THE DIAPASON OCTOBER, 2006
St. Mark’s Pro-Cathedral Hastings, Nebraska Cover feature on pages 31–32
ica and Great Britain. The festival will Matthew Lewis; 10/22, Thomas Spacht; use two of the most significant instru- 10/29, Justin Hartz; November 5, Rut- THE DIAPASON ments in London for its Exhibition- gers Collegium Musicum; 11/12, Mark A Scranton Gillette Publication Concerts: the original 1883 “Father” Pacoe; 11/19, David Schelat; 11/26, Ninety-seventh Year: No. 10, Whole No. 1163 OCTOBER, 2006 Willis organ in St. Dominic’s Priory organ students of the Mason Gross Established in 1909 ISSN 0012-2378 (Haverstock Hill) and the newly School of the Arts, Rutgers; December restored 1963 Walker organ in St. John 10, Vox Fidelis; December 17, Advent An International Monthly Devoted to the Organ, the Evangelist (Islington). Lessons & Carols. For information: the Harpsichord, the Carillon and Church Music The first two Exhibition-Concerts in
It’s time to reserve your advertising in 1, Rich Spantikow; 11/8, Chris Urban; THE DIAPASON 2007 Resource Direc- 11/15, George Williams; 11/22, Lee Nel- tory. Be sure your company is included son; 11/29, Douglas Williams. For infor- in the only comprehensive directory and mation: 847/255-5900;
OCTOBER, 2006 3 of concerts: October 22, Stephen Tharp; Holy Trinity Lutheran Church, tors. The conference featured a curricu- Chicago’s Rockefeller Memorial Chapel. November 12, David Arcus; January 21, New York City, presents its 39th season lum based on the theological and practi- The award is presented biennially in David Higgs; February 25, William of Bach Vespers: October 29, Cantata cal aspects of the art of musical liturgy, conjunction with the AGO national con- Peterson; March 25, Robert Parkins. 80, Ein feste Burg ist unser Gott; prayer with the Benedictine communi- vention to recognize outstanding contri- For information:
B.M, B.M.E. and M.M. degrees in organ. Scholarships available, for information call 316-978-3532. Marcussen & Son Organ (1986 IV/65) Phelps Organ (1976 II/5) Casavant Organ (1965 II/15)
The Chancel Choir of First Presbyterian Church, Lynchburg, Virginia
The Chancel Choir of First Presby- Troldhaugen (Edvard Grieg’s home), terian Church, Lynchburg, Virginia, Roskilde Cathedral, the Tivoli Gardens toured Iceland, Norway, Denmark, in Copenhagen, and the Storkyrkan and Sweden, and Russia for 19 days in July Uppsala Cathedrals in Sweden. Gordon on their fourth European tour. The and Barbara Betenbaugh are the organ- choir sang one unaccompanied program ists and choirmasters of the church. The http://finearts.wichita.edu and one accompanied program. Concert choir plans to return to Germany, venues included the concert hall in Prague, and Budapest in 2008.
4 THE DIAPASON director, effective October 1, 2006. An organist, choral conductor, and oratorio Appointments accompanist, Dr. Lamb is director of music/organist of the First United Methodist Church in Columbus, Indi- ana. Additional biographical details can be viewed on the association’s website, as below, or at his church’s website,
Colin Andrews Emanuele Cardi Maurice Clerc Joan DeVee Dixon Laura Ellis Organist/Lecturer/ Organist/Lecturer/ Interpreter/Improviser/ Pianist/Organist/ Organist Recording Artist Recording Artist Recording Artist Recording Artist Associate Professor of Organ and Solo Recitals Organ and Soprano with Titular Organist Associate Professor of Music Carillon Solo/Duo with Janette Fishell Polina Balva (St. Petersburg) St. Benigne’s Cathedral Frostburg State University University of Florida East Carolina University Titular Organist Faculty Frostburg, Maryland Gainesville, Florida Greenville, North Carolina St. Maria della Speranza National Conservatory Battipaglia, Italy Dijon, France
Janette Fishell Faythe Freese Michael Gailit Johan Hermans Michael Kaminski Organist/Lecturer Organist/Lecturer Organist/Pianist Organist/Lecturer/Recording Artist Organist Professor of Music Associate Professor of Organ Organ Faculty Conservatory Instructor of Organ Director of Music Ministries East Carolina University School of Music of Music Conservatory of Music Saint Francis Xavier Church Greenville, North Carolina University of Alabama Piano Faculty University of Music Organist and Artistic Director Brooklyn College Faculty Tuscaloosa, Alabama Organist St. Augustine’s Church Sacred Heart Church St. Francis College Faculty Vienna, Austria Organ Concert Series Brooklyn, New York Hasselt, Belgium Also: David K. Lamb Maija Lehtonen Sabin Levi David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Angela Kraft Cross William Kuhlman Tong-Soon Kwak Bach Babes Clair Rozier Organist/Pianist/Composer/ Organist Organist Baroque Music Ensemble Lisa Scrivani-Tidd Recording Artist Professor of Music Emeritus Professor of Organ Variable Groupings Jeremy David Tarrant Organist Luther College College of Music Soprano, Strings, Flute, Oboe, Continuo Heinrich Walther Congregational Church Decorah, Iowa Yonsei University Milwaukee Symphony Orchestra Associates Jane Watts San Mateo, California Artistic Director Martha H. Stiehl, Artistic Director Torch International Organ Academy Organ and Harpsichord Brador Brass Quintet Seoul, Korea University of Wisconsin-Milwaukee Duo Majoya ConcertArtistCooperative Beth Zucchino, Director, [email protected] David K. Lamb, Associate Director, [email protected] 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
