner, followed by long-standing associations with their ordinary. Snider’s sensitivity to the text is verses for choir and congregation, as well motives from the hymn tune presented choirs, has written beautiful music for shown well throughout. Any choir com- as four-part a cappella verses for choir. in the soprano voice in a “buoyant” and them to sing. Each offers something fortable in divisi a cappella singing will A stirring descant over the fi nal verse lightly articulated manner. This opening unique in style and harmonic language, fi nd this a joy. provides a thrilling conclusion. movement juxtaposes duple and triple each writes gracefully for voice and organ fi gures recalling the fl exible chant-like (and other instruments), and each offers Beloved, Let Us Love One Another, May the Living Christ Be with You, hymn tune. Meters also shift from 4/4 challenges to choirs of varying skills with Robert Lehman. SATB a cappella, Richard Clemmitt. SATB divisi and 6/4 before becoming stabilized in an music that is profound and direct. E. C. Schirmer Music Company, voices, organ, and two (optional) assertive 6/8 meter to the end. Inc., 8354, $2.35. horns, H. T. FitzSimons Company, Each of the following six movements Prepare the Way, O Zion, Derek E. Robert Lehman (St. Michael & St. F2387, $2.35. is unique in nature with the obvious Nickels. Treble voices and organ, George Episcopal Church, St. Louis, Written in honor of the former rector unifying element of the hymn tune. The Paraclete Press, PPM01657, $1.70. Missouri) follows admirably in the of Christ Church, Winnetka, Illinois, three-part texture of movement II in 6/4 This lilting setting of the familiar middle to late twentieth-century model where Richard Clemmitt oversees a meter offers a contrast to the assertive Advent chorale, Bereden väg för of beautiful Anglican choral music. This marvelous music program, this serenely fi rst movement by combining running Herran from Then Swenska Psalmbo- exquisite motet, using texts from John, beautiful anthem sets a text by St. eighth notes in the solo treble against ken (1697), begins with a joyous scherzo- The Song of Solomon, and Psalm 27, is Patrick, adapted by him with Lloyd an accompaniment of longer notes in like organ introduction. Nickels (Church set in fl owing lines of great beauty. The John Ogilvie. Clemmitt writes graceful the left hand and pedal. The charm of the Holy Comforter, Kenilworth, initial opening phrase, sung by the ten- melodic lines over which the (optional) of this movement is how Eggert has Illinois) is a fi ne organist, so he naturally ors, is transformed by all voices through horns soar in lyrical descants. This embroidered the notes of the hymn tune provides a sparkling accompaniment that lush harmonies. The second part of the lovely motet can be sung by choirs of all in the consistent eighth-note pattern continues throughout in repeated dance- motet takes up a new phrase, sung in abilities and is especially effective when throughout. The spinning right-hand like fi gures. The organist’s left hand plays imitation as well as inversion in all four children’s choirs join with adults. eighth notes feature stepwise melodic brilliant coloratura under the third verse. voices through a rapturous, whirling motion and a large supply of ascending The bright vocal line can be sung by cho- texture, ending with largamente hushed The Lord is Risen Indeed!, Craig and descending perfect fourths within. risters of any age. and contemplative fi nal measures. Phillips. SATB and organ, Paraclete Movement III is an extended 60-mea- Press, PPM01710OV, $2.90. sure treatment in a clear ABA structure, Life and Light, Maxine Thévenot. I Am the Resurrection, Larry J. Long. Craig Phillips (All Saints’ Episcopal with a four-measure bridge between the SATB a cappella, Paraclete Press, Unison treble choir and organ, Para- Church, Beverly Hills, California) con- B and strict restatement of the A sections, PPM01653, $1.20. clete Press, PPM01735, $1.70. tinues to give us an ever-growing body of and a two-measure codetta bringing the Maxine Thévenot (Cathedral of St. Larry Long’s (The Church of the tuneful and exciting choral music. This variation to a close. Metrical patterns of John, Albuquerque, New Mexico) cre- Epiphany, New York, New York) set- stirring Easter anthem has, as is usual in 3/2, 2/2, and 4/2 emerge from the ani- ates in this mystical setting of John ting of John 11:25–26 is, in three verses, his choral works, a brilliant and rhythmic mated and somewhat fragmented state- 1:4–5 a unique soundscape with spare a lyrically bright setting of the Easter organ part under vibrant choral lines, ment of motives from the hymn tune. and harmonious gestures. Sopranos text. Written for his children’s choir, the setting a text by Thomas Kelly. The fi nal Marked “animated,” this third movement and altos echo each other with simple anthem employs a hymn-like setting for two pages are exhilarating with Alleluias offers a driving momentum at beginning four-note phrases while tenors sing the the voices over a supportive and compel- shared between choir and organ. and end, surrounding the more lyrical melody, the basses supporting them in ling organ accompaniment. The second —Richard Hoskins B section that provides a more clear-cut three-part divisi. Written with two inner verse modulates into the relative minor St. Chrysostom Episcopal Church statement of the hymn tune phrases. This repeats, the motet could be sung for as key. The vocal range is within comfort- Chicago, Illinois movement can stand on its own and is a long as one chooses before continuing able middle voice and would suit for very satisfying treatment. to the ravishing coda, making this very treble voices of all ages. The “bold” and assertive movement New Organ Music IV is juxtaposed against a more “serene” Partita on Veni Creator Spiritus, and subdued movement V. In movement John Eggert. Concordia Publishing IV, the melody is presented in half notes House, 2014, 97-7652, $14.00. in the soprano, against the harmonies The partita is a fascinating musical provided by the three lower parts. The form based on the structural principal of pedal part contributes to the accompa- ii — 19 ranks ii — 19 variation. It has its roots in compositions niment, using quarter notes with little by Frescobaldi, Pasquini, Froberger, stepwise motion. Movement V shifts Böhm, Krieger, Kuhnau, and Bach. The between duple and triple meters in a winchester, virginia partita is commonly appreciated as a dreamy atmospheric state. Marked “leg-

opus 130 form consisting of a number of move- giero,” three-part texture returns in the ments that utilizes repetition, contrast, charming sixth movement with arpeg- and variation principles within and giated eighth notes in the top voice with across the individual movements. clear articulation noted by the composer. John Eggert was a professor at Con- The eighth-note movement continues cordia University–St. Paul from 1978 and gains energy and intensity in the

The Village at Orchard Ridge through his retirement in 2011. His early closing movement VII. The fi rst use training was in rural Wisconsin, followed of the swell box is indicated. In ABA by undergraduate work with Theodore form, the brief B section introduces an Beck (theory and counterpoint) and “optional Horizontal Trumpet” in the rneauor ou ga Charles Ore (organ) at Concordia Uni- legato left hand against the introduction et n .l s .c w versity in Seward, Nebraska. Postgradu- of “non legato well accented” right- follow o w us on m w facebook! ate studies in organ at Northwestern hand chords. The A section eighth-note University, Evanston, Illinois, were motives begin in stepwise motion from with the late Richard Enright and Karel the beginning of the hymn tune followed Paukert (improvisation), and he com- by a return of perfect fourth leaps as well pleted his Doctor of Musical Arts degree as arpeggiated fi gures. Given the tempo in organ performance under the tutelage marking of “Allegro non troppo,” this of Delbert Disselhorst at the University last movement comes close to a toccata 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA of Iowa. treatment in the A sections. t 450 774-2698 [email protected] This composition was commissioned At an overall level, Eggert’s composi- by the Western Illinois University Chap- tion earns an A+ in every way. Given ter of the American Guild of Organists, the signifi cance of the hymn tune and

14 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Reviews text, Eggert has succeeded in offering the B section, which had some real pos- will likely use as separate pieces rather Essential Classics for 2 Octaves, a varied, mature, and moving treatment sibilities that he didn’t take advantage of. than together, but each organist can make Volume 1. Agape (a division of Hope through these seven movements. To play The remainder of the suite works very up their own mind about that. Publishing Company), Code No. this piece musically, one will need to well. “Aria” has a very nice moving melody —Jay Zoller 2796, $49.95, Levels 1+ – 2+ (E – M-). practice, not due to overwhelming tech- in an Adagio tempo, with some nicely Newcastle, Maine Part of the new “Reproducible Col- nical demands, but to allow the music to placed syncopations. In its three pages, it lection” series, this 60-page compila- settle into one’s fi ngers, heart, and head. works its way from D minor to end in D tion includes 13 of Hope’s best-selling But the effort will be well worth it! This major. Tonally, it has enough accidentals to New Handbell Music arrangements of recent years, all for two is not just another composition among make for interesting and arresting harmo- We’ll Work Till Jesus Comes, octave choirs. These proven winners contemporary composers. John Eggert’s nies. The third movement, a softly fl owing arranged for 3, 4, or 5 octaves of come from a variety of composers and Partita on Veni Creator Spiritus provides toccata, is my favorite. Calling for 8′ and handbells by Andrew Duncan. GIA arrangers and represent a wide range a most attractive and meaningful musi- 2′ fl utes on the Swell and written with six Publications, G-8942, $4.95, Level of styles and are useful throughout the cal statement that will fl ourish amid 16th notes per beat, it has a nice fl ow to it; 4 (D). church year. Thirteen titles exceed the repeated auditions. It certainly deserves it is reminiscent of the sound of a stream The text, set to a venerable nine- cost of this one book which you can to be heard in worship and programmed working its way across the landscape. A teenth-century hymntune, O Land of reproduce for all your ringers! in recital settings. slow-moving melody in the left hand is Rest, refers to John 9:4, “As long as it —Jeffrey Schleff to be played on a soft reed and 4′ fl ute. is day, we must do the work of Him who Fantasy on RESTORATION, arranged Grand Prairie, Texas Eighth notes enter to give a triplet feel- sent me. Night is coming when no one for 3-5 octaves of handbells with 3 ing to the notes in the right hand. An alla can work.” This arrangement embraces octaves of handchimes, by Brian Suite Semplice for Organ, op. 29, breve makes up the B section with triplets the theme in a joyful, exuberant man- Childers. GIA Publications, Inc., Dennis Janzer. Wayne Leupold Edi- in the right hand, and a slightly louder reg- ner with liberal use of stopped-sound G-8492, $5.50, Level 2+ (D-). tions, WL600290, $16.00; available istration is called for. The fi nal A section is techniques. A brisk tempo is employed, Based on William Walker’s Southern from www.wayneleupold.com. in G major, and the transition, after all the enabling us to visualize our working till Harmony, this arrangement begins Dennis Janzer is active as a composer G minor, is almost shocking. The registra- Jesus comes. Here is an uplifting piece with a haunting cluster of chords with and performer and has written composi- tion is louder yet, the composer asking for full of hope and promise. the melody in the treble, then giving tions that range from small organ min- principals but without the mixtures. The way to a fast-paced mode of energy iatures to symphonic works. His smaller fi nal four measures, with the Pedal playing At the River, arranged for 3, 4, or 5 and syncopation, ending with a brilliant pieces have often been used for student at last, bring the movement to a close. I octaves of handbells and cello, with 15-note chord. instruction and at American Guild of have used this movement in two church optional 3 or 4 octaves of handchimes, Organists Pipe Organ Encounters. He services so far to good effect. by John Atteberry. GIA Publications, Cornerstone, arranged for 3-5 lives in Memphis, Tennessee, and is “Proclaiming Trumpet” shares some G-7710, $4.95, Level 2+ (M-). octaves of handbells plus D8, by organist at Second Baptist Church. stylistic similarities with “Aria,” but of This is the fi rst piece written for hand- Peggy Bettcher. Agape (a division of Janzer’s Suite Semplice has fi ve move- course, makes good use of the Solo bells and cello that I have come across, Hope Publishing Company), Code ments: “Fanfare,” “Aria,” “Toccata Trumpet again. A fl owing middle section and I have often wondered why there is No. 2775, $5.50, Level 2 (M). Fluide—By the Waters,” “Proclaiming makes use of the Oboe and leads back to a not more music available for this com- Rhythm and drive make this Trumpet,” and “Jubilate.” The individual restatement using the Solo Trumpet. The patible duo. The arranger has provided arrangement come alive. This popular movements stand up very well to being fi nal movement, “Jubilate,” is full organ fl owing harmonies and phrasing that contemporary worship song incorpo- used alone. “Fanfare” is the least effec- through the mixtures, a toccata with right- accentuates the melody carefully crafted rates the hymn “My Hope Is Built on tive movement, although it may work hand triplets in every beat. It is tricky through the skillful use of handbells, Nothing Less,” and includes a variety very well in good acoustics and using a and would take some work to pull it off handchimes, and cello. The cello is not of handbell techniques including mar- solo trumpet, which Janzer calls for. It has effectively. Overall the suite is of medium optional, although any C instrument may tellato, lifts, shakes, malleted, and LV too many repetitive open fi fths without diffi culty with some portions moving into be substituted. The instrumental part is (let vibrate) sections. enough melodic substance. I wish Janzer the diffi cult realm. I recommend this included in the edition. The work features —Leon Nelson had done more with the nine measures of work. There is some fi ne music, which I Robert Lowry’s tune, Hanson Place. Vernon Hills, Illinois

EASTMAN SCHOOL OF MUSIC

Organ, Sacred Music, and Historical Keyboards Presents The Utech Hymnody Symposium and Festival

FEATURING: Paul Westermeyer Hymnody Symposium with Paul Westermeyer Friday, November 17 at 3:30 pm

Hymn Festival led by Bruce Neswick Friday, November 17 at 8:00 pm

Master class on hymn playing with Bruce Neswick Saturday, November 18 at 10:00 am

Bruce Neswick Supported by the George W. Utech Congregational Hymnody Fund

For information visit esm.rochester.edu/organ/utech/

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 15 In the wind...

and I am writing Mrs. Kotzschmar for pho- The Kotzschmar Organ tographs of her late husband with the idea At 2:23 a.m. on January 24, 1908, a of putting them into the hands of the best fi re started, ironically, in the wiring of a sculptor I know. new-fangled fi re alarm system that was housed in the offi ce of the city electrician The cost of the organ was not to exceed on the third fl oor of City Hall in Port- $30,000, and Curtis’s gift made necessary land, Maine. Public alarm was quickly alterations in the plans for the building, raised, but freezing temperatures ham- at a cost totaling $23,244.75, which was pered the operation of the primitive fi re quickly authorized by the City Council. fi ghting equipment, and the building was On July 1, 1912, Mayor Oakley Curtis completely destroyed. and the Portland City Council approved City leaders lost no time recovering the formation of a music commission of from the disaster. The New York archi- three persons who would serve three- tectural fi rm of Carrère & Hastings, year terms. The commission would be newly famous for their design of the New responsible for the maintenance of the York Public Library completed in 1908, organ and the selection and hiring of the was engaged to design the new building, municipal organist. The virtuoso Will which was built, decorated, and fur- C. MacFarlane was appointed the city’s nished in just a few years and was ready fi rst organist; he was on the bench on for dedication in the summer of 1912. Thursday, August 22, 1912, for the dedi- Less than four months after the City cation of City Hall and the Kotzschmar Hall fi re, on April 15, 1908, Portland’s Organ. The program opened with Léon most highly revered musician, Hermann Boëllmann’s Suite Gothique, followed by Kotzschmar, passed away. A German a prayer and Owen Brainard of Carrère immigrant, he had been encouraged & Hastings presenting the mayor with to move to Portland by Cyrus Cur- the keys to the building. tis, an interior decorator, prominent Chairman Leighton gave a report to citizen, and music lover, who had heard the assembly that included the announce- Kotzschmar perform in Boston. When ment that the cost of the building was Kotzschmar and his wife moved to Port- $930,934.34. His report concluded, land, they lived in the Curtis home until And now, Your Honor, Mayor Curtis, they were established and could fi nd a please accept from the fellow members of home for themselves. the building commission their hearty good- Hermann Kotzschmar became organ- will, along with the formal relinquishment ist at First Parish Church in Portland, of stewardship of this beautiful structure, which is destined, we believe, to enhance formed an orchestra and choral society, Portland’s title to the compliment it so of- and was the beloved teacher of scores ten receives of being the most beautiful of young musicians. The friendship city of the New World. that developed between Curtis and Kotzschmar was so close that Cyrus Cyrus H. K. Curtis then took the stage: Cyrus H. K. Curtis with his grandson at the Aeolian organ in his home (photo courtesy Curtis named his son Cyrus Hermann Rollin Smith) Mr. Mayor: Kotzschmar Curtis (1850–1933). Cyrus I present to the City of Portland H. K. Curtis made quite a success of through you, this memorial to Hermann Maurice Prendergast, late of Ken- it through its dying breath on numerous himself, founding the wildly popular The Kotzschmar, who for more than fi fty years nebunk, Maine, who was impressed by occasions and helping scores of visiting Saturday Evening Post and The Ladies’ was pre-eminent in this city as organist, the organ but dismayed by its condition. organists navigate its treacheries. Ray’s composer, and teacher, a man who was Home Journal, and later acquiring The loved by all classes for his kindly spirit, his A few days later, he visited the offi ces ability to show the organ in its best light, Philadelphia Inquirer, The Philadelphia high ideals, and his devotion to music. of the Portland Symphony Orchestra, no matter the circumstances, was central Evening Post, and The New York Eve- He cared little or nothing for material and presented executive director Russ to its continued prominence. ning Post. He amassed a vast fortune and things or for fame—he never sought them, Burleigh with a check for $10,000 to Ray was equally essential to the but here is his monument—a monument to was a prolifi c philanthropist. one who did something to make us better be used for repairing the organ. As the lengthy task of the renovation of the After learning of Hermann Kotzsch- men and women and appreciate that inde- organ was owned by the city, Burleigh organ, working with the organ commit- mar’s death, Cyrus H. K. Curtis fi nable something that is an expression of felt that it would be inappropriate to tee through dozens of complex meetings, approached his lifelong friend, Adam the soul. accept the gift on behalf of the orchestra, assisting in raising funds, and continuing Leighton, former mayor of Portland and and conferred with PSO president Peter as the ambassador for the Kotzschmar chair of the City Hall building commis- Cyrus H. K. Curtis purchased three Plumb. The idea of forming a non-profi t Organ. He helped play the organ out sion, offering to purchase a huge pipe different Aeolian organs for his home in group devoted to the care of the organ of the hall as the renovation began and organ to be installed in the auditorium of Wyncote, Pennsylvania, and in 1926 he emerged, interested parties negotiated played it back into Portland as a renewed the new City Hall as a gift to the people purchased the immense Austin organ with the city to assume the responsibility instrument. In many ways, Ray Cornils of the city of Portland. He commissioned (146 ranks!) for Irvine Auditorium in for the care of the organ, and in 1981, has been “Mister Music” for the city of the Austin Organ Company of Hartford, Philadelphia as a gift to the University of the Friends of the Kotzschmar Organ Portland and the state of Maine. Connecticut, to build the organ, and Pennsylvania. The depth of his devotion (FOKO) was founded, with Peter Plumb David Wallace fi rst met the wrote to Mr. Leighton, to the art of music is seen in the heritage as founding president. Kotzschmar Organ at the age of six, the left by his daughter, Marie Louise Curtis A board of directors was established, beginning of his devotion to the instru- I have given them carte blanche to build [the] organ, unhampered by any Bok, who worked at South Philadelphia’s fund raising began, and FOKO presided ment, and the formation of his career organist or music committee, and without Settlement Music School, teaching over critical repairs to get the organ as an organbuilder. David’s zeal was any prejudice or pre-conceived notions underprivileged children.1 She realized back on its feet. Concert programming essential to the organ’s survival through of my own, knowing that they are better the need for a high-quality school of was renewed, and the organ regained budget cuts, near abandonment, and the qualifi ed to build the right kind of instru- ments than I could be or any committee music that would be available to anyone, its active presence. When the City Hall immense chore of bringing it back to life whose member might differ in their views and in 1924, founded the tuition-free auditorium was renovated in the 1990s, after the renovation of the hall. Although as to what was best. Curtis Institute of Music in Philadelphia the organ was removed from the hall for news reports heralded the return of the in honor of her father, so the infl uence of safe keeping, and the stage was signifi - “restored” Kotzschmar Organ, David He continued, Hermann Kotzschmar is actively alive in cantly enlarged. Through heroic efforts knew as well as anyone that its days were Philadelphia as well as in Portland. by FOKO and the herculean devotion of still numbered. As this organ is to be a memorial to Hermann Kotzschmar, I have asked [Aus- organ curator David Wallace, in 1997 it In 2007, the reality of the organ’s tin] to provide some sort of place in the The Friends of the made its triumphant return to the newly condition was made clear to the board organ front for a bust of Mr. Kotzschmar Kotzschmar Organ renamed Merrill Auditorium. of directors, and plans for a serious and The Kotzschmar organ had a wonder- comprehensive renovation of the organ ful career as a cultural icon in the center Transition and growth were formed. You can read in depth of of the city’s artistic life. A succession of Ray Cornils was appointed Portland’s the history of that process, from startled brilliant musicians served as municipal tenth municipal organist in 1990.2 Ray’s realization, to the thrill of the organ’s organist through the fi rst half of the tenure of 27 years in that position is the second triumphant return to the hall in twentieth century. But by the 1970s, the longest in the history of the position. His 2014 on FOKO’s website at www.foko. organ had fallen onto hard times. The consummate musicianship, his gracious org/2012-renovation/. city’s budget was strained, and its leaders and welcoming personality, his affi nity for During the 2016 annual meeting of found it diffi cult to preserve the budget working with young people in FOKO’s FOKO’s board of directors, Ray Cornils for the care and use of the organ ahead vast educational efforts, and his skill announced his retirement, to be effective of essential services. at nurturing the complex relationships after the traditional holiday concerts, In 1980, Berj Zamkochian, organist between FOKO and the City of Portland “Christmas with Cornils,” in December of the Boston Symphony Orchestra, have been essential to the growth and 2017. A search committee3 was formed in brought a group of friends to see the success of FOKO. Ray was patient with October 2016, whose work started with Kotzschmar Organ. Among them was the failing and recalcitrant organ, coaxing the realization that the newly renovated

16 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM By John Bishop

James spoke of the newly renovated organ in the beautiful auditorium as a fresh canvas on which to paint a new musical picture. His vision as host is to welcome the city’s residents and visitors into City Hall, into a world of the arts including offerings from all disciplines. By comparison, he spoke of the chef and owner of a fi ne restaurant, welcom- ing patrons into comfortable surround- ings where an exciting world of things both familiar and unexpected is waiting. Perhaps one weekend, we’ll depart from the usual menu and venture into an interesting world of exotic cuisine. Per- haps one week, we’ll invite a guest chef to approach the home stove and present hours of practice time to prepare one something new to the neighborhood. hour of audition performance. Just look And as we talked, he took the restau- at all those knobs. It was a daunting task. rant metaphor further. He and Emily had James Kennerley had never played the just returned from a vacation in Europe, Kotzschmar Organ before his audition, The Kotzschmar Organ (photo credit: Friends of the Kotzschmar Organ) where they traveled off the beaten tour- and in those two precious hours, he mined isty path to remote villages in Spain where the tonal ore of the instrument to the no one spoke English and where restau- deepest depths, and produced a program rants didn’t offer English menus. With that included sophisticated serious music, little or no command of Spanish, and by glimpses into whimsy and fantasy, and a cobbling together some understanding virtuosic romp of his own creation on the of Latin, and wisps of other languages, Brazilian smash hit, Tico-Tico no Fubá. they ordered meals and were sometimes Portland audiences, you have no idea surprised by what turned up. how much you’re going to love welcom- James compared that experience to ing James Kennerley as your eleventh the average citizen who shows up for municipal organist. Come early, come a concert, is handed a menu in a for- often. Bring your friends, lots of friends. eign language, and takes his chances We’ll be happy to recommend restau- from limited knowledge as to what’s rants. It’s a big hall. There are plenty of coming. The maître d’hôtel escorts the seats. It’s going to be a blast. Q diner to his seat, unfolds the napkin, offers a glass of water, and explains the Notes Hermann Kotzschmar (photo credit: Harold intricacies, the ingredients, and phi- 1. Marie Louise Curtis’s fi rst husband was Stover) losophies of each dish. The performer Edward Bok, editor of her father’s magazine, as host, as maître d’hôtel, can introduce The Ladies’ Home Journal. Their son, Curtis Bok, was Justice of the Pennsylvania Supreme the Virgin (Times Square) in New York a composer, place the music in the Court. Their grandson, Derek Bok, was presi- City, he presently serves as organist appropriate geographic and political dent of Harvard University. Marie Louise and choirmaster at the Church of St. context, and draw the average listener Curtis’s second husband was the violinist Ef- Ignatius of Antioch in New York City, into an enlightened experience that is frem Zimbalist, director of the Curtis School James Kennerley (photo credit: Matt Murphy) where he directs a professional choir of otherwise unattainable. The more you of Music. His son, Efrem Zimbalist, Jr., was 18 voices. know about something, the easier it is to an actor, renowned for his starring roles in 77 organ could serve as a vehicle for a new James won fi rst place in the 2008 order and enjoy something unfamiliar. Sunset Strip, and The F.B.I. Efrem Zimbalist, Jr’s., daughter, Stephanie, played Laura Holt life for the organization. Purposefully Albert Schweitzer National Organ Playing in the NBC detective series, Remington Steele. intending to remain open to structuring Competition and was winner of the 2013 The hot seat 2. Will C. MacFarlane served two tenures, a new position around the talents of the composition competition of the Associa- The search committee established a from 1912–1918, and 1932–1934. next municipal organist, the committee tion of Anglican Musicians. He is active tough audition process. Merrill Audito- 3. Members of the search committee in- solicited applications, reviewed recorded in New York and abroad as an organist, rium is a very busy place where time is at cluded John Bishop, Tom Cattell (president submissions, and selected six fi nalists who harpsichordist, singer, and conductor. a premium, and the committee balanced of the FOKO board of directors), Andy would travel to Portland for live inter- Recently, James and I sat together in the desire to hear the largest possible Downs (director of public facilities for the city), Elsa Geskus, Tracy Hawkins, Brooke views and auditions in May and June of my apartment in New York City to chat number of live auditions with the need to Hubner (executive director of FOKO), Pe- 2017. After the auditions, the committee about the start of his work in Portland. provide candidates with time to prepare ter Plumb, Larry Rubinstein (chair), Harold quickly reached a unanimous decision. He spoke eloquently about the role at the organ. Candidates were given two Stover, and Mark Terison. of the performer, bringing thought- The Eleventh Municipal Organist provoking expression, musical and On Monday, September 18, 2017, the artistic statements both old and new, Scattered leaves ... from our Sketchbook board of directors of the Friends of the and outright entertainment to sacred Kotzschmar Organ voted unanimously congregations and secular audiences to accept the recommendation of the alike. But while serving a church is to search committee to appoint James Ken- be organist to the people of the church, nerley as Portland’s eleventh municipal serving as a municipal organist is to be organist. That evening, at its regular an ambassador, a host, and a musician bi-monthly meeting, the Portland City all at once. Council welcomed an ensemble named He expressed his excitement about Burundi Drummers Batimbo United in getting to know the people of Portland a colorful thunderous performance in and to drawing audiences to the city from City Council chambers. They took spe- afar. James and his wife, Emily, had got- cial action to change residency require- ten to know Portland earlier through visits ments for Class C board members of with friends who live there—friends who the non-profi t Portland Fish Exchange, consider Portland to be a hip and up and made several special proclamations coming place to live, “the Brooklyn of the brought forward by Mayor Ethan Strim- East Coast!” It is a city of about 65,000 ling, and acted on the order to appoint residents (the size of a usual neighbor- James Kennerley as municipal organist, hood in New York City), in a metropolitan effective January 1, 2018. area of about 250,000, and is home to James Kennerley began his formal a fl eet of fl ourishing arts organizations musical education as a chorister at including the Portland Art Museum and Chelmsford Cathedral, where proxim- the Portland Symphony Orchestra. ity to the organ inspired his interest in The recent renovation of the the instrument. He holds degrees from Kotzschmar Organ is testament to the Cambridge University and The Juilliard population’s commitment to the arts. It’s School, and the prestigious diploma as a hard to believe that $2,400,000 could be Schoenstein & Co. Fellow of the Royal College of Organ- raised for such a purpose in a city that ists. After holding positions at St. Paul’s size. By contrast, with all its cultural Established in San Francisco š 1877 Cathedral in London, Christ Church, wealth, there is no public secular pipe www.schoenstein.com ❧ (707) 747-5858 Greenwich, Connecticut, and St. Mary organ in New York City.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 17 On Teaching

Helping Students into the twentieth century for a student Choose Fingerings VI who has been at home in the eighteenth, At the beginning of this series of or vice versa? Does it happen to be a columns I mentioned (warned?) that I two-manual passage? was planning to let myself muse about Then there are the psychological/ the subject in a leisurely fashion, spread temperamental matters. Is the student out over quite a few months. The impor- one who is self-confi dent in general tance of the subject justifi ed this, and so and likely to feel good about fi ngering did its open-endedness. There are many choices, perhaps regardless of whether ways of looking at this aspect of our work the choices seem good to the teacher? that are worth talking about and taking Can the student be relied on to push seriously; there are several angles from back against teacher suggestions that which to approach it. I am beginning to he or she really doesn’t like, or at least feel, however, that six columns spread to be forthright about the rationale for out over seven months is getting close choices? Or is it someone who is almost to being enough for now. So this column waiting to be told that they have gotten and the next one—which constitute a it wrong—someone whose fi rst impulse Example 1 long “to be continued” on the same spe- will be to shut down in the face of any cifi c aspect of our subject—will be the inquiry and be embarrassed to share the last ones on this matter for a while. thought process that led to the fi ngering The specifi c agenda for these two choices? Or is the situation somewhere columns is to talk about what to do when in between? Do you know the student a student comes back with a worked-out well, and are the two of you comfortable fi ngering. I will also address a couple of together? Or is it someone whom you are loose ends and include a random thought really still getting to know? or two. I certainly have not exhausted All of these are surprisingly practical the overall subject, and I have to take concerns given our delicately balanced a deep breath and remind myself that goal: to coax students into greater exhausting the subject is never possible autonomy, confi dence, and indepen- and is never the point. I will probably dence without letting them persevere come back to it someday, perhaps in part with fi ngerings that are going to be really to address some interesting and use- problematic. If we think that a fi ngering ful comments from readers that I have is just plain really bad (to put it bluntly), already gotten, and others that I may get. how do we tell that to the student? It is Example 2 Meanwhile, in January’s column, I will important not to seem to go back on the move on to other things. promise of autonomy and independence. which they feel pretty comfortable and that looks tense or awkward. Are there But it is also important for the student that they are ready to play, perhaps (or spots where the student looks uncom- Feedback for student fi ngerings to end up with good fi ngerings. (Well, probably) below the eventual perfor- fortable or tense as a matter of overall If you have sent a student off to work maybe. I’ll talk about that more below.) mance tempo. How should we watch attitude? Are there moments where out a fi ngering for a passage or a piece, Of course this is a version, appropriate and listen, and what should we be look- you can see the hands, arms, neck, or perhaps with some guidelines similar to to this stage of the process, of the whole ing out for? (especially) shoulders appear to tighten? mine from the last two columns, then set of questions about how much auton- The answer to how we should watch These signs can mean either that the presumably that student will come back omy to give students in choosing fi nger- and listen is “very carefully, very closely.” fi ngering in those spots is actually a with the worked-out fi ngering. The next ings in the fi rst place. The premise for And although listening to what our stu- problem or that the student is uncertain step, in which you give feedback, is now is that we are opting for a great deal dents do is always critical —this is music about those fi ngerings. In any case, these crucial: that’s where a lot of the learning of autonomy. But that takes on a differ- after all—in this situation watching is if are places that should be fl agged for dis- comes in. ent dynamic as the moment of solidifying anything more important. We need to cussion. Even if the tension or awkward- The actual dynamic of this part of fi ngerings in actual use draws closer. see and keep track of a host of things: ness is not so severe that our judgment the process is subject to a host of vari- At an earlier point in planning out what the written fi ngerings are, what suggests that it could be harmful, it is ables: how much of the passage has the these columns, I had thought that I the actual fi ngerings are, where on the still not best for musical performance student felt comfortable actually fi nger- would try to concoct a “case study,” that keys the fi ngers are landing, and, always, and should be corrected if possible. ing, and how much has been reserved is, that I would choose a passage, create everything about the student’s physical With awkward-looking fi ngerings, for discussion? How much has already a fi ngering for it that a student might being: hand position, tension or relax- it is a matter of your judgment and the been practiced, and how close is it to have come up with, and then go through ation of the hand, and signs of tension or student’s whether they cross a line into being learned? (Included in the latter the passage, reacting to that fi ngering as awkward or unnatural positioning of the being potentially physically harmful. are questions as to whether the student I might do with a “live” student. But as rest of the body. For this specifi c kind of You must bring this up and discuss it if has put the hands together yet, or added I thought about all the variables of the work with a student, the most practical you are concerned. That is one situa- pedals, if that’s relevant, and at what situation, I decided that that would be use for listening is as an aid in noticing tion in which your sense of the student’s sort of tempo is the piece in relation to artifi cial and limiting. It is a process that tension. A persistent wrong note, which temperament and attitude comes into a possible fi nal tempo.) Questions about perhaps could form the basis of a video we might either see or hear, can be a play. If the student says that something how the student relates to the particular or live class demonstration. To be useful sign of a fi ngering problem that should is not painful, is it OK to leave it at that? piece or the sort of repertoire might be it would need to be made up of multiple be dealt with, but it is more often about If a student needs to wring out a hand relevant. Is the piece an exemplar of a examples. I think that here it is more practicing. (More about all of this below.) after playing a passage and says, “no, kind of music with which the student is fruitful to keep discussing the process, it’s all right,” is it acceptable to leave it already very familiar (their sixth Orgel- again not expecting to be exhaustive, but Concerns about student fi ngerings at that? If a student is wearing a pained büchlein chorale, say, or eighth move- to cover enough points to be useful. The bedrock, non-negotiable concern facial expression, is that more likely to be ment from a Widor symphony), or is it To start with, let’s assume that the about a student’s worked-out fi ngering is about general anxiety than an immediate relatively uncharted territory, a fi rst step student comes back with a fi ngering with that it not be dangerous. Everything else extreme discomfort? is part of a discussion. Fingerings that are If a fi ngering is somewhat awkward Confident pedal work non-historical, or different from what the and we can’t come up with a better one, teacher would do, or that create certain then we are likely to stick with it and try comes with practice and articulations, or rule out certain articula- to relax out of whatever tension it creates tions, and so on, might be good, bad, as promptly as possible. If the only pos- the right shoes both: everyone will think about them a sible fi ngering for a passage is one that bit differently. Fingerings that are awk- honestly seems so wrong physically that on the ward and ineffi cient can still be made to it could be damaging, then that is actu- work with enough practicing, though that ally a reason to consider not playing the pedals practicing might be less enjoyable than it piece or slightly rewriting it. This latter could or should be. That’s not to say that a is rare—presumably because most key- x Men’s & Women’s Organ Shoes fi ngering that is bad in that sense should board composers write their music to be go unnoticed or unchallenged: part of the playable. When it does happen it is often with suede soles and heels point of this process is to get students to because of a mismatch between the hand x Whole & Half recognize such fi ngerings and get better size of the player and the expectations and better at avoiding them. Fingerings of the composer. We are all lucky that Sizes in 3 Widths that might hurt the hand, usually by an composers with extra-wide hand spans x Quick & Easy uncomfortable stretch or by twisting mostly bore in mind the needs of the rest Returns out, are fairly rare. But they deserve fi rst of us! mention here because it is absolutely out OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET of the question to let them pass. Hand position 44 Montague City Rd Email: [email protected] This does indeed shade over into the Watching hand position is important Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes next item to pay attention to: anything and is really the foundation of all of what

18 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM By Gavin Black

I have mentioned above. If you see an geared towards non-legato: for example help fi x it in the semi-memory so that the awkward hand position, then it is worth in a 3-4-3-4 fi ngering in the right hand in need to read it in real time will recede querying the fi ngering, pointing out what a rising scale passage, turning the hand and eventually go away entirely. It is also looks awkward, and asking the student nearly upside-down between the second very possible that the actual fi ngering about the rationale for the fi ngering. and third notes. that you saw is better than the written- Sometimes bad hand position is the result Another thing to look for is any place in fi ngering. This should be explored in not of actually bad fi ngering, but of hold- where your student is actually using a discussion. If it turns out to be true, that ing notes longer than necessary or leaving fi ngering different from the one that creates an excellent opportunity for the fi ngers over notes that they have released they have worked out and written in. student to learn through analyzing and when they should be free to fl oat away This is one place where your watching comparing the two fi ngerings and ana- and wait over other notes. This is actu- closely comes into play! When this hap- lyzing why the written-in choices were ally a surprisingly important aspect of the pens, it can be just a random one-off that made and why they don’t seem to be best relationship between fi ngering and hand doesn’t mean anything. It should be que- in practice. position. No fi ngering in itself implies ried though, in case it is more than that. Next month, in continuing this discus- anything about where the relevant fi nger It can turn out that the written fi ngering sion, I will, among other things, write should be or what position that hand is really best, and that the task for the about how to recognize, in these particu- should be in once that fi nger has released student is to be more assiduous about lar circumstances, when a fi ngering issue fi rst is from the fugue of the Chromatic its note. That can be clearly determined following it. That often means slower, is really a hand distribution issue. As an Fantasia and Fugue, the second from by the next note, but if it isn’t, then the more targeted practice. (Though it can appetizer to that part of the discussion the fugue of the Prelude, Fugue, and situation is turned around, and the proper also be a sign that the student needs I include a couple of examples of spots Allegro. No very specifi c pedagogic point place for a fi nger to be is defi ned by the new glasses. That sounds fl ippant, but is where I happened upon ways of solving to either of them: I just like them. Q act of returning the hand to a relaxed actually a frequent serious issue. If you tricky fi ngering issues by what I like to comfortable position. It is possible to be can’t read the notes easily, that is always a think of as clever hand distribution. (See To be continued. misled as to how good or bad a fi ngering problem. If you can’t read the written-in Examples 1 and 2.) These both arose in is by letting that fi ngering infl uence hand fi ngerings easily and spontaneously, that my practicing of pieces that I will be per- Gavin Black is director of the Prince- position more than it actually has to, and is a problem as well: a source of ineffi - forming this fall, and indeed they both ton Early Keyboard Center in Princeton, in an uncomfortable direction. ciency and potential insecurity.) arose during the same days during which New Jersey. His website is gavinblack- When bad hand position does stem It can be useful to go over the reason- I have been writing this column. They baroque.com, and he can be reached by directly from a questionable fi ngering, ing behind the fi ngering again. This can are both Bach harpsichord pieces. The email at [email protected]. sometimes that in turn comes from the next thing to watch for: the student’s neglecting part of the hand for no par- ticular reason. As I mentioned in one of my sample guidelines two months back, there is a tendency to avoid fi n- gers 4 and 5, especially 5. If you see a student indulging that tendency, you should question it. And you will see this, DEFINING AFFORDABILITY whether or not you remind students in advance to think about it. If you see a busy passage being played with just fi n- gers 1-2-3, and if it looks awkward, then FOR THE NEXT GENERATION ask the student about it. Often there will be a plausible musical logistic reason. Often that reason, though plausible, is in fact a false one: an excuse, not a reason. (And this is usually subconscious, so it is fruitful to alert the student to it.) The avoidance of “weak” fi ngers is instinctual and can be stubborn. It also refl ects dif- ferent realities for different students: that is, for some people, the fi fth fi nger INVEST ONCE... really is a problem, for some it is just a fear. This is a difference that should be sorted out. My Diapason column from September 2016 was all about the fi fth THINK APOBA. fi nger and includes my ideas about how to work on it when it really is a problem in and of itself.