OCTOBER, 2006 5 ford University. Stanford has recently organ literature software program The begun a project to catalog its collection Organist’s Music Library Plus. of more than 300,000 recordings, which During his long tenure at the college, are currently housed in the Archive, in he sent over 30 students on to master’s collaboration with similar archival pro- and doctoral degrees. He acquired four jects at Yale University and The New new instruments for the Luther organ York Public Library. program and consulted on dozens of Prior to his appointment at Stanford, new organ installations and historic Ferko held the position of music cata- restorations in Minnesota, Iowa, Wis- loger at the Northwestern University consin areas, including that of the Music Library, where he was responsi- famous 1894 Pfeffer organ that Dvorák ble for cataloging the General Music played during his sojourn in Spillville, Manuscript Collection (including scores Iowa. He has played many recitals here and correspondence) and initiating the and abroad, and was featured on nation- creation of electronic archival finding al radio programs including Perfor- aids for the music manuscript collec- mance Today, All Things Considered, tions. As a resident of the Chicago area and Pipedreams. for nearly 30 years, he also held the posi- Felix Hell His successor as college organist and tions of director of music at St. Andrew’s assistant professor of music at Luther is Lutheran Church (1977–1987) and at Felix Hell will perform the complete the former director of music at Boston’s the Church of St. Paul and the organ works of Bach November 3–6 at Old South Church, Dr. Gregory Peter- Redeemer (Episcopal) (1987–1993). Griswold Hall of the Peabody Conserva- son. For information: Best known as a composer of numer- Marie-Claire Alain with William R. Brody, tory of Music, Baltimore. For details,
Marie-Claire Alain received the degree of Doctor of Humane Letters from the Johns Hopkins University in Francesco Cera May 2006. A Peabody Distinguished Visiting Artist at the Peabody Institute Italian organist and harpsichordist William Kuhlman of the Johns Hopkins University, Marie- Francesco Cera will present concerts Claire Alain’s achievements as per- and masterclasses in the U.S. this fall. A William Kuhlman recently returned former, scholar, and teacher were high- specialist in early Italian baroque reper- from his year-long directorship of the lighted in the degree citation: toire, Cera’s programs focus on works Luther College Study Abroad program by Frescobaldi, Pasquini, and Rossi; in in Nottingham, England. While abroad Your brilliant performances and hun- September he presented one of the he played recitals at the Hofburgkapelle dreds of masterful recordings emerge not inaugural concerts on the Antegnati in Vienna, Austria and at the medieval only from virtuoso talent but also from superb scholarship. You study the music, organ at the reopening of the Basilica of church of St. Mary the Virgin in Not- of course. But you also investigate the text Santa Barbara in Mantua, Italy. tingham, England. on which it is based; the composer’s life, October 13–14, Cornell University, After studies at Syracuse University work, and theology; the organ you are Ithaca, New York; 10/15, Eastman in 1967, Kuhlman began his career as playing; and even the historically accurate School of Music, Rochester, New York; instructor of music at Jamestown Col- Nigel Potts fingering and position of the hand on the 10/19, University of Evansville and lege before accepting a position at keyboard. Aldersgate United Methodist Church, Luther College in Decorah, Iowa. Fol- On April 23, Nigel Potts presented a This unyielding pursuit of the ultimate Evansville, Indiana; 10/22, Holy Name lowing his 37-year career as college Life Saving Benefit Concert on behalf of interpretation has led you to three magnif- icent recordings of Bach’s complete organ Cathedral, Chicago, Illinois; 10/24, Uni- organist and professor of music at The Rotary Club of Bay Shore, New works. . . . You also have recorded defini- versity of Illinois, Champaign-Urbana, Luther, he retired in May and will be York, at St. Peter’s by-the-Sea Episcopal tive integrales of more than a dozen other Illinois; 10/27, First Presbyterian continuing his recital career as a mem- Church in Bay Shore. Potts, a Rotarian composers. Known especially for your Church, Springfield, Illinois; 10/28, Illi- ber of the Concert Artist Cooperative, himself, came up with the idea to raise work on the 17th and 18th century mas- nois College, Jacksonville, Illinois. as well as writing and refining his sacred money for Rotary International’s pro-
THE DIAPASON 2007 Resource Directory • The only comprehensive directory of the organ and church music fields • Includes listings of associations, suppliers, and the products and services they provide Reserve advertising space now. Deadline: November 1 Robert Bates Craig Cramer Aaron David Miller To reserve advertising space, contact Jerome Butera 847/391-1045; [email protected] 425.745.1316 [email protected] www.organists.net
6 THE DIAPASON
gram Gift for Life. Monies raised from 1078-1079). Recorded on the C. B. Fisk organ and choral works, which was this concert paid for a child in Central organ at Old West Church, Boston, and recorded at Madison Avenue Presbyter- Nunc Dimittis America to have crucial open heart the Paul Fritts organ at Pacific Luther- ian Church and released on the JAV surgery at Stony Brook Hospital, a uni- an University, Tacoma, Washington, the label. A prolific composer, his published versity research hospital on Long Island. program divides the chorales into two compositions for organ, chorus/organ The program included works by Bach, groups of nine each, modeled after and flute/organ are widely performed. Mozart, Schumann, Saint-Saëns, Walton Bach’s fondness for the praeludium- Weaver’s wife, Marianne, a fine flutist, and Sousa. Potts not only supported a chorales-fugue order. For information: frequently performs with him in concerts worthy cause, but also attracted some
8 THE DIAPASON for numerous international artists such organ compact disc and from Prayer of the Church, edited by Philip as Marvis Martin, Dean Peterson, Jan- 1983–2006, he released 123 albums H. Pfatteicher, priced at $45.00. This ice Chandler, Steven Rickards, Curtis involving 80 artists, of which 63 were complete prayer book “in the ancient Rayam and many others. An accom- concert organists, in venues across the way of offices” includes text and music plished organist, Bantz was active in the United States, France, Switzerland, for Evening and Morning Prayer, Com- American Guild of Organists, having Germany and Austria. He was an active pline, Proper antiphons with canticles, a served as Dean of the Ft. Lauderdale member of the Peninsula Chapter of two-year BCP-LBW daily lectionary, an Chapter. He served as adjudicator and the AGO. He is survived by his two sons ecumenical course of collects, and guest clinician for numerous festivals, Robert and Christopher Krueger. more. Useful for clergy and laity in the clinics, and symposia throughout his Among the artists who recorded for Anglican, Lutheran, and Roman career. Arkay Records are Janice Beck, Craig Catholic traditions, this is a companion The recipient of many local, state, Cramer, Angela Craft Cross, Pamela book to the four-volume For All the and national awards, Bantz was awarded Decker, Jonathan Dimmock, Delbert Saints. For information: the Joseph Leavitt Award for outstand- Disselhorst, Paul Fejko, Faythe Freese,
We do. In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 Washington, DC 20005-4018 Telephone: (450) 774-2698 Toll Free: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 e-mail: [email protected] Bedient Pipe Organ Company e-mail: [email protected] www.letourneauorgans.com 800.382.4225 [email protected] 1060 Saltillo Rd, Roca, NE 68430 www.bedientorgan.com
10 THE DIAPASON Vtà{xwÜtÄ Éy itÄÄtwÉÄ|w
VALLADOLID, SPAIN 79 STOP FOUR-MANUAL RENAISSANCE QUANTUM™ BY ALLEN
he 79-Stop Four-Manual all-digital instrument recently installed in the historic T Cathedral of Valladolid, Spain, is a new Quantum™ instrument by Allen Organ Company. It contains four completely-independent specifications: American Classic, English Cathedral, French Romantic, and Neo-Baroque. At the request of Spain’s premier concert organist, Pilar Cabrera, the American Classic specification was customized to a more Spanish Classic tonal scheme, including a special “Trompeta Reál” that crowns the Solo Division. Allen designed a custom audio system for the organ, taking great care to preserve the magnificent aesthetics of the early 1600s building. The instrument speaks from the front of the church. The moveable console can be connected in multiple locations, allowing for either worship or concert use. The organ was introduced to the public at a special First Communion Mass celebrated by the Archbishop of Valladolid. The Cathedral plans a regular concert series, with the first performance by Ms. Cabrera.