Avoiding use of certain fi ngers A couple of side notes: I have only fairly recently become really comfort- able playing trills, especially long trills, NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS with fi ngers 4 and 5. I didn’t notice the moment when this happened, but it BUILDER MEMBERS A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. was probably in about my 25th or 30th Andover Organ Company Holtkamp Organ Company Schoenstein & Co. year of performing and teaching. I Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders have noticed that the availability of that Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs fi ngering for trills sometimes can make Bond Organ Builders, Inc. Muller Pipe Organ Company Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS the rest of the fi ngering for a passage C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. remarkably more straightforward. This Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems reminds me, in turn, that it is important Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation in all circumstances not to avoid the use Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources Quimby Pipe Organs, Inc. Peterson Electro-Musical Products of any fi ngers arbitrarily. Sometimes the Garland Pipe Organs, Inc. avoidance of certain fi ngers is indeed not arbitrary, but has a musical (often historical) purpose. If a student, in collaboration with you as the teacher, is applying some of the principles of “early” fi ngering to a piece, and there- Call today for Please watch and share fore perhaps using at the least the thumb APOBA’s free 66+ our short video at: and maybe the fi fth fi nger less than one page color prospectus www.apoba.com/video might otherwise, it is important to do this in a way that is comfortable. That is, almost certainly, a signifi cant part of the actual original purpose of that approach to fi ngering. The main enemy of comfort and natural hand position with fi ngerings Apoba.com 1-800-473-5270 of this sort is an attempt to hang on to legato when the fi ngering is specifi cally

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 19 Pipe organs in Canada The restoration of the chancel organ at the Cathedral-Basilica of Notre Dame de Québec

By Andrew Forrest The nave and the sanctuary of the Cathedral-Basilica of Notre Dame de Québec

he Cathedral-Basilica of Notre-Dame the Chapel of St. Louis remains as it was Tde Québec is an important and historic in 1924 apart from two stops having been location for the Catholic Church in North swapped between the Grand-Orgue and America as it was here the Church of Our the Récit divisions. While the history of Lady of Peace (Église Notre-Dame-de-la- the sanctuary organ follows, the gallery Paix) was built in 1647. It became the fi rst organ currently awaits rebuilding after parish church north of Mexico in North some spectacularly unskilled alterations America in 1664 and was dedicated as the in the 1970s and a corrective reconstruc- Church of Our Lady of the Immaculate tion from 1983 through 1985. Conception (Église Notre-Dame-de- The sanctuary organ was built in 1924 l’Immaculée-Conception). Ten years later, as Casavant’s Opus 1024 and is installed the church was made the cathedral of behind the fi rst two triforium bays on the One side of the Récit, from left to right: The other side of the Récit, from left to the newly established diocese of Québec south side of the sanctuary; it is invisible 8′ Viole de gambe, 16′ Quintaton, 4′ right: 8′ Voix humaine, 8′ Hautbois, 2′ 2 3 Flûte douce, 2 ⁄3′ Nazard, 1 ⁄5′ Tierce, and Octavin, 4′ Violon, 8′ Mélodie, 8′ Voix cé- under Bishop François de Laval. The from the nave. The instrument’s ter- 8′ Trompette leste, 8′ Principal, and the bass of the cathedral was almost completely destroyed raced two-manual console was originally 16′ Quintaton during the battle for Québec in 1759 and installed opposite in the north triforium suffering from electrical problems, Opus was rebuilt between 1766 and 1771 from where it was situated in the midst of 1024 was switched off at the blower’s chambers under each stop. The fl ow of the remaining walls to resemble the previ- an amphitheatre-like arrangement of breaker and abandoned. wind to each chamber determines if the ous building. benches. The organ was built with elec- It wasn’t until after Marc d’Anjou’s stop above plays with the fl ow being gov- Further changes and improvements tro-pneumatic wind chests with ventil- appointment as titular organist to the erned by a pneumatically operated valve. to the cathedral’s design took place in style stop actions and is tonally similar cathedral in 1993 that Opus 1024 was Given the quantity of wind going to each the nineteenth century, including the to other instruments from the period heard again from the distant gallery con- stop, these ventil valves are necessarily addition of a neoclassical façade, and with its generous number of foundation sole. Some cleaning, minor repairs, and large and their prompt operation via the cathedral was elevated to the status stops. When the gallery instrument was tuning followed, and this helped show pneumatics is paramount. The ventil stop of basilica in 1874 in honor of the dio- installed in 1927, the sanctuary organ the organ’s potential utility. The sanctu- actions were thoroughly restored with cese’s founding 200 years earlier. In the was made playable from the gallery ary console was carried down soon after new materials similar to the originals and twentieth century, a devastating fi re on organ’s enormous four-manual console. from the triforium to the fl oor of the adjusted on-site for optimal operation. December 22, 1922, forced the parish Subtle differences from Casavant’s con- sanctuary where it was installed to the The organ’s wind system was also and diocese to rebuild again from singed ventional practices at that time include south of the altar. To provide the console comprehensively restored, including the outer walls. The reconstruction project the placement of the 8′ Trompette stop in and its electro-pneumatic mechanisms recovering of its two enormous single- took eight years, and while modern con- the Récit division instead of the Grand- with wind, a crude fl exible wind line was rise wind reservoirs and the blower’s struction materials and techniques were Orgue, as well as the inclusion of inde- lowered from the triforium level inside static reservoir. The external curtain employed, the cathedral’s architecture pendent mutations stops in the Récit. It a nearby column. From the column, the valve regulators were all restored, the was again modeled after its predecessors. is said the French composer and organist wind line snaked across the fl oor to the fl exible wind line connections under The church was home to a pipe organ Joseph Bonnet was responsible for the console where it entered through a hole each chest were replaced, and the by an unknown builder as early as 1657, placement of the 8′ Trompette, having cut into the side panel. The organ itself Récit’s tremulant unit was refurbished. and this was followed by a number drawn an arrow on the organ’s proposed later suffered some minor water damage The original nine-stage expression motor of instruments of increasing size and stoplist to move the stop from the Grand- while the exterior of the cathedral was was replaced with a new pneumatic complexity by Robert Richard, Thomas Orgue to the Récit. Bonnet was likely being sandblasted, but the affected por- whiffl etree-type unit with 16 stages. Elliot, Louis Mitchell, and the Casavant consulted on the organ’s specifi cation by tions were repaired soon after. Opus 1024’s pipework was cleaned and brothers among others. Casavant’s Opus Henri Gagnon, a gifted Québecois organ- The contract to restore the sanctuary repaired as needed in our pipe shop. We 211 from 1904, an electric action instru- ist and titulaire at the Cathedral-Basilica organ was awarded to Orgues Létour- experimented with softening the Grand- ment with 46 stops over three manuals from 1915 until his death in 1961. Gagnon neau after a thorough evaluation process Orgue’s 8′ Montre stop for a less overbear- and pedal, was destroyed in the fi re of lived in France from 1907 to 1910 and and a generous grant was provided to the ing presence but its already-smooth tone 1922. The rebuilding of the Cathedral- studied with Eugène Gigout and Charles- cathedral towards the costs of the organ’s only became more fl ute-like. We found Basilica in the years following saw the Marie Widor among others; he returned restoration by the Conseil du patrimoine ourselves working at cross purposes with installation of three new pipe organs by to France during the summers of 1911, religieux du Québec. A formal contract this stop’s nature, having been built to a Casavant Frères between 1924 and 1927: 1912, 1914, and 1924 for further studies was signed in March 2014, the console large scale from heavy lead and voiced a seven-stop instrument for the Chapel with Widor and Bonnet. was removed and wrapped for transit the with wide slots as well as leathered upper of St. Louis, a 25-stop instrument for the From the start, the instrument served following August, and the instrument lips. We reduced the strength of the stop sanctuary, and a grand 69-stop instru- the parish’s daily Masses, providing itself was dismantled one month later. only slightly but removed the leather from ment in the church’s gallery. The organ in commentary on the liturgy and accom- The wind chests’ internal components, the upper lips, improving the pipes’ tone panying students from the nearby Grand some wind system elements, and much and speech. We also recast the Grand- Séminaire. Opus 1024 and the students of the organ’s pipework were removed Orgue 8′ Salicional—its original voicing from le Grand Séminaire were also for transport to and restoration in the sounded more like a Dulciana with little sometimes heard in alternatim with les Létourneau shops. intensity or specifi c color—to produce a Petits Chanteurs de la Maîtrise (the The restoration of the instrument’s rich string tone with enough presence to chapter’s boy choir) who would sing from electro-pneumatic wind chests was a color the other foundation stops. the gallery, accompanied by the gallery straightforward but time consuming New II–III Fourniture and 8′ organ, Opus 1217. process. All old leather diaphragms on Trompette stops were added to the The transfer of le Grand Séminaire to the pouchboards were removed and Grand-Orgue, with the Trompette new facilities in the Ste-Foy neighbor- replaced, while the primary actions extended to 16′ pitch to play in the hood of Québec City in 1959 brought were completely restored with new Pédale. Our goal for these new stops was an end to the singing of the daily Mass leather, felts, and leather nuts as well as to sound as if they might have been part in the cathedral. The explicit need for a new threaded wires. The wind chests of the original instrument, and in this sanctuary organ disappeared as a result, have ventil-type stop actions, meaning respect, the composition of the new mix- and with the instrument reportedly the chests are subdivided laterally into ture might seem conservative by modern

20 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM A view of the sanctuary console with its new pedalboard

console by activating the “Appel Tribune” instrument’s fortissimo without sacrifi c- tablet and using the same general pistons. ing color or excitement. Aside from multiple memory levels, the The restoration and enlargement rebuilt sanctuary console offers a general of Opus 1024 was carried out on an piston sequencer, four programmable expedited timeline, and the fi rst sounds Crescendo sequences of 30 stages each, after the organ’s return to the cathedral and record-playback capability. were heard in February 2015. The After reinstalling the organ’s restored renewed instrument was fi rst heard by components and testing the instrument’s the public a few weeks later on Eas- mechanisms, the instrument’s voicing ter Sunday (April 5) when the organ was thoroughly reviewed and adjusted was rededicated and blessed by the as needed. Tonal changes to the 1924 Archbishop of Québec, His Emmence materials were kept to a minimum aside Gérald Cyprien Lacroix. M. d’Anjou, The sanctuary organ is situated behind the two south triforium arches. from the changes mentioned earlier, the cathedral’s titular organist, then but all of the organ’s original stops played a short recital that demonstrated standards. The scaling and breaks for the 16′-8′ Trompette rank was installed here were carefully adjusted for improved the organ’s graceful versatility, its vivid Fourniture were developed after study- on two wind chests with most of the 16′ consistency and blend. The voicing for palette of colors, and, when needed, ing mixture stops in other Casavants octave mitred to fi t under the chamber’s the new II–III Fourniture and 16′-8′ its grand presence. Since then, the from the same era as well as the Grand- sloping roofl ine. The new II–III Fourni- Trompette was meticulous to ensure instrument has been heard regularly Orgue’s 2′ Doublette. Breaks occur at ture stop is likewise located at the front these new stops built smoothly on the within the cathedral’s liturgy as well as a every C after the third rank enters at c13, of the instrument under the triforium while the scaling of the individual ranks arch, where it sits above one of the 16′ follows a halving ratio progression that Flûte’s horizontal pipes. slows considerably as the pitch ascends The console’s original pedalboard over ¼′. had a compass of 30 notes and, further, The new 8′ Trompette was modeled did not radiate as much as an American after Casavant examples from the 1920s Guild of Organists standard pedalboard. (including the 8′ Trompette in the Récit) The console was too narrow to accept a and has tapered shallots with long, nar- new 32-note pedalboard so we rebuilt row triangular openings and leathered the console’s chassis to be 8 inches wider, faces in the bass octaves. The spotted providing space for additional drawknobs metal resonators were built to a gener- in the process. The original expression ous scale (8′ C = 5′′Ø) and are harmonic pedal assembly was considerably offset starting at f42. Our harmonic-length with the Récit pedal lining up with note resonators for new stops usually follow a#23 on the pedalboard. We rebuilt the the same scale as their non-harmonic expression pedal assembly to fi t into its counterpart of the same length. Put current central location, conforming to another way, the fi rst harmonic resona- AGO standards, while its frame and ped- tor is the same length and diameter as als were also recovered with new chrome. the natural length pipe one octave lower. The console was fi tted with new thumb Casavant’s harmonic-length resonators pistons and dome-shaped toe pistons as in the mid-1920s, however, employed well as contrasting ebony and Pau Ferro narrower resonators; there is still a jump oblique draw knobs to resemble the origi- in diameter transitioning from natural nals. Opus 1024’s two original pedal ranks to harmonic length but the increase is were provided with two additional pipes roughly eight pipes larger rather than a each to correspond with the new pedal- full octave (or twelve pipes). board’s 32-note compass. The enlarged Space within the instrument was console returned to the cathedral on a limited from the outset, and adding two new two-piece platform, enabling its new stops was a feat in packaging. The movement throughout the sanctuary. fi rst seven pipes of the Pédale 16′ Flûte The console features 46 draw knobs for ouverte were originally laid horizontally the sanctuary organ’s stops, couplers, and from the fl oor to the sloping ceiling at other ancillary controls. Once the gallery the back of the chamber but from there, organ has been rebuilt, the sanctuary the stop continued as a wall of vertical console will be ready to play the gallery wooden pipes beside the Grand-Orgue organ blindly through a common piston and fi nished up with the smallest pipes system with 300 levels of memory. The arranged vertically behind the Grand- row of 34 tilting tablets above the Récit Orgue’s passage board. To make way manual will permit the gallery organ’s for the new 16′-8′ Trompette rank, the four manual divisions to be coupled as vertical pipes alongside the Grand- desired to the sanctuary console’s two Orgue were relocated to lie horizontally manuals and pedal. Registrations for within the chamber as well as at the base the gallery organ will be programmed in of the triforium arch at the very front of advance on general pistons at the gallery the instrument. Having now opened up console but once done, the gallery stops a corridor beside the Grand-Orgue, the can be brought into play at the sanctuary

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 21 Pipe organs in Canada

Another view of the Grand-Orgue division with the 2′ Doublette in the foreground Pédale 32′ Flûte (resultant) — 16′ Flûte ouverte 32 pipes 16′ Bourdon 32 pipes 8′ Flûte (ext 16′ Flûte) 12 pipes 8′ Bourdon (ext 16′ Bourdon) 12 pipes 4′ Flûte (new, ext 8 Flûte) 12 pipes 16′ Bombarde (ext, Gr-O 8′) 12 pipes 8′ Trompette (fr Gr-O) —

Couplers Gr-Orgue à la Pédale Gr-Orgue aigu à la Pédale Récit à la Pédale Récit aigu à la Pédale Gr-Orgue unisson muet Gr-Orgue grave Gr-Orgue aigu Récit grave au Gr-Orgue Récit au Gr-Orgue Récit aigu au Gr-Orgue The new 16′–8′ Trompette is divided on two wind chests to one side of the Récit unisson muet Grand-Orgue. Récit grave Récit aigu The main chest of the Grand-Orgue, Accessories 2 from left to right : 2′ Doublette, 2 ⁄3′ 10 General pistons Quinte, 4′ Prestant, 8′ Salicional, 8′ 6 Grand-Orgue pistons Bourdon, 8′ Flûte harmonique, 16′ Bour- 6 Récit pistons THE AEOLIAN PIPE ORGAN don and 8′ Montre 6 Pédale pistons 100 levels of memory concert instrument in accompanimental Récit expression shoe and solo roles. Orgues Létourneau is Crescendo shoe AND ITS MUSIC 3 Tutti adjustable pistons honored to have been selected for this Transposer prestigious restoration project, and we Record/Playback mechanism ROLLIN SMITH expect our work to renew this elegant instrument will serve the cathedral for The console is prepared to play the gal- decades to come. It was our distinct lery organ once it has been rebuilt at some IT WILL SOON BE 20 YEARS since THE AEOLIAN PIPE pleasure during the project to work point in the future. The gallery organ stops closely with Marc d’Anjou, Gilles Gig- will be accessible via the General pistons ORGAN AND ITS MUSIC was published by the Organ plus the Tutti and Crescendo settings. nac, and Monsignor Dénis Bélanger at Historical Society. This landmark volume has been There are tilting tablet couplers for each of the cathedral, and we would like to take the gallery organ’s divisions, allowing them out of print for so long that copies now sell for more this opportunity to thank them for their than $500. A second edition, revised and greatly to be coupled as desired to the chancel support and assistance at every turn. Q console’s two manuals at 16′, 8′, and 4′. Also expanded, is now in publication and, in addition to included is an “Unifi cation des expressions” emendations and many new photographs, the an- Casavant Frères, Opus 1024 (1924), (All Swells to Swell) control plus ventils for restored, enlarged, and revoiced by both the gallery and chancel organs. notated opus list of over 900 organs (with contract Orgues Létourneau (2014) dates, prices, additions, and alterations) has been Grand-Orgue Andrew Forrest began with Létour- updated to refl ect subsequent activity. 16′ Bourdon 68 pipes neau in February 1999 and, as the com- THE AEOLIAN PIPE ORGAN AND ITS MUSIC is 8′ Montre 68 pipes pany’s artistic director, oversees all of the 8′ Flûte harmonique 68 pipes the story of America’s oldest, largest, and longest- 8′ Salicional 68 pipes company’s various projects. He travels lived residence organ company, whose instruments 8′ Bourdon 68 pipes regularly to meet with clients, to super- 4′ Prestant 68 pipes vise the company’s on-site tonal fi nishing, provided music in the home in the era before the 2 2⁄3′ Quinte 68 pipes ′ and to speak about the pipe organ. Areas wide-spread use of the phonograph and radio. A 2Doublette 61 pipes of particular interest for Forrest include list of Aeolian patrons is a veritable Who’s Who in American business, industry, and fi nance. II–III Fourniture (new) 183 pipes 8 Trompette (new) 68 pipes pipe scaling and reed tone. Among oth- This book not only documents the organs, but also the music they were programmed ers, he has completed studies of the to reproduce, Aeolian’s commissions from Saint-Saëns, Stravinsky, Stokowski, and Hump- Récit expressif Wanamaker Organ’s String division and 16′ Quintaton 68 pipes erdinck, and their reproduction of performances of renowned artists. A special section fea- 8′ Principal 68 pipes the 1955 Aeolian-Skinner pipe organ at tures a wealth of unpublished photographs of Aeolian installations. In addition to a study 8′ Viole de gambe 68 pipes Winthrop University. He was on the orga- 8′ Voix céleste (TC) 56 pipes nizing committee for the joint AIO-ISO of the 48 recording organists, dozens of stoplists are included and complete catalogues of 8′ Mélodie 68 pipes 2010 convention in Montréal, and from Aeolian organ rolls. 4′ Violon 68 pipes 4′ Flûte douce 68 pipes 2011 through 2014 served on the board 2 As a companion volume to Rollin Smith’s PIPE ORGANS OF THE RICH AND FAMOUS, this 2⁄3′ Nazard 61 pipes of directors for the American Institute of 2′ Octavin 61 pipes Organbuilders. More recently, Forrest notable publication makes for reading as fascinating as it is entertaining. 3 1⁄5′ Tierce 61 pipes ′ was elected vice president of the Associ- 8Trompette 68 pipes ated Pipe Organ Builders of America in RESERVE YOUR COPY ON-LINE TODAY! 8′ Hautbois 68 pipes 8′ Voix humaine 68 pipes the spring of 2017. He holds a Bachelor of www.organsociety.org Trémolo Arts degree from Carleton University in Ottawa, Ontario.