www.allenorgan.com 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Phone: 610-966-2202 / Fax: 610-965-3098 / E-mail: [email protected] & Ogletree Opus 1 (“The Epiphany”) at for Marshall & Ogletree after the Trinity Church Wall Street, and decided installation of Opus 1 at Trinity to purchase a more modest three-manu- Church. Sound Advice of Southbury, al Marshall & Ogletree organ. Connecticut installed and wired the The console was built by Southfield organ. Douglas Marshall, David Organ Builders of Massachusetts. P&S Granz, and George Sargeant tonally of England built the bone and ebony finished the instrument. keyboards, Classic Organ Works of The formal inauguration of the organ Toronto provided the console systems, takes place on October 22 with a choral and all console controls were supplied service of dedication. Plans are being by Harris Precision, California. The made for an inaugural organ concert in amplifiers are from Crest Audio, and the near future, and David Ogletree the speakers from Definitive Technol- looks forward to making a recording on ogy—including the “Trinity Signa- the instrument. For information: ture” subwoofer specifically designed
Buzard drawing for St. Mark the Evangelist Catholic Church, San Antonio, Texas
John-Paul Buzard Pipe Organ about the company, the company’s staff Builders, of Champaign, Illinois, has and forthcoming instruments. Visitors signed a contract with St. Mark the to the site will also have a choice of Evangelist Catholic Church in San musical selections to listen to, with each Antonio, Texas for a new pipe organ. of the ten tracks taken from live perfor- The three-manual organ, of 35 stops mances on Létourneau instruments. and 43 ranks of pipes, will be the builder’s Opus 38, and is scheduled for An Allen Renaissance™ Quan- delivery and completion in 2009. This tum™ 79-stop four-manual organ was instrument will be Buzard’s first in recently installed in historic St. Peters Texas. St. Mark the Evangelist Church Church, Speightstown, Barbados. The seats 1,500, and its director of music Q405 organ replaces an Allen 1203 cus- ministries is Ms. Lena Gokelman. The tom dating from the late 1970s. The Rev. Jim Brobst served as the church’s installation involved new scaffolding for consultant in selecting the builder. the speaker complement. The organ The main portion of the instrument, was installed with divisions divided shown in the illustration, will be between the two front locations. In installed in a shallow case high on the addition, a full antiphonal was installed wall at the front of the church. The tops high in the rear of the church. This par- of the façade frames are gently arched ticular installation features the optional to balance the visual motion of Christ’s Orchestral Suite as part of its Quantum arms in the brick sculpture below and to QuadSuite™ voicing. The organ also the left of the organ. The main portion was installed with AllenVista™, which of the organ will comprise the Great, allows for additional sounds via the Battle of the Organs at Birmingham Symphony Hall Swell, and Pedal divisions. A small MIDI system of the organ along with choral accompanying organ, playable sequencing and playback abilities. With 1,300 in attendance, Wayne national radio program in addition to from a third manual keyboard, and with The organ was formally dedicated on Marshall and David Briggs engaged in a those who tuned in via BBC’s website. its own soft pedal register, will be locat- Sunday, June 25, 2006, during the “Battle of the Organs” concert in Sym- Installed and voiced on-site in Sym- ed in its own free-standing case behind choral evensong service. Guest organist phony Hall in Birmingham, England. phony Hall by Mark Underwood and the choral singers, located to the right for the mini-concert was Phillip Forde, The organists played the Rodgers Tril- his associates at Rodgers U.K., the 3- off the axis of the worship space. with St. Peter’s choir performing after- lium Masterpiece Series 928 and the manual Rodgers organ included a 34- The organ will include a set of flamed wards. The church’s organist and choir- hall’s Klais pipe organ during the pro- channel audio system placed on and copper horizontal Tubas projecting master is Julian Bowen. gram in June. In advance of the pro- around the level of the pipe organ. from the case, and a set of polished cop- gram, the BBC aired a 15-minute seg- Eight large sub-woofer speakers were per Pontifical Trumpets mounted over Torrence & Yaeger, worldwide sales ment on the Radio 3 “In Tune” program placed within the hall’s acoustic cham- the entry door. The instrument’s