22 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Conference report

Sacred Music Intensive Workshop, Jacobs School of Music, Indiana University, Bloomington

June 5–9, 2017 Sacred Music Intensive Workshop participants By Noel Morse Beck

hurch musicians representing all All participants were invited to problems and fi nding musical answers,” The university campus provided great Cregions of the United States, the participate in Huff’s daily two-hour invited attendees to bring organ reper- natural and architectural beauty. The Bahamas, and Canada gathered on the choir rehearsals, culminating in a toire trouble spots, and demonstrated city of Bloomington offered delectable campus of Indiana University in Bloom- closing concert on Friday evening. how to improve technique to solve eateries—from coffee and sandwich ington for this year’s Sacred Music Inten- The program included the soaring challenging problems. Marilyn Keiser shops only a few steps from the music sive Workshop, June 5–9. There were lines of A Hymn to St. Cecilia, with presented a most useful list of organ building, to restaurants and fi ne dining more than 40 participants; the number music by Herbert Howells and text repertoire selections appropriate for within a short walking distance, featur- was limited by design, so that each could by Ursula Vaughan Williams; Earlene both service and concert playing. There ing farm-to-table, continental, Mid- receive personal attention, and all could Rentz’s exuberant setting of On Jor- was also an informative presentation Eastern, and Asian menus. Participants develop camaraderie through learning dan’s Stormy Banks; Stephen Paulus’s about understanding and maintaining had a varied choice of housing: college and sharing ideas in both planned and intimate The Road Home; a lyrical the health of the pipe organ, presented dormitory, local hotels, and inns. informal settings. Some attendees had Jesus Christ, the Apple Tree by K. by Patrick Fischer, Jacobs School of This was truly an excellent way to participated in prior years’ workshops; Lee Scott; Howells’s “Nunc Dimittis” Music organ curator. spend a week of continuing education. others experienced this inspiring and (from the Collegium Regale service); Amy Hamburg Mead offered par- Many of those attending plan to make it delightful event for the fi rst time. All were and John Rutter’s Let all mortal fl esh ticipants the opportunity to learn to an annual event. Q attracted by the opportunity to study with keep silence, which begins mysteri- play the school carillon. At week’s end, the outstanding organ and choral faculty ously and ends with majestic Alleluias. participants gave a charming noonday Noel Morse Beck has spent many of the Jacobs School of Music. Participating organists were invited to concert of hymn arrangements and years serving as organist and director This annual event was created by accompany the anthems and the two other selections played on the carillon, of children, youth, and adult choirs in Janette Fishell, organ department chair, congregational hymns. The closing enjoyed in the open air of the school Presbyterian, Methodist, and Episcopal and Walter Huff, choral arts professor, concert also included organ selections amphitheater and the surrounding area. churches in the Muscle Shoals area both seasoned church musicians. Partici- performed by several of the week’s There were daily sessions on topics of northwest Alabama. Through this pants were allowed to design their own attendees, including works by Helmut such as: Body/Mind/Spirit, focusing experience, she has learned the inspira- schedules throughout the week, choosing Walcha, Dan Locklair, Raymond H. on maintaining the musician’s inner tion and practical value of continuing from lessons and lectures pertaining to Haan, and Jehan Alain. One partici- physical and spiritual health, including education at events such as the Sacred organ, choral music, voice, and carillon. pant played his own composition. yoga practice, led by Beth Lazarus; Music Intensive Workshop, in order Experienced organists were given the The intensive week also included and spiritual insights, led by Reverend to develop and maintain excellence in opportunity to have two or more private presentations by the organ faculty. Andy Cort. music programs of small-to-medium lessons with Janette Fishell, Christo- Christopher Young offered a lecture/ Lois Fyfe Music, of Nashville, Ten- size congregations. She had the good pher Young, and Marilyn Keiser. Begin- demonstration dealing with styles of nessee, provided an excellent “pop-up fortune of spending a year studying pri- ning organists studied with doctoral registration for the church organist. shop,” including organ music and vately with Janette Fishell. Currently, student Yukima Tatsuta. All of these Janette Fishell, who cleverly titled resources useful to church musicians. Noel Beck is organist and choir director master teachers were most generous her presentation “Achilles Heels and The music shop also conducted a most at Trinity Episcopal Church in Flor- with their time, making this feature a All Thumbs? Mastering technical useful anthem reading session. ence, Alabama. very popular part of the week’s activi- ties. Available for practice and lessons were the C. B. Fisk, Inc., organs in Auer Hall and Alumni Hall, as well as numer- ous organs in the practice rooms of the faculty Music Building. graduate study in Thomas Murray There was an outstanding opening concert, presented by the organ faculty. organ performance Professor of Organ The program included works by Johann at Yale Institute of Sacred Music and Yale School of Music Martin Jean Sebastian Bach, William Albright, Dan Locklair, Louis Vierne, Gabriel Pierné, Professor of Organ Henri Mulet, Benjamin Britten, Hisai- Jeffrey Brillhart shi/Wasaki, and César Franck. For those whose special interest was Organ Improvisation choral music, there were daily presenta- Walden Moore tions by Walter Huff organized around Liturgical Keyboard Skills the central theme: “Are we creating the ideal rehearsal/performance envi- ronment for our choristers?” Lecture and discussion sessions covered such topics as getting started rehearsing a degrees offered new anthem; creating the optimum Master of Music sound (pitch, tone, vowels); transform- Master of Musical Arts ing a hymn into an anthem; effective Doctor of Musical Arts choral warm-ups; implementing the Robert Shaw’s Count-Sing rehearsal technique; preparation of Handel’s Messiah, including the “Hallelujah Chorus.” There were also conducting Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 Institute students receive full practicums, a conducting masterclass, tel 203.432.9753 fax 203.432.9680 · ism.yale.edu/musicprograms tuition scholarships. Generous and choral reading sessions. Voice [email protected] awards available to qualified classes were offered, taught by IU gradu- applicants. ate student Rachel Mikol.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 23 Bach organ work

Example 1. The fi rst measure of the Très vitement is notated in four pulses, with the Johann Sebastian second measure suggested as leggiero (or staccato) and felt as eight pulses per measure, a pattern to be repeated in other similarly paired measures to create an effective echo and a varietal metric shift. Use of the term vitement might imply a Bach’s Fantasy in quickness of touch, as well as suggesting a brisk tempo. G Major, BWV 572 A Legendary Opus

By Ennis Fruhauf Example 2. Note the arpeggiated opening chord of the Gravement, and the ad lib. internal ornamentations. The motif-like subject begins on the second half-note beat and migrates through the alto, second soprano, to the tenor (inverted and original forms), and the alto. Slow-moving whole-note progressions in the pedal run from icercare (Ital.), “. . . ricercare is a Bach’s arrival coincided with the day low G and continue up to E a sixth above, outlining a G major hexachord and all its R verb, meaning to investigate, of Marchand’s tests, trials, and demon- closely related keys (C and D major, A, B, and E minor). query, inquire, search out with diligence strations. Concertmaster Volumier took . . . testing the tuning, probing the key the initiative of arranging for Bach to well coached in advance. Soon enough Who could fathom what might or . . . .” (Johann Gottfried Walther, Musi- overhear portions of these recitals from the fi rst notes of an arpeggiated tonic might not have transpired in the course kalisches Lexikon, Leipzig, 1732);1 and a concealed vantage point. It has been chord broke the silence, ever so light in of such an evening? If it had even taken as a noun: “. . . Thus in Bach’s time it recorded that by the end of his contest, touch and sounding out on clear stops: place, who might possibly divine what served almost exclusively for the title of Marchand had indeed won the day and we heard a single line of dancing arpeg- Bach would have played, or what selec- a strict and, in its polyphonic texture, would continue his sojourn victoriously, gios and passaggios in a compound triple tions Marchand could have chosen from highly elaborate fugue.”2 having received meritorious and remu- meter, falling and rising, rippling through his repertoire. There is no indication nerative recognitions. the gamut of the keyboard. This was the that the two of them resorted to sword- Introduction What might have taken place in the newly added Très vitement, a sparkling play—whether improvising with epées, or Ah, well, it is perhaps a tale to be course of the evening that followed is warm-up exercise for the fi ngers, leading instead on keyboards, each of them with retold yet once more, an instructive a subject for speculation, perhaps even up to the fi ve-voice Gravement. Contrary assistants in alert attendance. Nor is there yarn well worth spinning anew, offered for imagination. Is it possible that these to the French tradition of a Grand plein evidence to suggest that Marchand car- up here as an autumn fantasy, one with two notable exemplars of Germanic jeu registration, tonight the Grave- ried an inked copy of Bach’s Fantasy with an exceedingly wry afterglow. The occa- and French keyboard artistry might ment began on one of the instrument’s him back to Paris and the royal library. sions and events in question took place have been able to escape the rigors of gentlest registers. We heard a low tonic And if fate had denied Bach an opportu- some 300 years ago. And in spite of international diplomacy, that they might pedal note, then a G-major chord in the nity to perform his recently penned chro- unexpected setbacks that overshadowed have found time to meet in one of the manuals, with the soprano tonic pitch matic Fantasy in D Minor3 for Marchand the fi nal outcome, the adventure might city’s spacious church sanctuaries, one suspended over to the fi rst quarter-note of at an organ console, it could well have after all be credited with having led to where they might also fi nd a pipe organ the next beat, and four descending scale been included in his harpsichord recita- the creation of an unusual composition installation that would provide a viable notes in succession. This motivic pattern tions on the following day. for organ, one that might otherwise have proving ground for their dueling skills? migrated from one voice to another, deli- Varied accounts of Bach’s letter of invi- never come to light in the same context. Just imagine what could have been . . . . cately ornamented internally, and at each tation addressed to Marchand in which The tale is of Johann Sebastian Bach’s successive cadential gesture. Also of note, he proposed a public contest indicate trip to Dresden in the autumn of 1717, A Fantasy at major cadences a new stop or set of that the two of them were to meet at undertaken at the urging of the royal (Extract from an anonymous personal stops would be added by the two fl anking the private mansion of Count Joachim Saxon court chapel’s violinist-concert- diary, Journals, dated October/Novem- registrants. By shifting from one manual Friedrich Flemming for a public display master, Jean-Baptiste Volumier. Bach was ber, 1717) to another and progressively engaging of their musical prowess. Alas for Bach, charged, in essence, with the mission of . . . It was already past dusk when the manual and pedal couplers, a tightly his competitor—perhaps wisely—chose upholding the honor of his homeland’s two principal parties of the contest arrived imitative ricercar with a brief compound to bow out of the tentative commitment, keyboard music tradition against a fi gura- at the door leading up to the organ loft. motif for a subject was being transformed traveling on to his next port of call in the tive incursion launched by one of France’s There were three of us surveying the into a majestic paean, echoing gloriously early hours of the designated morning. eminent composers, Louis Marchand scene from a distance, gathered together through the nave’s acoustical environ- In spite of Marchand’s unanticipated (1669–1732), Organiste du Roi. Marchand in a tight knot and hidden from view ment. This was Bach in his native setting, absence, the public hearing was to take was on an extended leave from Paris at the in the shadows of the front chapel. We ‘testing the lungs’ of a church’s instrument place after all: Bach’s impressive solo per- time, touring Germany with a display of recognized Concertmaster Wolumyer as he had done from year to year in the formance on that day won him royal rec- his keyboard and compositional talents, of Dresden as he entered, followed by course of his many investigative journeys. ognition as hoped, and his meeting with and currently seeking favor from the royal Concertmaster Bach, who was accom- In the fi nal line of the Gravement, we Count Flemming would prove invaluable Dresden court. Bach also hoped to win panied by two of his Weimar students. heard a new voice enter in the manuals, in the coming years. Alas, his prize purse favor and a remunerative purse, while The French King’s Organist-Composer, further intensifying the texture and lead- of 500 talers was waylaid in the course of at the same time pitting his skills against Louis Marchand, arrived soon after, in ing up to an abruptly dramatic pause on its delivery. And in the event Bach had Marchand in an international venue. company with two attachés assigned to an unresolved deceptive cadence. After traveled to Dresden with a hand-copied The composition in question is Bach’s his visit. Apparently Bach was to launch a momentary silence, the Lentement score of the Fantasy in G in his posses- legendary Pièce d’orgue (thus titled in the evening’s music-makings, and indeed, resumed on foundation stops, beginning sion, it rode back with its composer on more than one manuscript source), a as we watched he turned to M. Marchand, with arpeggiations of the Gravement’s the return trip. More importantly though, three-section work, at the heart of which greeted him cordially, withdrew a vellum closing chord, sounded over a bass line a doorway had been opened that would is a fi nely crafted extended fantasy for music manuscript from his folio and held that descended step by chromatic step offer future return visits, valuable musi- keyboard, presumably for pipe organ it out to his elder colleague. M. Marchand to an extended dominant pedalpoint and cal associations, activities, and honors. with pedals. It is a living time capsule— graciously received the score, opened it, fi nal closing cadence in G Major. one of few words and many notes—that and proceeded to peruse the contents. There was a stillness and silence that Discussion offers up a vibrant slice-of-life drawn Although their conversing tones were lost followed the last chords as they faded Could it be that the middle move- from the travels of an adventurous in the acoustical ambiance of a lofty nave, into the upper reaches of the nave. We ment of the Fantasy, as we know it today, composer in his early thirties, who was it was apparent that Bach was to begin the sat quietly, awed and deeply moved by might have evolved from on-the-spot hard-pressed by circumstances on his evening’s music-making with his recrafted the music we had just heard and calmed improvisations performed on some of home front, while also on a quest for Pièce d’orgue, written and ornamented in by its lingering aura. Within moments it the various church organs Bach visited recognition and honor abroad. the French manner. We would hear it now became evident that Bach was preparing in his many travels? Could the music with the addition of two outer movements. registrations for his next selection. Even of an earlier version of the mid-section As we watched, the trio from Weimar though we had been advised in advance have offered an idealized means of separated from the others, making their that he would likely play one of his “testing the lungs of an instrument”—a way up to the dimly candle-lit organ loft newest keyboard compositions, a single- ricercare, or a seeking-out—by starting JL Weiler , Inc. and taking their places at the console. movement fantasy in D minor for clavier, with quiet stops and gradually add- Bach had been allowed time to familiarize nothing could have prepared us for the ing registers at subsequent cadential Museum-Quality Restoration himself with the instrument earlier in the intense drama that was to follow . . . . breaks and convenient moments? It is of Historic Pipe Organs jlweiler.com day, and his two fl anking assistants were [End of Journals extract.] easy enough to imagine that a far more

24 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Example 3. Measure 20: Note the modulation from G to D major (signaled by the C-sharps), also the cadential break in measure 21 that facilitates the addition of individual stops, one of many such convenient hiatuses. sophisticated end product, impeccably note not normally found on Germanic written in fi ve- and six-voice tightly pedalboards but occasionally present Example 4. Note the half-cadence in measure 148 over an extended dominant imitative counterpoint in the manner of in French manual and/or pedal disposi- pedalpoint, also the brief hiatus allowing for possible additions; doubling or trans- fer of the manual bass line to the pedal is suggested, non legato, beginning on the a classic ricercata, was eventually honed tions. While such an insignifi cant devia- second half-note beat. In measure 149 the entry of a sixth voice is seen in the sec- for solemn occasions and processionals tion could easily be glossed over, it is ond soprano, as well as a suggested transfer of the lower alto line to the left hand. and found its way to ink and paper. An cited here in support of a Francophile earlier manuscript of the central move- leaning and interpretation, one that ment, one with French markings and an is already abundantly apparent in the abbreviated ending, is cited as a possible French titles of the opus and its indi- compositional byproduct of Bach’s expo- vidual movements. sure to French keyboard music studied There is also the matter of a quasi- and copied in Weimar’s music library.4 legendary pedagogical lineage to be Could Bach have added the improvisa- considered in the course of these clos- torial framing introduction and closing ing words. A multi-generational suc- sections (with their French titles) at a cession of teachers—one of many that later date, in anticipation of his supposed can be traced from Bach into the 20th meeting with Marchand? century—extends from a late Leipzig The Gravement is written in common organ student, Johann Christian Kit- meter with alla breve note values (i.e., tel (1732–1809, Erfurt), through two half-notes per measure). The quasi- Christian Heinrich Rinck (1770–1846, Example 5. The fi rst measure of the Lentement continues in six-note triplet group- motivic subject that serves to generate Darmstadt), to Adolph Friedrich Hesse ings, over a rhythmic and chromatically descending bass line. 157 measures of tightly knit counter- (1809–1863, Breslau); and from Hesse Gaines, James R. Evening in the Palace of point is generically no more or less continuing through Jacques Nicolas Reason. New York: Fourth Estate, Harper sometimes with degrees of variation that than a suspended quarter- or half-note, Lemmens (1823–1881, Belgium, Paris), Collins Publishers, 2005. have required editorial pruning. The followed by four descending pitches, to Alexandre Guilmant (1837–1911, Gardiner, John Eliot. Bach, Music in the Journal entry is a fi ctitious creation, a the two units serving interchangeably as Paris), and to Charles-Marie Widor Castle of Heaven. New York: Alfred A. work of imagination. In his Evening in a head and a tail. It is freely imitated in (1844–1937, Paris); passed on in turn Knopf, 2013. the Palace of Reason, James R. Gaines tight succession, as well as in multiple by Guilmant and Widor to Marcel Geiringer, Karl. Johann Sebastian Bach, The offers an exemplary format for overlap- paired overlapping entries. A second- Dupré (1886–1971, Paris). Notable Culmination of an Era. New York: Oxford ping multiple perspectives and layers of ary structural event can be found in the from Dupré—and relevant to this University Press, 1966. narration, and for combining recorded fantasy’s numerous staircase-like scalar discussion—is his recorded version of Griepenkerl, Friedrich Conrad, and Ferdi- facts with speculative premises and intu- nand Roitzsch, ed. Johann Sebastian Bach, progressions of whole-note pitches in the the Fantasy, registered and performed Orgelwerke, Vol. IV. New York: C. F. Peters itions to produce an animated account pedal line, employed with dramatically in an accumulative and glorious man- Corporation, 1950. of historical events. His model has 5 telling effect. Overall, the Gravement ner on the Cavaillé-Coll instrument of Widor, Charles-Marie, and Albert Schweitzer, provided a structural guidepost for the is neither fugue nor fancy, rather it is a St. Sulpice, Paris, during his tenure as ed. Johann Sebastian Bach, Complete essay featured here, offered informally one-of-a-kind ricercar-like construction, titular organist.9 Organ Works, Vol. III. New York: G. as an example of speculative musicology. albeit perhaps an imitative fantasy, but And now, to end this autumn reverie Schirmer, Inc., 1913. There are sure to be lacunae great and one that is uniquely imbued with un of what-ifs—much in the same manner Wolff, Christoph. Bach, Essays on His Life small in these words, for which all due esprit français. as it began—on an inquisitive note: Is and Music. Cambridge (MA) & London: apologies are offered. There are additional elements it possble that the tradition of a broadly Harvard University Press, 1993. ______. Johann Sebastian Bach, The throughout all three movements that romantic and accumulative interpretation Learned Musician. New York: W. W. Nor- Ennis Fruhauf holds Bachelor of hint strongly at Bach’s emulation of a could have been passed on and survived ton & Company, 2001. Music and Master of Music degrees from classical hexachord fantasy, a formal- intact in its passage through such a fragile the University of Michigan (1967, 1968), ized contrapuntal structure emanating and tenuous teaching tradition, spanning An apologia and acknowledgements and a Doctor of Musical Arts degree from from sixteenth-century practices. Hexa- over six generations from 1750 to the lat- In order to provide a degree of con- the University of Southern California chordal elements are present freely in the ter twentieth century, and onward? Q tinuity and to avoid undue interruptions (1973). He has held occasional church six-note groupings of the Très vitement’s in the fl ow of the text, end notes have music positions, college and university compound meter,6 in the six diatonically Notes been kept to a minimum. All details and teaching appointments, and is cur- related keys traversed in the course of 1. Johann Sebastian Bach, The Learned factual accountings have been extracted rently publisher, editor, music copyist, the Gravement’s tonal excursions, and Musician, Christoph Wolff (W. W. Norton & from the sources cited above; they are arranger, and composer for Fruhauf fi nally in the hexachordal arpeggiations Company, 2001), p. 330. often repeated in more than one source, Music Publications (since 2004). 7 2. Ibid., p. 329. of the Lentement. It is worth noting 3. Eventually Fantasy in D Minor, S. 903 that the title, Fantasy, would appear (without Fugue). to have been applied by cataloguers of 4. Notably Nicolas de Grigny’s Livre subsequent generations, but not by the d’orgue (1699, Paris, reissued 1711), Bach’s composer. Above and beyond formal- hand copy dating from ca. 1713. ized or traditional concepts, and viewed 5. See Example 2. as a single entity, Bach’s storied BWV 6. See Example 1. 572 is in essence a grand tone poem, a 7. See Example 5. broadly proportioned triptych of three 8. See Examples 3 and 4. 9. See http://www.marceldupre.com/ CD: contrasting sections—two linear outer Mercury Living Presence recording of Marcel panels framing an impeccably woven Dupré: Bach (Six Schübler Chorales, Fantasy central tapestry. in C Minor, Fantasy in G Major) Saint-Sul- pice, 1959, available in CD reissues. Coda In support of a progressive registra- A Selected Bibliography tional plan for the Gravement, there are David, Hans T., and Arthur Mendel, ed. The numerous authentic and half cadences Bach Reader, A Life of Johann Sebastian throughout the contrapuntally textured Bach in Letters and Documents. New York: W. W. Norton & Company, 1945, 1966. movement that facilitate the addition of ______. The New Bach Reader, A stops and couplers, or shifts from one Life of Johann Sebastian Bach in Letters 8 manual to another. and Documents, revised and expanded by There is the anomalous presence of Christoph Wolff. New York & London: W. a low pedal B-natural (measure 66), a W. Norton & Company, 1998.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 25 Cover feature

Mander Organs, donor stepped forward with a gift of London, England $750,000, insisting that it be used to pur- Church of St. Ignatius Loyola, chase the fi nest new organ money could New York, New York buy. A second donor supplemented 25th anniversary of the organ with a gift of $250,000, which the parish matched to renovate the organ loft and From the Director of Music install the necessary additional electri- Ministries cal components and lighting. An organ Much has been written about the committee was assembled and Mr. Tritle propensity of music to expand the mind spent the next several months visiting and heart beyond the world of active organbuilders both in the United States consciousness into a realm that renders and Europe. It became clear that the language impotent. We musicians have London fi rm N. P. Mander should build an unshakeable faith in the power of the the new organ, and that it would be the music we make—given the right frame largest mechanical action organ ever of mind on the part of performer and built in the New York metropolitan area. listener, our own thorough preparation, Designed and constructed at the and the adequacy of the instrument at Mander workshops in England during hand—to break open facets of mystery 1991–1992, the fi rst shipment of materials heretofore undisclosed. The very sound arrived at the church in November 1992. of the instruments we play can get under Over the next several months, a large our skin and show us new ways of being, contingent of craftsmen and technicians giving us previously undiscovered avenues from Mander assembled the 4-manual, for experiencing the world and each other. 68-rank, 91-stop, 5,000-pipe, 30-ton, We have all trained our minds and 45-foot-high instrument. The organ’s our techniques. We are aware of our debut recital on April 27, 1993, with limitations and try to live within them David Higgs was a historic event, packing while wisely and carefully pushing back, nearly 1,800 people into a church that sat improving our craft bit by bit. What we 1,200 at Easter. At the time, historian Bar- don’t always have control over is, as I said bara Owen noted to the New York Times above, the “adequacy of the instrument at that it should become an organ of choice hand.” At some point, all organists have to for concerts and recordings. Indeed it has. make the best of impossible instruments The organ’s discography includes and acoustics, creating beauty from the recordings by ensembles such as the most improbable circumstances. At the Pittsburgh Symphony and the Westmin- Church of St. Ignatius Loyola in New ster Choir, as well as renowned organ- York City—a city full of landmark pipe ists John Scott, David Liddle, Anthony organs—we are fortunate enough to Newman, Andrew Shenton, Harry Huff, experience the opposite. David Enlow, long-time associate organ- The Church of St. Ignatius Loyola ist (now organist emerita) Nancianne was founded in 1851 and entrusted Parrella, and two solo discs by Mr. Tritle. to the Jesuits in 1866. Our present Through solo recitals by John Scott, edifi ce, built in 1898 at the corner of Marie-Claire Alain, David Hurd, Simon Park Avenue and 84th Street, housed Preston, Joan Lippincott, David Hill, a magnifi cent 3-manual Hook & Hast- Anthony Newman, Dame Gilliam Weir, ings pipe organ of 51 registers, which Stephen Tharp, Philippe Lefebvre, Gerre was expanded in 1913 to 80 stops. At Hancock, Thomas Murray, Sophie-Véro- some point prior to 1950, a subsequent nique Cauchefer-Choplin, John Grew, The N. P. Mander organ in the Church of St. Ignatius Loyola rebuild yielded an instrument of 3 man- Martin Baker, David Briggs, Ken Cowan, uals and 44 stops. The organ eventually Paul Jacobs, Christopher Houlihan, and Chorus, the Kirov Opera Chorus, Les our community, rejoices with brides fell into disrepair and was replaced by staff organists Renée Anne Louprette, Arts Florissants, the late John Tavener, and grooms, gives comfort to grieving a hybrid pipe/electronic instrument in Andrew Henderson, Robert McDermitt, and a host of others. This past spring, families, and uplifts the intercessions of 1975, which, by the late 1980s, was also Mrs. Parrella, and Mr. Tritle, the warmth, the renowned Estonian Philharmonic our children from the St. Ignatius Loyola in need of replacement. Also requiring brilliance, and majesty of the Mander Chamber Choir gave us a beautifully grammar school and our Interparish attention was the deteriorating physical organ have thrilled and delighted audi- transcendent evening of works by Arvo Religious Education Program, all at the plant of the church, housing a rather ences. No stranger to St. Ignatius, the Pärt, and I was fortunate enough to hands of our esteemed principal organ- small local congregation, which itself great Olivier Latry personally chose this accompany them at the organ, as well ist, Daniel Beckwith. It also serves as was running annual budget defi cits. organ and church as the American site as play a solo work by the venerable accompanist for three of our four adult In 1986, the Reverend Walter F. for his acclaimed millennial cycle of Mes- Mr. Pärt. A few months later, Carnegie choirs and our three children’s choirs. Modrys, S.J., became pastor of the siaen’s complete works for organ. Hall presented The Tallis Scholars at St. For me personally, the Mander has church. Recognizing the long-standing In addition to recitals, the organ is Ignatius with Daniel Hyde, organist and been an endless wellspring of inspira- importance of music to the parish, he an invaluable partner to the incompa- director of music at St. Thomas Church, tion. The tonal palette, encompassing hired Kent Tritle, a young and dynamic rable Choir and Orchestra of St. Ignatius Fifth Avenue, at the organ. the warmth of the diapasons, the gentle organist and choral conductor, to serve Loyola in our Sacred Music in a Sacred In addition to its well-documented silver crowning of the mixtures, the as the church’s music director. But given Space concert series. Over the years, presence on New York’s concert scene, breadth and lushness of the strings, the signifi cant fi nancial needs of the par- Lincoln Center has presented many the Mander organ is a spiritual partner the varied shadings of the reeds—from ish at the time, it was diffi cult to justify artists in concert, including Yo-Yo Ma, to the 4,400 families of our parish. At dark richness to brilliant fi re—and the spending enormous sums of money on Dawn Upshaw, Ton Koopman, the Hill- over 400 liturgies per year, this organ liquid fl utes, sparks my imagination a pipe organ. In 1990, an anonymous iard Ensemble, the London Symphony enriches and enlarges the prayers of as few instruments can. Every style of

Mander Organs, 1993

GRAND ORGUE (85 mm w.p.) POSITIF (75 mm w.p.) RÉCIT EXPRESSIF (85 mm w.p.) IVe CLAVIER 16′ Montre 61 pipes 8′ Montre 61 pipes 16′ Bourdon 61 pipes 8′ Montre 61 pipes 8′ Flûte à cheminée 61 pipes 8′ Diapason 61 pipes PETIT RÉCIT EXPRESSIF 8′ Flûte harmonique 61 pipes 4′ Prestant 61 pipes 8′ Salicional 61 pipes (90 mm w.p.) 8′ Violoncelle 61 pipes 4′ Flûte douce 61 pipes 8′ Unda Maris 61 pipes 8′ Flûte traversière 61 pipes 2 8′ Bourdon 61 pipes 2⁄3′ Nazard 61 pipes 8′ Cor de nuit 61 pipes 8′ Viole de Gambe 61 pipes 4′ Prestant 61 pipes 2′ Doublette 61 pipes 4′ Octave 61 pipes 8′ Voix céleste 61 pipes 4′ Flûte à fuseau 61 pipes 2′ Quarte de Nazard 61 pipes 4′ Flûte ouverte 61 pipes 8′ Bourdon 61 pipes 2 3 2⁄3′ Quinte 61 pipes 1⁄5′ Tierce 61 pipes 2′ Doublette 61 pipes 4′ Flûte octaviante 61 pipes 1 2 2′ Doublette 61 pipes 1⁄3′ Larigot 61 pipes 2⁄3′ Cornet III 183 pipes 2′ Octavin 61 pipes 3 1 1 1⁄5′ Tierce 61 pipes 1⁄3′ Plein jeu V 305 pipes 1⁄3′ Plein jeu IV 244 pipes 16′ Cor anglais 61 pipes 2′ Fourniture V 305 pipes 8′ Trompette 61 pipes 16′ Basson 61 pipes 8′ Trompette 61 pipes 2 ⁄3′ Cymbale IV 244 pipes 8′ Cromorne 61 pipes 8′ Trompette harmonique 64 pipes 8′ Basson-hautbois 61 pipes 8′ Cornet V (from g0) 270 pipes Tremblant 8′ Clarinette 61 pipes 8′ Voix humaine 61 pipes 16′ Bombarde 61 pipes IVe Clav.–Positif 4′ Clairon harmonique 76 pipes Tremblant 8′ Trompette 64 pipes Récit–Positif Tremblant 4′ Clairon 76 pipes IVe Clav.–Récit BOMBARDE (140 mm w.p.) Tremblant 16′ Bombarde 61 pipes Récit–G.O. 8′ Trompette en chamade 64 pipes Positif–G.O. 4′ Clairon en chamade 76 pipes IVe Clav.–G.O.

26 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM How could the request to provide an instrument with a French romantic fl a- vor be acceded to without excluding the repertoire of the earlier French eras, not to mention the non-French literature? How could it be made suffi ciently true to the chosen genre to afford players in the New York area a unique opportunity to gain a deeper understanding of the music of Franck, Durufl é, Messiaen, and later? How could we ensure that the liturgical requirements were satisfi ed fi rst and foremost but still afford suf- fi cient character to provide an exciting concert instrument? The combination of the varied requirements led to much discussion during the initial planning stages, among Kent Tritle, at the time director of music ministries at St. Ignatius Loyola, the consultants, and ourselves. Our main objective was to ensure that the whole instrument had integrity and a feeling of oneness. For this reason, we decided that rather than attempting to incorpo- rate different styles in the one organ, we would approach the problem from the other end and develop the core style The keydesk sympathetically, while staying true to the core itself. At an early stage in the planning, we visited a number of appropriate instruments of Cavaillé-Coll (being the obvious candidate for investigation of the French organ of the nineteenth cen- tury), intentionally spreading the selec- tion over as wide a period of his work as possible. Our fi rst discovery was that it is very diffi cult to defi ne the Cavaillé-Coll organ at all. There are wide variations in style, from the almost Dutch classical at St. Omer (1855) to the high symphonic of Rouen (1890). Our perception of the Cavaillé-Coll organ is, perhaps, infl u- enced too heavily by the Parisian instru- ments in general and that of St. Sulpice in particular. However, the study of these instru- ments actually gave us the clue as to the best way forward. In particular, we were The pedalboard, expression shoes, and toe pistons able to appreciate the way Cavaillé-Coll could base a new instrument around Cathedral Church of St. John the Divine, From the Builder existing pipework and cases, yet still pro- The Positif and Grand-Orgue stop jamb Kent Tritle. The organ remains at center It is not every day that an organbuilder duce an exciting and interesting result stage as we celebrate its silver anniver- is asked to build an instrument of the size with the integrity essential to any good repertoire from every school of organ- sary throughout the 2017–2018 season. and signifi cance of that at the Church of instrument. It was especially instructive building and composition excels here It is my hope that if you haven’t expe- St. Ignatius Loyola in New York. As the to see how he could achieve this and still with panache. rienced the ravishing beauty of this land- specifi cation indicates, the organ draws create an organ that bore his own unmis- Now in its 25th year, the Mander mark instrument, you will join us at some on the French Romantic era for inspira- takable stamp. has proven itself as a more-than-worthy point, either in liturgy or concert. A feast tion. But it also goes much further in its With this appreciation, we decided to investment of parish resources, reaching for the ear and eye alike, it will stir your development to provide an instrument base the new organ for St. Ignatius on the vast audiences and touching the lives of heart and mind. You will be changed. of versatility and integrity matching both middle period of Cavaillé-Coll’s own work, tens of thousands. The 29th season of —K. Scott Warren the musical demands of the church’s developing it, while remaining true to our Sacred Music in a Sacred Space opened Director of Music Ministries, Church of liturgy and the wide-ranging require- chosen starting point. For example, a Posi- on October 6 with an astonishing concert St. Ignatius Loyola ments of St. Ignatius Loyola’s extensive tif de Dos was included, but the pipework by the Philippine Madrigal Singers and Artistic Director, Sacred Music in a Sacred Music in a Sacred Space concert was scaled and voiced in the same style as a brilliant solo organ recital on October Sacred Space series. However, the organ at St. Igna- the rest of the organ. Very few, if any new 22 by former St. Ignatius music director, Organist/Choirmaster, Congregation tius Loyola is not a slavish copy of a organs of the mid-nineteenth century in now director of cathedral music at the Emanu-El mid-nineteenth century French organ, France had a Positif de Dos, as the Positif let alone a copy of a Cavaillé-Coll. The was usually incorporated within the main style was used as a starting point rather case. The Grand Récit was developed than an end in itself. to provide the grand Swell Organ effect Church of St. Ignatius Loyola, New York, New York The mid-nineteenth century French demanded of an instrument of the late organ has an obvious relationship to the twentieth century. PEDALE (95 & 110 mm w.p.) Etoile (in memory of Bridie Callahan by liturgy of a Jesuit church with an active The important requirements of a ′ ′ 32 Soubasse (ext 16 ) 12 pipes The Mary Duke Biddle Foundation) music program. But to have restricted Franck-style Récit, which could not have 16′ Montre 32 pipes 16′ Contrebasse 32 pipes Orage the style to that would have placed too been realized in a large enclosed depart- 16′ Soubasse 32 pipes many limitations on the general versa- ment, were satisfi ed by the Petit Récit on 8′ Principal 32 pipes 256 memory level capture action system. tility of the organ. Attempts have been the fourth manual, also the home of some ′ 8 Flûte bouchée 32 pipes Keys of bone, sharps of ebony. made to mitigate the limitations inevita- of the important Solo elements. The 4′ Octave 32 pipes Case of French oak. 1 bly inherent in copying a particular style Pedal was developed to be as complete 3⁄5′ Mixture V 160 pipes Interior supports of American oak. 32′ Contre Bombarde (ext 16′) Stop jambs of bur walnut, maple inlay. by the introduction of elements from dif- and independent as possible. Finally, 12 pipes Stops of rosewood. ferent and often disparate schools. The some registers, which would have been ′ 16 Bombarde 32 pipes consequential lack of blend has some- foreign to a true mid-nineteenth century 16′ Basson 32 pipes All couplers are purely mechanical; there is 8′ Trompette 32 pipes no electric assist. times given rise to what is in essence a French organ, were incorporated, but 4′ Clairon 32 pipes number of smaller organs masquerading these were always scaled and voiced in G.O.–Pédale 5,196 pipes as a large one. a style fi rmly in keeping with the rest of Récit–Pédale How then to satisfy the requirements the instrument. Positif–Pédale IVe Clav.–Pédale of a modern instrument to perform musi- Without proper attention to the cally, if not strictly authentically, a large starting point, the result could well part of the rich repertoire for the organ? have turned out to be bland and of