tonal and marketing for Marshall & Ogle- that included interviews with the per- bers, and a separate 2-channel audio design and execution is of John-Paul tree of Needham, Massachusetts, formers and an opportunity for listeners system provided antiphonal Tuba and Buzard’s mature balanced eclectic style. announces the completion of the three- to guess whether they were listening to Festival Trumpet stops. manual, 49-stop, 79-voice virtual pipe the pipe organ or the Rodgers organ. Symphony Hall opened in 1991 and Orgues Létourneau Limitée of St- organ in St. Luke’s Episcopal Church, With Marshall playing the Rodgers has been acknowledged both as the Hyacinthe, Québec, Canada welcomes Montclair, New Jersey. Charles Hunter and Briggs playing the Klais organ, the U.K.’s finest concert hall and one of the visitors to its newly redesigned web site is organist and director of music. music ranged from classics by Bach, best in the world because of its modern at
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) Rebuilds: St. John’s Church, Savannah, GA: 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manaul, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Tennille, GA: 2-manual, 8 rank Tellers, complete restoration 800-836-2726 y www.pipe-organ.com
12 THE DIAPASON WHY
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue * Hillsboro, Oregon 97124 503.648.4181 * fax: 503.681.0444 America’s Most Respected Organ Builder Email: [email protected] * www.rodgersinstruments.com Boston’s Symphony Hall. Now they’re venues as the Musikverein in Vienna and ence. I wonder if he foresaw how replacing the floorboards on the stage. the Concertgebouw in Amsterdam both important and influential his observa- In the wind . . . In a column published in The Ameri- have recently replaced their stage floors. tions and decisions would be. by John Bishop can Organist in August 2003, I referred In fact, the stage floor at the Musikverein One further note. Emily Thompson, to an excellent book on acoustics by (built in 1870) has been replaced every 40 author of “Soundscape,” is leaving her Emily Thompson, The Soundscape of years or so because the original flooring position at the University of California Acoustics: science or mystery? Modernity (MIT Press, 2002). The book was soft wood and the management was at San Diego to accept one at Princeton Ten years ago the Organ Clearing discusses the history of the science of reluctant to change anything. University. Thompson was awarded a House was involved in the relocation of acoustics starting with the inauguration I’ll rely on you to read Dyer’s article MacArthur Fellowship, a “genius” an E. & G. G. Hook organ from of Boston’s Symphony Hall on October for all the details. Suffice it to say that award accompanied by $500,000. She’s Woburn, Massachusetts to Berlin, Ger- 15, 1900. the BSO management is making every a great scholar. Her writing is terrific. many. The Woburn Unitarian Church The construction of a new hall was effort to replace the flooring and under- Read her book. I had a wood frame with plaster walls— made necessary by the city of Boston lying felt exactly. They are taking great very ordinary 19th-century American making plans to run a new street care not to change the sub-floor, and are Notes 1. The Soundscape of Modernity, Emily acoustics, and the organ was installed in through the middle of the old Music encasing the entire project in plastic so Thompson, MIT Press, 2002, page 15. a chamber in the front of the church. Hall (original home of the famous as to protect the newly renovated organ 2. Ibid., page 17. It’s a wonderful organ, so in spite of the Methuen organ). The Boston Sympho- (and of course the rest of the place) acoustics we always thought it sounded ny Orchestra was the Music Hall’s from dust. great. The Kirche zum Heiligen Kreuz most visible tenant, and Henry Lee Many modern church buildings are in Berlin is a glorious ornate brick build- Higginson, who owned and controlled built without any thought given to Music for Voices ing with a lofty spacious interior. There the BSO, embraced the opportunity to acoustics. We build the building and is plenty of resonance and just the right create a new venue for the orchestra. then call in the sound guy to install a and Organ amount of reverberation. The organ Charles McKim of McKim, Mead & P.A. system. Can’t hear the singer, turn by James McCray sounds fabulous. Hearing the same White was engaged to design the new up the volume. Install a digital instru- organ in two different rooms is an hall, and Higginson charged them to ment. Want to play Widor, turn on the