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 27 Cover feature indeterminate character. However, while voicing the organ, we continually ensured we were staying faithful to our model. As we progressed with the voicing, we had pieces of the French repertoire played on the organ to ensure we were neither straying too far away from our inspira- tion nor missing important details in our attempt to develop the overall style. The result, we hope, is an organ with a voice of its own, perhaps an English organ speaking with a strong French accent. Our aim was an instrument capable of produc- ing a musical result, accepting that the gain in character might to some degree limit true authenticity. Above all, however, we wanted to create an instrument that is unashamedly of our own era, one which can stand proudly as a representation of late twentieth-century craftsmanship. No organ is the product of one per- son, and this one drew on some people who really need to be acknowledged as signifi cant contributors to the project. The case design was conceived by Did- dier Grassin, now president of the Noack Organ Company. He also advised us and arranged our study tour in France. The late Stephen Bicknell did the techni- cal design as well as the realization of Didier’s design. The Mander team really pulled together to make this challenging dream a reality, not least Michael Bligh- The nave and organ at the Church of St. Ignatius Loyola ton, the voicer. Fr. Walter Modrys, pas- tor at the time, gave unstinting support and encouragement to us all. But, above all, it was Kent Tritle’s vision, encourage- ment, trust, advice, and great friendship that bound us all together and made his dream possible. —John Pike Mander

Concerts celebrating the 25th anni- versary of the N. P. Mander organ, 2017–2018 season

Maurice Durufl é, Requiem and other works Thursday, November 2, 2017, 8 p.m. Choir of St. Ignatius Loyola K. Scott Warren, conductor David Enlow, organ Messe “Cum jubilo” Four Motets on Gregorian Themes Our Father

Love’s Pure Light: Annual Christmas Concert Sunday, December 10, 2017, 3 p.m. Sunday, December 17, 2017, 3 p.m. Choirs & Orchestra of St. Ignatius Loyola Daniel Beckwith, organ J. S. Bach, Wachet auf, ruft uns die Stimme Handel, “Hallelujah” from Messiah Popular carols The façade of the main case N. P. Mander Organ Recital Sunday, January 14, 2018, 3 p.m. Simon Johnson

N. P. Mander Organ Recital Sunday, February 18, 2018, 3 p.m. Reneé Anne Louprette

J. S. Bach: Visions of Eternity Wednesday, March 21, 2018, 8 p.m. Choir & Orchestra of St. Ignatius Loyola K. Scott Warren, conductor Andrew Henderson, organ Chorales, motets, and arias

N. P. Mander Organ Recital Sunday, April 15, 2018, 3 p.m David Higgs John Pike Mander Interior pipework Francis Poulenc, Gloria, Organ Con- certo, and Mass in G Major Photo credits: Church website: Church of St. Ignatius Loyola Wednesday, May 23, 2018, 8 p.m. Joshua South Photography www.stignatiusloyola.org 980 Park Avenue Choir & Orchestra of St. Ignatius Loyola New York, New York 10028 K. Scott Warren, conductor Builder’s website: Concerts website: Reneé Anne Louprette, organ https://mander-organs.com www.smssconcerts.org Phone: 212/288-3588

28 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Clara Gerdes; Cathedral of St. Philip, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Atlanta, GA 3:15 pm recital, 4 pm Choral Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Evensong Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ Schubert, Mass in G; Christ Church, Bra- Bloomingdale, IL recitals unless otherwise indicated and are grouped denton, FL 11 am within each date north-south and east-west. •=AGO Jonathan Ryan; Independent Presbyte- chapter event, • •=RCCO centre event, +=new organ rian, Birmingham, AL 4 pm dedication, ++= OHS event. Choral Evensong; Cathedral Church of Christopher Babcock Michael J. Batcho Information cannot be accepted unless it St. Paul, Detroit, MI 4 pm specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological 27 NOVEMBER St. Andrew’s by the Sea, order; please do not send duplicate listings. Christine Kraemer; Presbyterian Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume Homes, Evanston, IL 1:30 pm MILWAUKEE responsibility for the accuracy of calendar entries. 29 NOVEMBER Robert Myers; Trinity Lutheran, Cleve- UNITED STATES land, OH 12:15 pm East of the Mississippi Karen Beaumont; Cathedral of St. John Dean W. Billmeyer the Evangelist, Milwaukee, WI 12:15 pm 15 NOVEMBER University of Minnesota Matthew Buller; Trinity Lutheran, Cleve- 30 NOVEMBER land, OH 12:15 pm Ian Tomesch; Woolsey Hall, Yale Univer- Minneapolis 55455 • [email protected] sity, New Haven, CT 7:30 pm 17 NOVEMBER Handel, Messiah; Cathedral of the As- Bruce Neswick, hymn festival; Lutheran sumption, Louisville, KY 7:30 pm Church of the Incarnate Word, Rochester, NY 8 pm 1 DECEMBER GAVIN BLACK Byron L. Blackmore Margaret Harper; St. Paul Cathedral, A Chanticleer Christmas; St. Ignatius Princeton Early Keyboard Center Crown of Life Lutheran Church Pittsburgh, PA 7:30 pm Loyola Catholic Church, New York, NY 8 pm Thomas Gouwens; Fourth Presbyte- Handel, Messiah; Duke University Cha- 732/599-0392 Sun City West, Arizona rian, Chicago, IL 12:10 pm pel, Durham, NC 7:30 pm www.pekc.org 623/214-4903 Jan Kraybill; Fourth Presbyterian, Chi- • Tom Granum, Dean Robinson, Mari- cago, IL 7:30 pm jim Thoene, with Ann Arbor Boy Choir; First Presbyterian, Ann Arbor, MI 7 pm 18 NOVEMBER Jinhee Kim; First Presbyterian, Evans- THOMAS BROWN Carson Cooman Yale Voxtet; Marquand Chapel, Yale Uni- ville, IN 7 pm versity, New Haven, CT 7:30 pm UNIVERSITY Composer and Concert Organist Bruce Neswick, masterclass; Third 2 DECEMBER PRESBYTERIAN CHURCH Presbyterian, Rochester, NY 10 am Ray Cornils, with brass; Methuen Me- CHAPEL HILL, NORTH CAROLINA Harvard University Bella Voce, Handel, Messiah; Buchanan morial Music Hall, Methuen, MA 7 pm ThomasBrownMusic.com www.carsoncooman.com Chapel, Fourth Presbyterian, Chicago, IL Yale Camerata; Battell Chapel, Yale Uni- 7 pm versity, New Haven, CT 7:30 pm Handel, Messiah; Duke University Cha- 19 NOVEMBER pel, Durham, NC 2 pm JAMES DORROH, AAGO, PhD Martin Baker; Woolsey Hall, Yale Univer- Appleton Boychoir, Lessons & Carols; DELBERT DISSELHORST Saint Luke’s Episcopal Church sity, New Haven, CT 7:30 pm Lawrence University, Appleton, WI 1 pm & St. Andrew Chorale & Orchestra; Madison 4 pm Samford University Avenue Presbyterian, New York, NY 3 pm Professor Emeritus St. Charles Singers; Fourth Presbyterian, Birmingham, Alabama Ivan Bosnar, Amanda Mole, & Caro- University of Iowa–Iowa City Chicago, IL 7:30 pm line Robinson; East Liberty Presbyterian, Organ Consultant Organ Recitals Music Institute of Chicago Chorale & Pittsburgh, PA 3 pm Chicago Children’s Choir; Our Lady of the Christopher Houlihan; St. Matthew Lu- Brook Catholic Church, Northbrook, IL theran, Hanover, PA 4 pm STEVEN EGLER F. Allen Artz, III; Trinity Episcopal, Potts- 7:30 pm JOHN FENSTERMAKER ville, PA 4 pm Central Michigan University 3 DECEMBER Kipp Cortez; Washington National Ca- School of Music RINITY BY THE OVE Ray Cornils, with brass; Methuen Me- T - - -C thedral, Washington, DC 5:15 pm morial Music Hall, Methuen, MA 3 pm Mt. Pleasant, MI 48859 Nathan Laube; Virginia Theological [email protected] NAPLES, FLORIDA Seminary, Alexandria, VA 7 pm Advent Lessons & Carols; Trinity Luther- Handel, Messiah Sing-Along; Duke Uni- an, Worcester, MA 4 pm versity Chapel, Durham, NC 5:15 pm New York City Children’s Chorus; Madison Jason Klein; Cathedral of St. Philip, Avenue Presbyterian, New York, NY 3 pm Norberto Atlanta, GA 3:15 pm recital, 4 pm Choral Daniel Brondel; St. Patrick’s Cathedral, Evensong New York, NY 3:15 pm Susan Goodson Guinaldo Choral Evensong; Cathedral Church of A Chanticleer Christmas; St. Ignatius the Advent, Birmingham, AL 3 pm Loyola Catholic Church, New York, NY 4 pm Emanuel United Church of Christ His Music Jens Korndörfer; Independent Presby- Poulenc, Gloria; Shadyside Presbyterian, Manchester, Michigan See—Listen—Buy terian, Birmingham, AL 4 pm Pittsburgh, PA 3 pm www.GuinaldoPublications.com Raúl Prieto Ramírez; First (Park) Con- Caroline Robinson; Westmont Presbyte- gregational UCC, Grand Rapids, MI 4 pm rian, Johnstown, PA 4 pm Choral Evensong; Christ Church, Grosse Handel, Messiah; Duke University Cha- A Professional Card in Pointe Farms, MI 4:30 pm pel, Durham, NC 3 pm TEPHEN AMILTON Melody Turner; Madonna della Strada Advent Procession with Lessons & Car- The Diapason S H Chapel, Chicago, IL 3 pm ols; Cathedral of St. Philip, Atlanta, GA 4 pm For rates and digital specifi cations, recitalist–clinician–educator North Shore Choral Society; St. John Bach Vespers; Calvary Episcopal, Louis- Brebeuf Catholic Church, Niles, IL 3 pm ville, KY 4 pm contact Jerome Butera www.stephenjonhamilton.com Bella Voce, Handel, Messiah; St. Luke’s Advent Lessons & Carols; Cathedral 847/391-1045; [email protected] Episcopal, Evanston, IL 7 pm Church of the Advent, Birmingham, AL 9 & 11 am 20 NOVEMBER Advent Procession; Cathedral Church of Raúl Prieto Ramírez, workshop; First St. Paul, Detroit, MI 4 pm David Herman (Park) Congregational UCC, Grand Rap- Advent Procession; Christ Church, ids, MI 4 pm Grosse Pointe Farms, MI 4:30 pm Trustees Distinguished Professor Emeritus of Music and University Organist Vienna Boys Choir; Cathedral of St. Jo- Advent Lessons & Carols; St. Chrysos- seph the Workman, La Crosse, WI 7 pm tom’s Episcopal, Chicago, IL 11 am The University of Delaware Q [email protected] Handel, Messiah; Rockefeller Memorial 22 NOVEMBER Chapel, University of Chicago, Chicago, IL Robert Myers; Trinity Lutheran, Cleve- 3 pm land, OH 12:15 pm Advent Lessons & Carols; St. James 23 NOVEMBER Episcopal Cathedral, Chicago, IL 6:30 pm Karen Beaumont; Milwaukee Catholic Candlelight Lessons & Carols; St. Luke’s Home, Milwaukee, WI 2 pm Lutheran, Park Ridge, IL 4 pm Lorraine Brugh, Ph.D. 24 NOVEMBER 4 DECEMBER Professor of Music Bach, Christmas Oratorio; Woolsey Hall, John Sherer; Fourth Presbyterian, Chi- University Organist cago, IL 12:10 pm Yale University, New Haven, CT 7:30 pm Valparaiso, Ind. 26 NOVEMBER 5 DECEMBER Matthew Brown; Washington National Handel, Messiah; St. Thomas Church valpo.edu Cathedral, Washington, DC 5:15 pm Fifth Avenue, New York, NY 7:30 pm 219.464.5084 Bach Cantata; Duke University Chapel, Chanticleer; Fourth Presbyterian, Chi- [email protected] Durham, NC 5:15 pm cago, IL 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 6 DECEMBER Candlelight Vespers; Shadyside Presby- New York, NY Syracuse, NY 13203-2816 Candlelight Vespers; Shadyside Presby- terian, Pittsburgh, PA 7 pm www.andrewhenderson.net terian, Pittsburgh, PA 7 pm Josiah Armes; Advent Lutheran, Mel- (315) 471-8451 Dallas Gambrill; Advent Lutheran, Mel- bourne, FL 12 noon bourne, FL 12 noon Christine Kraemer; St. Luke’s Episco- Christine Kraemer; St. Luke’s Episco- pal, Evanston, IL 11:30 am pal, Evanston, IL 11:30 am Richard Barrick Hoskins Chanticleer; Fourth Presbyterian, Chi- 14 DECEMBER Brian Jones cago, IL 7:30 pm Britten, A Ceremony of Carols; St. Thomas Director of Music & Organist Director of Music Emeritus Church Fifth Avenue, New York, NY 5:30 pm St. Chrysostom's Church 7 DECEMBER Handel, Messiah; Lincoln Center, New Chicago TRINITY CHURCH Handel, Messiah; St. Thomas Church York, NY 7:30 pm [email protected] BOSTON Fifth Avenue, New York, NY 7:30 pm John Fraser Jull; Christ Church, Bra- Choir of St. Luke in the Fields; St. Luke in denton, FL 12:15 pm the Fields Episcopal, New York, NY 8 pm Christmas Lessons & Carols; Cathedral Advent Lessons & Carols; Duke Univer- Church of the Advent, Birmingham, AL 3 pm KIM R. KASLING JAMES KIBBIE sity Chapel, Durham, NC 6 pm Julane Rodgers, harpsichord; Christ 15 DECEMBER D.M.A. The University of Michigan Church, Bradenton, FL 12:15 pm The Thirteen; Christ Church, New Ha- St. John’s University Ann Arbor, MI 48109-2085 Shin-Ae Chun, with violin; First Baptist, ven, CT 7:30 pm 734-764-1591 FAX: 734-763-5097 Ann Arbor, MI 12:15 pm Handel, Messiah; Lincoln Center, New Collegeville, MN 56321 email: [email protected] York, NY 11 am 8 DECEMBER The Salvatones; St. Patrick’s Cathedral, Dessoff Choirs; St. Peter’s Church, New New York, NY 4 pm York, NY 7 pm TENET; All Souls Unitarian, New York, David K. Lamb, D.Mus. Alan Morrison, with Spivey Hall Chil- NY 7 pm dren’s Choir; Spivey Hall, Clayton State Georgia Boy Choir; Peachtree Road Director of Music University, Morrow, GA 7:30 pm United Methodist, Atlanta, GA 7 pm Trinity United Methodist Church Advent Lessons & Carols; Cathedral of Cathedral Handbell Ringers; Cathedral ORGAN CONSULTANT New Albany, Indiana the Assumption, Louisville, KY 7:30 pm Church of the Advent, Birmingham, AL www.gabrielkney.com 812/944-2229 12:30 pm 9 DECEMBER Quire Cleveland; Trinity Episcopal Cathe- Dessoff Choirs, Handel, Messiah Sing- dral, Cleveland, OH 7:30 pm Along; Union Theological Seminary, New Bella Voce; Buchanan Chapel, Fourth York, NY 4 pm Presbyterian, Chicago, IL 7:30 pm Christmas Concert; Cathedral of St. John A.S.C.A.P. the Divine, New York, NY 7 pm 16 DECEMBER FELLOW, AMERICAN GUILD OF ORGANISTS Early Music New York; First Church of Canticum Novum Singers; St. Ignatius of

345 SADDLE LAKE DRIVE Christ, Scientist, New York, NY 7:30 pm Antioch Episcopal, New York, NY 2 pm ROSWELL-ATLANTA, GEORGIA 30076 Alan Morrison, with Spivey Hall Chil- Handel, Messiah; Lincoln Center, New (770) 594-0949 dren’s Choir; Spivey Hall, Clayton State York, NY 7:30 pm University, Morrow, GA 3 pm Georgia Boy Choir; Peachtree Road Chicago A Cappella; Fourth Presbyte- United Methodist, Atlanta, GA 7 pm rian, Chicago, IL 7:30 pm Lessons & Carols; St. John Cantius Catholic Church, Chicago, IL 7 pm 10 DECEMBER Bella Voce; St. Procopius Abbey, Lisle, IL Lessons & Carols; St. John’s Episcopal, 7:30 pm Professor Emeritus – University of Michigan – Ann Arbor West Hartford, CT 3 pm Professor of Organ for 67 years Early Music New York; Cathedral of St. 17 DECEMBER MarilynThe University’s longest-serving faculty memberMason John the Divine, New York, NY 2 pm Early Music New York; Cathedral of St. Christmas Concert; St. Ignatius Loyola John the Divine, New York, NY 2 pm Catholic Church, New York, NY 3 pm Christmas Concert; St. Ignatius Loyola A two-inch Professional Card in The Diapason Canticum Novum Singers; St. Luke’s Catholic Church, New York, NY 3 pm Episcopal, Katonah, NY 3 pm Carol Sing; Madison Avenue Presbyte- Dessoff Choirs; St. John’s Episcopal, rian, New York, NY 3 pm For information on rates and specifi cations, contact Jerome Butera: Brooklyn, NY 4 pm Lessons & Carols; St. John’s Episcopal, Bach, Magnifi cat; Shadyside Presbyte- Hagerstown, MD 10:15 am [email protected] 608/634-6253 rian, Pittsburgh, PA 3 pm Christmas Lessons & Carols; Emmanuel Advent Lessons & Carols; Christ Church, Episcopal, Cumberland, MD 5 pm Easton, MD 4 pm Christopher Jacobson; Duke University Alan Morrison, with Spivey Hall Chil- Chapel, Durham, NC 5 pm dren’s Choir; Spivey Hall, Clayton State Christmas Lessons & Carols; Cathedral University, Morrow, GA 3 pm of St. Philip, Atlanta, GA 4 pm PHILIP CROZIER LARRY PALMER Christmas Concert; Peachtree Road Carols by Candlelight; Peachtree Road United Methodist, Atlanta, GA 7 pm United Methodist, Atlanta, GA 5:30 pm CONCERT ORGANIST Harpsichord – Organ Advent Lessons & Carols; Christ Church, Advent Lessons & Carols; St. Paul’s ACCOMPANIST Bradenton, FL 11 am Episcopal, Delray Beach, FL 3 pm Professor of Music, Emeritus Handel, Messiah; Christ Church, Grosse Quire Cleveland; St. Peter Catholic 3355 Queen Mary Road, Apt 424 Pointe Farms, MI 4:30 pm Church, Cleveland, OH 4 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Handel, Messiah, Part I; First Presbyte- Lessons & Carols; Calvary Episcopal, rian, Evansville, IN 10:30 am Louisville, KY 4 pm Canada Karen Beaumont; St. John’s Lutheran, Lessons & Carols; Cathedral Church of (514) 739-8696 Recitals — Lectures — Consultancies Milwaukee, WI 2 pm St. Paul, Detroit, MI 4 pm [email protected] Advent Vespers; Rockefeller Memorial Lessons & Carols; Christ Church, Grosse [email protected] + 214.350-3628 Chapel, University of Chicago, Chicago, IL Pointe Farms, MI 4:30 pm 4 pm Lafayette Master Chorale, Lessons & Advent Procession; Immanuel Lutheran, Carols; First Baptist, Lafayette, IN 4 pm & Chicago, IL 4:30 pm 7:30 pm Advent Lessons & Carols; Church of the Joseph Burgio; Madonna della Strada Holy Comforter, Kenilworth, IL 5 pm Chapel, Chicago, IL 3 pm Advent Lessons & Carols; Fourth Pres- Caroling with the Carillon; St. Chrysos- A gift subscription to byterian, Chicago, IL 6:30 pm tom’s Episcopal, Chicago, IL 3 pm Advent Vespers; Rockefeller Memorial 11 DECEMBER Chapel, University of Chicago, Chicago, IL Mariner Chapel Choir & Kings Point 4 pm The Diapason Glee Club; United States Merchant Marine Bella Voce; St. Luke’s Episcopal, Evan- The perfect gift for Academy, Kings Point, NY, 7 pm ston, IL 7:30 pm + organist colleagues + choir directors 12 DECEMBER 18 DECEMBER David Simon; Christ Church, New Ha- Oratorio Society of New York, Handel, + students + organ builders ven, CT 7:30 pm Messiah; Carnegie Hall, New York, NY 8 pm + teachers + clergy Thomas Fielding; Central Synagogue, New York, NY 12:30 pm 19 DECEMBER Each month your gift will keep on giving by providing the Yuejian Chen; St. Paul the Apostle Cath- Ray Cornils; Merrill Auditorium, Port- important news of the organ and church music fi eld. Know that olic Church, New York, NY 7 pm land, ME 7 pm Handel, Messiah; Lincoln Center, New your gift will be just right. York, NY 7:30 pm 20 DECEMBER For information, contact Donna Heuberger, 847/954-7986; Candlelight Vespers; Shadyside Presby- [email protected]. Or visit www.thediapason.com and 13 DECEMBER terian, Pittsburgh, PA 7 pm click “subscribe.” Rosalind Mohnsen; Trinity Episcopal, Christine Kraemer; St. Luke’s Episco- Melrose, MA 12:10 pm pal, Evanston, IL 11:30 am $40 one year USA ($50 foreign, $20 student) Handel, Messiah; Lincoln Center, New Christmas Lessons & Carols; St. James York, NY 7:30 pm Episcopal Cathedral, Chicago, IL 6:30 pm

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Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 21 DECEMBER Katelyn Emerson; Trinity Lutheran, Lynn- Southminster Presbyterian Church Musica Sacra, Handel, Messiah; Carn- wood, WA 7 pm SHORT HILLS Arlington Heights, IL 60005 egie Hall, New York, NY 7:30 pm Jin Kyung Lim; Cathedral of St. Mary of Peter Madpak; Christ Church, Braden- the Assumption, San Francisco, CA 4 pm ton, FL 12:15 pm 20 NOVEMBER A one-inch Professional Card 22 DECEMBER Ken Cowan; St. Andrew’s Episcopal, DEREK E. NICKELS, DMA in The Diapason Kansas City, MO 7:30 pm John Sherer; Fourth Presbyterian, Chi- Church of the Holy Comforter cago, IL 12:10 pm For information on rates and specifi cations, 26 NOVEMBER Kenilworth, IL 60043 23 DECEMBER Ann-Helena Schlueter; Cathedral of St. contact Jerome Butera: Tower Brass; Fourth Presbyterian, Chi- Mary of the Assumption, San Francisco, (847) 251-6120 • [email protected] [email protected] 608/634-6253 cago, IL 5 pm CA 4 pm

24 DECEMBER 3 DECEMBER Christmas Lessons & Carols; Duke Uni- Advent Vespers; Second Presbyterian, Stephen G. Schaeffer Jeffrey Schleff, Ed.D. versity Chapel, Durham, NC 11 pm St. Louis, MO 4 pm Recitals – Consultations Organist – Teacher – Consultant James David Christie; St. Paul’s Epis- Director of Music Emeritus 25 DECEMBER copal, Salem, OR 5 pm Sulphur Public Schools, Sulphur, OK Early Music New York; Cathedral of St. Cathedral Church of the Advent First Presbyterian Church, Grand Prairie, Texas 8 DECEMBER John the Divine, New York, NY 2 pm & 5 pm Birmingham, Alabama [email protected] Handel, Messiah; Highland Park Presby- 30 DECEMBER terian, Dallas, TX 7 pm TENET; St. Joseph’s Church, New York, NY 7:30 pm 9 DECEMBER ROBERT L. Northwest Boychoir, Lessons & Carols; STEPHEN SCHNURR 31 DECEMBER Trinity Lutheran, Lynnwood, WA 7:30 pm Nathan Lively; St. Patrick’s Cathedral, Saint Paul Catholic Church SIMPSON New York, NY 3:15 pm 10 DECEMBER Christ Church Cathedral Lessons & Carols; Emmanuel Episcopal, Valparaiso, Indiana 1117 Texas Avenue Clarion; Cathedral of the Holy Trinity, Houston, Texas 77002 New York, NY 5 pm Mercer Island, WA 7 pm Cathedral Choir and Orchestra; Cathedral Lessons & Carols; St. Margaret’s Episco- pal, Palm Desert, CA 7 pm of St. John the Divine, New York, NY 7 pm ]

UNITED STATES 15 DECEMBER Joe Utterback Christmas Concert; Highland Park Pres- Mark Steinbach ]] ] West of the Mississippi www.jazzmuze.com byterian, Dallas, TX 7 pm Brown University Katherine Meloan; Trinity Episcopal, 15 NOVEMBER Reno, NV 12 noon 203 386 9992 Carson Cooman; Third Baptist, St. Lou- Christmas Concert; Christ Cathedral, is, MO 6 pm Garden Grove, CA 7:30 pm

16 NOVEMBER 16 DECEMBER Vincent Dubois, Poulenc, Organ Con- Lessons & Carols; St. Mark’s Episcopal Kevin Walters certo, Saint-Saëns, Symphonie III; Meyer- Cathedral, Seattle, WA 7:30 pm David Wagner son Symphony Center, Dallas, TX 7:30 pm Choir of Clare College, Cambridge, UK; DMA M.A., F.A.G.O. St. Margaret’s Episcopal, Palm Desert, CA www.davidwagnerorganist.com 17 NOVEMBER 7 pm Rye, New York Vincent Dubois, Poulenc, Organ Con- certo, Saint-Saëns, Symphonie III; Meyer- 17 DECEMBER son Symphony Center, Dallas, TX 7:30 pm Lessons & Carols; Holy Rosary Catholic Monica Czausz; University of Nevada, Church, Seattle, WA 7 pm Las Vegas, NV 7:30 pm Katherine Meloan; Cathedral of St. Alan G Woolley PhD KARL WATSON Joseph Adam; Christ Episcopal, Taco- Mary of the Assumption, San Francisco, Musical Instrument Research ma, WA 12:10 pm CA 4 pm SAINT LUKE’S Edinburgh

18 NOVEMBER 19 DECEMBER [email protected]

Vincent Dubois, Poulenc, Organ Con- Lessons & Carols; St. Mark’s Episcopal METUCHEN certo, Saint-Saëns, Symphonie III; Meyer- Cathedral, Seattle, WA 7:30 pm son Symphony Center, Dallas, TX 7:30 pm Todd Wilson; Segerstrom Concert Hall, Costa Mesa, CA 7:30 pm 19 NOVEMBER RUDOLF ZUIDERVELD Vincent Dubois, Poulenc, Organ Con- 20 DECEMBER RONALD WYATT certo, Saint-Saëns, Symphonie III; Meyer- Lessons & Carols; St. Mark’s Episcopal Illinois College, Jacksonville son Symphony Center, Dallas, TX 2:30 pm Cathedral, Seattle, WA 7:30 pm Trinity Church Galveston First Presbyterian Church, Springfi eld

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: 5 [email protected] [email protected] 608/634-6253 7KH0RGHUQ2UJDQLVWDELFHQWHQQLDOUHÀHFWLRQ 6 XSRQWKHDUWRIRQHRIWKHPRVWSRSXODUDQGSRZHUIXO = 3DULVLDQRUJDQLVWRIWKHWKFHQWXU\/RXLV-DPHV , $OIUHG/HIpEXUH:HO\   A two-inch Professional Card in The Diapason %DFKLQ&RQFHUWDFROOHFWLRQRISUHYLRXVO\ 4 XQKHDUGUHFLWDOSHUIRUPDQFHVIURPWKH3LSHGUHDPV For information on rates and specifi cations, contact Jerome Butera: ) DUFKLYH [email protected] 608/634-6253 , $%RXQWLIXO+DUYHVWJLYHWKDQNVIRUWKHTXDQWLW\ 9 DQGDQGTXDOLW\RI$PHULFDQFRPSRVHUVIRUWKHSLSH RUJDQ ArtistArtist Spotlights Spotlightspotlight s ±0RUH)LQQLVKHG%XVLQHVVLQFHOHEUDWLRQRIWKH  WKDQQLYHUVDU\RI)LQODQG¶VLQGHSHQGHQFH 'HFHPEHU Artist Spotlights  ZHIRFXVRQ)LQQLVKFRPSRVHUVSHUIRUPHUV are available on  DQG)LQQLVKEXLOWLQVWUXPHQWV Your professional card The Diapason  website and could appear here!  e-mail newsletter. Contact Jerome Contact: [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2017 Q 31 Calendar

21 DECEMBER 24 NOVEMBER 2 DECEMBER 17 DECEMBER Lessons & Carols; St. Alphonsus Catho- Roger Sayer; Cathedral, Portsmouth, Ex Cathedra; St. Peter’s, Wolverhamp- Jubilee Concert; Abbey Church, Berne, lic Church, Seattle, WA 7:30 pm UK 8 pm ton, UK 7:30 pm Netherlands 4 pm Handel, Messiah; Vancouver Playhouse, Simon Johnson, Messaien, La Nativité; 22 DECEMBER 25 NOVEMBER Vancouver, BC, Canada 7:30 pm St. Paul’s Cathedral, London, UK 6 pm Northwest Boychoir, Lessons & Carols; Arvid Gast; St. Albans Cathedral, St. Al- Benaroya Hall, Seattle, WA 7:30 pm bans, UK 5:30 pm 3 DECEMBER 19 DECEMBER Kirsten Ruhwandl; Klosterkirche, Richard Brasier; St. George’s, Hanover Square, London, UK 1:10 pm INTERNATIONAL 26 NOVEMBER Fürstenfeld, Germany 12:10 pm Ex Cathedra; St. Paul’s Church, Birming- Ulrich Theißen, with oboe; Stadt- Kersten Cottyn, with soprano, cello, cornet; Sint-Stefanuskerk, Gent, Belgium ham, UK 7:30 pm 17 NOVEMBER pfarrkirche St. Martin, Bamberg, Germany 4 pm Anthony Gritten; St. Stephen Walbrook, 5:30 pm Ex Cathedra, Monteverdi, Vespers; Town 20 DECEMBER London, UK 12:30 pm Paul de Maeyer, Kristiaan Van Ingel- Hall, Birmingham, UK 4 pm Ex Cathedra; St. Paul’s Church, Birming- Richard Brasier; University of Edin- gem, Kris Wittevrongel, & Bart Wuilmus; Benjamin Cunningham; Westminster ham, UK 7:30 pm burgh, Edinburgh, UK 1:10 pm St. Stefanuskerk, Gent, Belgium 3 pm Abbey, London, UK 5:45 pm Petra Veenswijk; Maria van Jessekerk, 21 DECEMBER 18 NOVEMBER Delft, Netherlands 3 pm 5 DECEMBER Ex Cathedra; St. Paul’s Church, Birming- Ingrid Kasper; Stadtpfarrkirche St. Mar- Ryan Leonard; Westminster Abbey, Lon- Jérôme Faucheur; St. George’s, Ha- ham, UK 7:30 pm tin, Bamberg, Germany 5:30 pm don, UK 5:45 pm nover Square, London, UK 1:10 pm 22 DECEMBER 19 NOVEMBER Richard Moore; All Saints Church, Lon- Ex Cathedra; St. Paul’s Church, Birming- 7 DECEMBER Tobias Aehlig; St. Laurentius, Erwitte, don, UK 7:15 pm ham, UK 7:30 pm Ex Cathedra; St. James the Greater, Germany 4:30 pm Leicester, UK 7:30 pm Andrew Furniss; St. Paul’s Cathedral, 27 NOVEMBER 23 DECEMBER Gerard Brooks; Christ Church, Spital- Jaap Kroonenburg; Nieuwe Kerk, London, UK 4:45 pm 10 DECEMBER Benjamin Cunningham; Westminster fi elds, London, UK 7:30 pm Maassluis, Netherlands 8 pm Mark Ehlert; Klosterkirche, Fürstenfeld, Ex Cathedra; St. Paul’s Church, Birming- Abbey, London, UK 5:45 pm Germany 12:10 pm 28 NOVEMBER ham, UK 7:30 pm Schola Cantorum; Maria van Jessekerk, 20 NOVEMBER Jonathan Gregory; Grosvenor Chapel, Douglas Cleveland; Golden Sailing Delft, Netherlands 3 pm 26 DECEMBER London, UK 1:10 pm Nicholas Freestone Concert Hall, Beijing, China 7:30 pm ; St. Paul’s Cathe- Christoph Hauser; Klosterkirche, dral, London, UK 4:45 pm 29 NOVEMBER Fürstenfeld, Germany 12:10 pm Matthew Jorysz; Westminster Abbey, Daniel Bishop; Liverpool Cathedral, Liv- 21 NOVEMBER Holger Gehring; Kreuzkirche, Dresden, London, UK 5:45 pm erpool, UK 11:15 am Douglas Cleveland; Central Conserva- Germany 8 pm tory of Music, Beijing, China 7:30 pm Martin Baker; Westminster Cathedral, Hans-Georg Reinertz; St. Lawrence 12 DECEMBER 31 DECEMBER London, UK 7:30 pm Jewry, London, UK 2 pm Richard Hobson; Grosvenor Chapel, Hans-André Stamm; Abteikirche, Köln, London, UK 1:10 pm Germany 10 pm 22 NOVEMBER 30 NOVEMBER Ex Cathedra; Cathedral, Hereford, UK Christoph Hauser, with trumpet; Nicholas Freestone; Temple Church, Handel, Messiah; White Rock Baptist, 7:30 pm Klosterkirche, Fürstenfeld, Germany 10 pm London, UK 1:15 pm Vancouver, BC, Canada 7:30 pm

23 NOVEMBER 1 DECEMBER Michael Utz; Abteikirche, Köln, Germany Peter Wright; St. Stephen Walbrook, 8 pm London, UK 12:30 pm Hans-Georg Reinertz; St. Margaret Handel, Messiah; Vancouver Playhouse, Lothbury, London, UK 1:10 pm Vancouver, BC, Canada 7:30 pm

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32 Q THE DIAPASON Q NOVEMBER 2017 WWW.THEDIAPASON.COM Organ Recitals