unusual experience, and it sure can tell consider its acoustics, excluding the artificial chimpanzees. Phillips Brooks Christmas Eve Settings you a lot about the importance of sounds of the world outside and (1835–1893) was one of America’s acoustics. I attended a symposium on enhancing the music. He wrote to greatest preachers, serving Boston’s The Lord Christ Jesu, God’s son dear, 19th-century American organs at that McKim, “Our present hall gives a Trinity Church as rector from Was a guest and a stranger here: Us for to bring from misery, church—several of my colleagues and I piano better than a forte, gives an ele- 1869–1891. Trinity Church is one of That we might live eternally. were presenting papers. We were gant rather than a forcible return of America’s great church buildings, Kyrieleison. thrilled to be hearing an historic Ameri- the instruments—noble but weak—I designed by H. H. Richardson and built can organ in such a setting. A colleague want both.”1 in 1872. I’ll guess it seats 1,800 people. All this he did for us freely, whispered to me, “now we need to Higginson was a visionary. He trav- There was no P.A. system. People must For to declare this great mercy; import some churches to the U.S.” eled the world visiting famous concert have been able to hear Rev. Brooks then All Christendom be merry therefore, Organists and organbuilders habitual- halls, and gave his architects a list of the in order for us to know today that he was And give him thanks for evermore. ly clap their hands when they walk into a best of them. Considering the form of a great preacher. Kyrieleison. church building. They nod their heads the Greek amphitheater, McKim sought Many of today’s opera singers are fit- — Miles Coverdale (1487–1568) knowingly and mouth the seconds, one the counsel of several eminent orchestra ted with wireless microphones. I sup- Christmas Eve services usually have chimpanzee, two chimpanzee, three conductors. One replied, “I don’t know pose that means that the conductor the largest attendance of the year for chimpanzee . . . An organist brags about anything about acoustics, but my first must confer with sound engineers to both choir and congregation. At that the acoustics at his church: “It has three- violin tells me we always get the best establish the balance between singers special time people have a need to be and-a-half seconds.” (I always wonder results in a rectangular hall.” As there and orchestra. Enrico Caruso together. Emotions, which have been how you count that half-chimpanzee.) was no precedence for a concert hall (1873–1921) was one of the world’s building since the first Sunday in Imagine John Brook (a.k.a. Johann built to that model, the idea was reject- greatest singers. Audiences must have Advent, are at a peak. Sebastian Bach) improvising—a mor- ed as too risky. At one point in his been able to hear him in order for us to Music significantly contributes to dent in octaves on A (the dominant), search for information, Higginson said know today that he was a great singer. these emotional experiences. The ser- high on the keyboard. (One chimpanzee, to McKim, “I always feel like hearing In Emily Thompson’s book The vice should be organized as a decrescen- two chimpanzee . . . ) A little riff down to [musicians’] opinions most respectfully Soundscape of Modernity you will read do, starting with a loud festive introit, the tonic by way of C-sharp. (One chim- and then deciding.” Following up on about the antithesis of natural acoustics then moving toward a quiet, introspec- panzee, two chimpanzee . . . ) Another this thought, Higginson consulted his (or acoustic sound, if you will), which is tive, gentle closing as the congregation mordent, another chimpanzee . . . Or close friend Charles Eliot, a scientist present in those halls built expressly for passes candlelight throughout the sanc- Mr. Widor, playing grand chords in and president of Harvard University. artificial sound enhancement. While tuary. Structuring the service from loud arpeggio, four-to-a-measure. Here is Eliot in turn introduced Higginson to Symphony Hall in Boston was the first to soft moves the congregation toward music that relies on grand acoustics. It Wallace Sabine, a professor of physics at concert hall to be built considering greater unity. Loud separates; soft was written for grand acoustics. Without Harvard who had recently done work to acoustics as a science, New York’s Radio unites. grand acoustics it sounds like marbles improve the sound in one of Harvard’s City Music Hall was the first to be built Easter services tend to end in a flurry rolling down metal