BENJAMIN ALARD, First Lutheran op. 56, no. 5, Canon in A-fl at, op. 56, no. 4, (Baronian Suite for Organ), Paulus; Volun- STEPHEN SCHNURR, St. Andrew Epis- Church, Boston, MA, June 15: Preambulum Fugue on B-A-C-H, op. 60, no. 5, Schumann; tary in A, Selby; Festival Voluntary, Cutler copal Church, Louisville, KY, May 12: Prae- in d, Fantasia in d, Canzona in C, Magnifi cat Fantasie-Choral No. 1 in D-fl at, Whitlock; Pre- and Johnson; Fugue, Zeuner; Voluntary, ludium in G, Bruhns; Concerto del Sigr. Meck, II Toni (4 verses), Weckmann; Contrapunctus lude and Fugue in G, Martin; Méditation (Trois Linley; The Battle of Trenton, Hewitt; Soft Walther; Prelude and Fugue in C, BWV 547, I, Evolutio I, Contrapunctus II, Evolutio II Improvisations), Vierne, transcr. Durufl é; Organ Voluntary, Emilio; Postlude, South- Bach; Sonata I in f, op. 65, no. 1, Mendelssohn; (Mit Fried und Freud ich fahr dahin), BuxWV Étude-Caprice, op. 66, Laurin; Rákóczi March, ard; Voluntary, Allatt; The Thunder Storm, My Old Kentucky Home, Foster, arr. Lemare; 76, Passacaglia in d, BuxWV 161, Buxtehude; Berlioz, transcr. Baker, after Liszt/Horowitz. Ryder; Trumpet Air, Bremner; Toccata in B- Variations de Concert, op. 1, Bonnet. Fantasia in G, BWV 571, Fantasia in C, BWV fl at, Barnes; Trio, Whitney; Prelude, Foote; 570, Fuge in C, BWV 946, An Wasserfl üssen MONICA CZAUSZ, St. Monica Catholic Theme, Minore adagio, Fughetta—Allegro JOHN SHERER, Fourth Presbyterian Babylon, BWV 653, Prelude and Fuge in a, Church, Dallas, TX, June 13: Allegro, Chorale, assai (The Star-Spangled Banner—Concert Church, Chicago, IL, May 26: Tuba Tune, BWV 551, Bach; An Wasserfl üssen Babylon, and Fugue in D, Mendelssohn; Blithely Breez- Variations), Buck. Lang; Chanson de Matin, Elgar, transcr. Brew- Pachelbel; Choralfantasia on An Wasserfl üs- ing Along (Baronian Suite), Paulus; Stèle pour er; Schmücke dich, o liebe Seele, BWV 654, Pre- sen Babylon, Reincken. un enfant défunt (Triptych, op. 58), Vierne; BÁLINT KAROSI, St. Mark’s Cathedral, lude and Fugue in B-fl at, Bach; Air (Orchestral Phantasie über den Choral Wachet auf, ruft Seattle, WA, May 5: Prelude and Fugue in a, Suite No. 3, BWV 1068), Bach, transcr. Raws- SAMUEL BECKMAN, Cathedral of St. uns die Stimme, op. 52, no. 2, Reger. BWV 551, Partita on Christ, der du bist der thorne; Master Tallis’s Testament (Six Pieces Paul, St. Paul, MN, June 21: Joie et clarté des helle Tag, BWV 766, Concerto in d, BWV for Organ), Howells; Tune in E, Thalben-Ball; Corps Glorieux (Les Corps Glorieux), Messi- NATHAN DAVY, Washington National 596, Sonata in c, BWV 526, Wachet auf, ruft Crown Imperial, Walton, transcr. Murrill. aen; Agitato, Cantilena (Sonata XI in d, op. Cathedral, Washington, DC, June 4: Psalm uns die Stimme, BWV 645, Wo soll ich fl iehen 148), Rheinberger; Praeludium in G, Bruhns; 145, Benson; Prière, Franck; Transports du hin, BWV 646, Wer nur den lieben Gott lässt PETER STEVENS, Westminster Cathedral, Psalm-Prelude Set 1, op. 32, no. 2, Howells; Joie (L’Ascension), Messiaen; Prélude, Ada- walten, BWV 647, Meine Seele erhebt den London, UK, May 24: Prelude and Fugue in c, Wer nur den lieben Gott läßt walten (Kirn- gio, et Choral Varié sur le thème du Veni Cre- Herren, BWV 648, Ach bleib bei uns, Herr BWV 546, Bach; Adagio and Allegro in f, K. 594, berger Chorales), Prelude and Fugue in D, ator, op. 4, Durufl é. Jesu Christ, BWV 649, Kommst du nun, Jesu, Mozart; Diptyque (L’Orgue Mystique, No. 11), BWV 532, Bach; Clair de Lune (Pièces de fan- vom Himmel herunter, BWV 650, Toccata and Fantaisie Paraphrase (L’Orgue Mystique, No. taisie, op. 53, no. 5), Final (Symphonie VI, op. PETER DUBOIS, St. Matthew’s Episco- Fugue in F, BWV 540, Bach. 27), Tournemire; Suite, op. 5, Durufl é. 59), Vierne. pal Church, Charleston, WV, June 18: Allegro (Concerto in a, BWV 593), Allein Gott in der DEXTER KENNEDY, St. Luke’s Episco- HAROLD STOVER, Second Presbyterian KAREN BLACK, St. Paul’s United Meth- Höh sei Ehr’, BWV 662, Fugue in g, BWV pal Church, Evanston, IL, May 5: Choral in E, Church, New York, NY, May 21: Allegro Gio- odist Church, Cedar Rapids, IA, June 21: 578, Prelude and Fugue in E-fl at, BWV 552, Franck; Lied (Douze Pièces), Litaize; Adeste coso, op. 150, no. 7, Saint-Saëns; Offertoire in Fantasy and Fugue in g, BWV 542, Bach; Bach; Sweet Sixteenths, Albright; Sonata in G, Fideles (Cathedral Windows, op. 106), Karg- E, Dubois; Pastorale in F, BWV 590, Bach; So- Fantasy and Fugue in F, J. E. Bach; Partita on BWV 530, Bach, Jesu, Joy of Man’s Desiring, Elert; Choralvorspiel und Fugue über O Trau- nata II in c, op. 65, no. 2, Mendelssohn; The Wachet auf ruft uns die Stimme, op. 8, no. 2, Bach, arr. Jenkins; Trio en Passacaille, Raison; rigkeit, o Herzeleid, Smyth; Te Deum, Demes- Garden Hymn, Blue Prelude, Feria, Stover. Distler; Outer Hebrides: A Fantasy on Three Passacaglia in c, BWV 582, Bach. sieux; Sonata on the 94th Psalm, Reubke. Celtic Melodies, Halley; Prelude on the Caril- CHUYOUNG SUTER, Good Shepherd lon d’Alet, Phillips; Fantasy on Ein feste Burg STEFAN ENGELS, St. Paul’s Episcopal KATHERINE MELOAN, Grace Church Lutheran Church, Gaithersburg, MD, May ist unser Gott, Decker. Church, Richmond, VA, June 27: Studien Cathedral, Charleston, SC, May 31: Variations 21: Prelude in E-fl at, BWV 552i, Allein Gott in für den Pedalfl ügel, op. 56, Schumann; Prae- on a Theme by Paganini, Thalben-Ball; Blest der Höh’ sei Ehr’, BWV 663, BWV 662, BWV NICHOLAS CAPOZZOLI, Washington ludium for Organ Solo, Dobson; Toccata in E, Be the Tie, Larsen; Prelude für Orgel, Men- 664, Sonata in C, BWV 529, Wachet auf, ruft National Cathedral, Washington, DC, June BWV 566, Bach; The Sun’s Evensong (Sieben delssohn Hensel; Toccata, Adagio, and Fugue uns die Stimme, BWV 645, Wo soll ich fl eihen 18: Overture to Paulus, op. 36, Mendelssohn, Pastelle vom Bodensee, op. 96), Rondo alla in C, BWV 564, Bach; Prelude, Final (Sym- hin, BWV 646, Wer nur den lieben Gott läßt transcr. Best; Rhapsody in D-fl at, op. 17, no. campanella, op. 156, Karg-Elert; Fantasy and phonie I, op. 14), Vierne. walten, BWV 647, Meine Seele erhebt den Her- 1, Howells; Communion (Messe de la Pen- Fugue, op. 135b, Reger. ren, BWV 648, Ach bleib bei uns, Herr Jesu tecôte), Messaien; Souvenir, Cage; Phantasie SAM NELSON, Old West Church, Boston, Christ, BWV 649, Kommst du nun, vom Him- und Fuge d, op. 135b, Reger. DAVID JONIES, St. Bede Catholic Church, MA, May 24: Sonata in G, BWV 530, Bach; mel herunter, BWV 650, Fugue in E-fl at, BWV Richmond, VA, May 3: Praeludium in E, Choral in a, Franck. 552ii, Bach. CHELSEA CHEN, Ginter Park Presbyte- BuxWV 141, Buxtehude; Partita on Christ, der rian Church, Richmond, VA, June 27: Prelude du bist der helle Tag, BWV 766, Bach; Tiento GEOFF PAUTSCH, Loyola University, STEPHEN THARP, St. Michael’s Epis- and Fugue in B, op. 7, no. 1, Dupré; First partido de mano derecho de 10 Tono, Caba- Chicago, IL, May 21: Toccata in F, BuxWV copal Church, New York, NY, May 15: Pas- Peer Gynt Suite, op. 46, Grieg, arr. Gaul; The nilles; Chorale Prelude on O Salutaris Hostia, 156, Buxtehude; Toccata per l’Elevazione, sacaglia in c, BWV 582, Allein Gott, in der Moon Lady, Chen; Cantilène (Suite Brève), Saint-Saëns; March on a Theme by Handel, Frescobaldi; Vater unser im Himmel- Höh’ sei Ehr’, BWV 662, Bach; Prelude and Langlais; Prelude, Adagio, and Variations on op. 15, Guilmant; Pavane–Danse liturgique, reich, Bruhns; Variations on Est-ce Mars, Fugue in G (Trois Préludes et Fugues, op. 109), Veni Creator, op. 4, Durufl é. Proulx; Carillon, op. 27, no. 4, Dupré. Sweelinck; Prelude and Fugue in c, BWV 549, Saint-Saëns; Poème Héroïque, op. 33, Dupré; Bach; Andantino, Bédard; Fantasie on Holy, Lamento, Baker; Pastorale and Toccata, Conte; KEN COWAN, St. Mark’s Lutheran JEANNINE JORDAN, with David Jordan, Holy, Holy, Post; Salve Regina, Bédard; Ave Funérailles (Harmonies poétiques, S. 173), Church, Marion, IA, June 20: Sonata IV in B- media artist, First Presbyterian Church, New Maria, Near; O Filii et Filiae, Trapp; Pange Liszt, transcr. Demessieux/Tharp; Fantasy and fl at, op. 65, no. 4, Mendelssohn; Canon in b, Bern, NC, May 11: Blithely Breezing Along Lingua, Hakim. Fugue on BACH, S. 260, Liszt, transcr. Guillou.

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sound INSPIRATION Check your listing in DIAPASON Student Rate Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video The Diapason 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] Resource 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Directory Don’t just tell people what you _ If changes are needed in your have for sale. Show them! listing, contact Jerome Butera Own a piece of history! 608/634-6253 The cover of the 100th Anniversary [email protected] 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]

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Certifi ed appraisals—Collections of organ Also from Fruhauf Music Publications: music Born in Italy, a substitute organist at age 13, Single-manual, Italian-style harpsichord books, recordings, and music, for divorce, for the carillon, a three-verse setting of Martin graduated from conservatory with highest honors built by Paul Irvin (1983). Pine case and lid, 70″ estate, gift, and tax purposes. Stephen L. Pinel, Luther’s Ein Feste Burg, arranged for 4-octave and appointed assistant professor at age 19; after long; cherry screw-in legs. GG–d3, transposing Appraiser. 629 Edison Drive, East Windsor, instruments, offered in recognition of the fi ve- emigrating to the U.S. in 1908, played at several keyboard (440–415), two registers. Padded NJ 08520-5205; phone: 609/448-8427; e-mail: hundredth year anniversary of the Lutheran Ref- churches in New York City; hired as chief organ- cover included. Regularly maintained, recently [email protected]. ormation. Visit www.frumuspub.net to download ist by Samuel “Roxy” Rothafel; had a daily radio rebuilt; $7,500. Chicago area; 847/858-9173; a complimentary PDF booklet. program from the Capitol Theatre. Who was he? [email protected]. (Search “melchiorre” at michaelsmusicservice. Organs of Oberlin chronicles the rich history of organs at Oberlin College, the Conservatory of com) 704/567-1066. Organa Europae calendars featuring famous PIPE ORGANS FOR SALE Music, and the town of Oberlin, Ohio. The hard- pipe organs of Europe; years 1969 to 1977. bound, 160-page book with many illustrations $10.00 each. 219/662-0677, [email protected]. Pipe Organs of the Keweenaw by Anita is the most comprehensive study of traceable Campbell and Jan Dalquist, contains his- 1991 Wilhelm Opus 123. Three-manual, organs from 1854 to 2013. The book measures tories, stoplists, and photos of some of 39-stop free-standing mechanical action organ ″ ″ 8½ x 11 and features a dust jacket with color- Grant Peace, We Pray, a new choral work by the historic organs of the Keweenaw Pen- in like-new condition for US$350,000. Installa- ful illustrations not found in the book. Organs by David Herman, is available as a free download. insula, the northernmost tip of Michigan’s tion by Karl Wilhelm, on-site voicing and trans- the Skinner Organ Company, Aeolian-Skinner, Luther’s text, with its 16th-century melody, is Upper Peninsula. Organs include an 1899 portation included. This instrument requires C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, set for SAB choir and organ and was written to Barckhoff and an 1882 Felgemaker. The booklet approximately 480 sq. ft. with a minimum 24-foot and many others are featured. Text by Stephen commemorate the 2017 Reformation anniver- ($8.00 per copy, which includes postage) is ceiling, installation in balcony. For more details, Schnurr, foreword by James David Christie; sary. Available from the composer at herman@ available from the Isle Royale and Keweenaw photographs by William T. Van Pelt, Trevor email: [email protected]. udel.edu. Parks Association, 49445 US Hwy 41, Hancock, Dodd, Halbert Gober, as well as rare vintage Michigan 49930. For information: 800/678-6925. examples. $50, plus $5 shipping. Visit www. Rare Estey Grand Minuette (1930, Opus 2882): organsofoberlin.com. The new Nordic Journey series of CD record- 2-manual, 3-rank, with newer Ventus blower. ings reveals premiere recordings of symphonic World Library Publications: From the Piano Unifi ed 16′ string, 8′ fl u t e , 4 ′ principal, $15,000. Yun Kim plays the 57-rank Dobson organ at organ music—much of it still unpublished—from Bench to the Organ Bench, by Alan J. Hommerd- [email protected], 763/229-5447. First Presbyterian Church, Battle Creek, Michigan, Nordic composers, played by American organist ing. This complete method book offers a variety on a new CD from Raven. The organ incorporates James Hicks on a variety of recently restored of exercises to increase pedal technique and remaining ranks of the much rebuilt 1928 E. M. Swedish organs. It’s a little bit like Widor, Reger, manual/pedal dexterity. Explore topics such as Aeolian-Skinner opus 1480. 2 manuals, 20 Skinner op. 720, other old and new stops, and and Karg-Elert, but with a Nordic twist. Check it service playing/accompanying—when to lead, ranks, 4 divisions, enclosed and unenclosed new mechanism. Yun Kim is organist of Christ out at www.proorgano.com and search for the when to follow; playing pianistic accompaniments Great. Details: [email protected]. Episcopal Church, Dayton, Ohio, and a winner of term “Nordic Journey.” on the organ; introduction to improvisation on the regional and national AGO competitions. Unusual organ; basics of choral conducting from the con- works include Summerland by William Grant sole; and much more. 003057, $19.95, 800/566- BIGELOW Opus 23 (1992), II/15 tracker. Big ′ Still (arr. Nies-Berger); Prokofi ev: Toccata, op. 11 Ed Nowak, Chicago-area composer, arranger, 6150, Wlpmusic.com. sound, 16 Posaune. Quartered white oak case, (trans. Jean Guillou); four movements of English and church musician, announces his new web- 19′ high x 13′ wide x 5′ deep. $70K + move/ composer Iain Farrington’s Fiesta!; Australian site, featuring Nowak’s original choral works, install. [email protected], 801/756-5777; Robert Ampt’s Concert Etude on an Australian hymn concertatos, chamber and orchestral The OHS Catalog is online with more than bigeloworgans.com, click on news. Folk Tune “Pub with No Beer;” and familiar works works, organ hymn accompaniments, organ 5,000 classical and theater organ CDs, books, by Bach (Toccata in C, BWV 566a), Vierne (Les and piano pieces, electronic music, and psalm sheet music, and DVD/VHS videos. Visit www. Cloches de Hinckley and Clair de Lune) and settings. The website offers scores and recorded ohscatalog.org. To add your name to the OHS Casavant Frères Opus 3818, 2004. 3-manual Brahms (Herzlich tut mich erfreuen). Raven OAR- examples that are easy to sample and can be Catalog mailing list, send an email to catalog@ drawknob, 52 ranks, E/P action in excellent play- 142 $15.98 postpaid. Raven, Box 25111, Rich- purchased in downloaded (PDF and MP3) or organsociety.org or mail to Organ Historical able condition. Scottsdale, AZ. Steve Beddia, mond, VA 23261; 804/355-6386, RavenCD.com. printed form. Visit ednowakmusic.com. Society, Box 26811, Richmond, VA 23261. 609/432-7876, [email protected].

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Circa 1860 Pfeffer eight-rank organ, available George Hutchings, rebuilt by Philip Excellent used pipes (approx. 4″ w.p.), like THE DIAPASON E-Newsletters are e-mailed rebuilt and custom fi nished. Also 1884 choir Beaudry. 2 manuals, 29 stops, tracker action, new Austin actions half price; all sizes and monthly to subscribers who sign up to receive organ by Louis Debierre. Both are pictured on the detached console, good condition, Boston, MA. re-leathered bellows. Milnar Organ Company, them. Don’t miss the latest news, featured artists, Redman website: www.redmanpipeorgans.com. No sale price, new owner is responsible for 615/274-6400, [email protected]. and classifi ed ads—all with photos—some before removal and relocation. Contact John Bishop, they appear in print! Visit www.TheDiapason. the Organ Clearing House, john@organclear- com and click on Subscribe to our newsletter. For Historic 1859 ROBJOHN, II+Ped, 11 ranks. Consoles, pipes, and numerous miscellaneous ′ ″ inghouse.com. assistance, contact Stephen Schnurr, 847/954- Drop dead gorgeous rosewood case, 14 -2 tall. parts. Let us know what you are looking for. 7989, [email protected]. Lovely for chapel, large residence, or museum. E-mail [email protected] (not comcast), www.bigeloworgans.com. Click on News. Aeolian-Skinner Opus 968 (1937, 1939, 1955, phone 215/353-0286 or 215/788-3423. 1964). Rebuilt Kinzey-Angerstein (1977), rebuilt Be sure your business listing in THE DIAPA- 43-rank Casavant–Létourneau pipe organ for Létourneau (1995), four manuals, 85 stops. SON’S Resource Directory is complete and Gothic White Oak Organ Case. 25′ x 25′ x 12′ sale with 10-year warranty: $839,000. Orgues $40,000. Contact John Bishop, Organ Clearing deep. Excellent condition. Spiky towers, lots of accurate! The 2018 Resource Directory Létourneau is offering a 43-stop pipe organ rebuilt House, 617/688-9290, john@organclearing- fi ligree. The Organ Clearing House, 617/688- goes to press November 15, 2017, and will to like-new condition for US$839,000. The core is house.com. be mailed with the January 2018 issue. Casavant’s Opus 2295 from 1955 with electro- 9290, [email protected]. Send listing corrections to sschnurr@ pneumatic wind chests; the revised specifi cation can incorporate up to eighteen new stops built Expressive and compact—3/27 Kilgen (1940). sgcmail.com. by Létourneau. Installation costs, on-site voicing, Two expressive divisions. 17 manual 8-foot SERVICES / SUPPLIES an allowance for casework in red oak, a rebuilt fl ues. Reeds include Tuba, Cornopean, Oboe, Clarinet, Vox Humana. Harp. 16′ Open Wood. Releathering all types of pipe organ actions three-manual solid-state console, and a ten-year Consider a gift subscription to THE warranty are included. Transportation from Qué- H: 237″, W: 170″, D: 189″. Stopkey console. and mechanisms. Highest quality materi- DIAPASON for all your friends who love bec is not included. The organ requires approxi- Original restorable condition. $30,000. Organ als and workmanship. Reasonable rates. the organ, harpsichord, carillon, and mately 500 sq. ft. with 20′ ceiling for 16′ ranks. Clearing House, 617/688-9290, john@organ- Columbia Organ Leathers 800/423-7003. church music. Your $40 gift will be For more details, visit www.letourneauorgans. clearinghouse.com. www.columbiaorgan.com/col. remembered throughout the year. (And com, e-mail [email protected] or call Andrew Forrest at 450/774-2698. don’t forget our special bargain for stu- Garland Pipe Organs, 3/63, 1992. Excellent Do you have a pipe organ that you would dents at $20!) Visit www.thediapason. condition. Available immediately. Contact John like to interface with an electronic or digital com and click “subscribe.” Or con- 1874 Hutchings-Plaistead. 2 manuals, 11 stops. Bishop, the Organ Clearing House. Telephone: organ? We can interface any digital organ or tact Donna Heuberger, 847/954-7986; Good restorable condition. Free to a good home. 617/688-9290; email: john@organclearinghouse. any organ console with any pipe organ. For more [email protected]. Boston area. Contact John Bishop, the Organ com. information e-mail [email protected] (not Clearing House, [email protected]. Comcast) or call 215/353-0286. Postal regulations require that mail to THE 1916 Hook & Hastings, 2 manuals, 14 stops. Kimball Organ (3/29, 1930), all enclosed, terrifi c ′ DIAPASON include a suite number to assure Swell reeds, four 8-foot Diapasons, two sets of Includes Cornopean, 16 Open Wood. E-P action. Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: celestes (and you known those Kimball strings!). Beautiful period console. $20,000. Contact John leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite $70,000. The Organ Clearing House, 617/688- Bishop, the Organ Clearing House, john@organ- Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. 9290, [email protected]. clearinghouse.com. www.columbiaorgan.com.

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George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Stephen Buzard Chelsea Chen Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

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