stairs. lecture halls.2 This was the birth of the expressly for artificially enhanced of bombastic alleluias; Christmas ser- I know some beautiful little organs modern science of acoustics. sound. Every effort was made to deaden vices should end with a feeling of calm. in beautiful little rooms. You savor If Higginson was a visionary, he was the room’s natural sound so the sound Everything leading up to that moment every note. You hear the attack and also a diplomat. Embracing Sabine’s engineers would have free reign. has been frantic. Shopping, decorating, release of each note. As a player you’re early advice, he wrote to McKim saying Organists and organbuilders will be and numerous social events all have on edge because there is no forgive- in effect “don’t do any more work until further interested to read chapters about contributed to a month-long frenzy that ness—my riff on life in Oberlin you get the letter I’m writing,” intro- St. Thomas Church on Fifth Avenue in is suddenly silenced in that extraordi- reminds me of those practice rooms duced Sabine to McKim, and helped New York, about the development and nary stillness. that are the next thing to being tied to them build a relationship that resulted introduction of Gustavino tiles, and Singing a simple hymn or choral a grating and flogged. But unless you’re in the design and construction of a hall many other topics that resonate with our arrangement such as “Away in a practicing for a senior recital, you don’t that has been universally celebrated as work. And by the way, purchase or order Manger,” “Infant Holy,” or “Jesus, Jesus play Widor on them. one of the finest in the world. your copy at your favorite independent Rest Your Head” will give warmth to the I got to thinking about acoustics when So the stage needs new flooring. bookstore—your local merchant will heart. High drama indeed! As J. Bonnet I read an article by Richard Dyer, long- Richard Dyer writes, “The floor was appreciate the support! pointed out in his 1725 book, Histoire time music critic for the Boston Globe, uneven and pockmarked by a century’s I admire the vision of Mr. Higginson de la Musique: “The music of the published on August 6, 2006: After 105 worth of stabbing cello and string bass of Boston who understood the unique church must be expressive . . . The pas- Years, BSO to enter a new stage (Offi- end-pins, rolling pianos, risers coming opportunity open to him. Thanks to his sions of opera are cold in comparison to cials hope to replace floor, not acoustics) onstage and off. Boards squeak when you creation and patronage of the collabora- those of our church music.”
14 THE DIAPASON
Christmas Eve service. Those items at is expressive and an important element Sleep, Little Child, Dana Mengel. the end will be especially useful for that of this anthem. The organ part, on three SATB, optional soli and piano, quietness just before the congregational staves, is not difficult yet separate from Abingdon Press, 0687495415, $1.50 lighting of candles. A wide variety of the choral lines. Choral parts are on two (M-). choral forces (mixed, women, children, staves, syllabic, and chordal in structure. The optional soli are quite brief; their and youth) has been chosen for review. The music builds to the middle of the short phrases open the setting. Subtitled Merry Christmas to each of you. setting as the text becomes a modified “a Christmas Eve Anthem,” the choral “Gloria Patri,” then quietly subsides into music has repeated sections in different First half of service the opening material, which ends softly. vocal arrangements for the singers. The easy accompaniment tends to double Christmas Jubilations, Daniel Jesus, Jesus, Rest Your Head, Carl the parts. LUC LADURANTAYE Pinkham. SA or TB and wind quin- Schalk. SATB unaccompanied, Con- tet or piano, ECS Publishing Co., cordia Publishing House, No. 98- TUYAUTIER INC. No. 6158, $4.40 (M). 2349, $.50 (E). Organ pipes custom-made There are five movements; all are in The refrain that opens and closes this Book Reviews to your specifications Latin only. Full score (#5972) and two-page setting serves as a frame for instrumental parts (#5973) are available the two verses, which may be sung by a Since 1997 from the publisher. The choral parts are soloist. The choral harmony is simple, Thine the Amen: Essays on Lutheran relatively easy with the majority of the gentle, and syllabic. This traditional Church Music in Honor of Carl Luc Ladurantaye, AIO member dissonances coming from the instru- American hymn has quiet, warm har- Schalk, ed. Carlos R. Messerli, mental accompaniment; the choir is monies and will be a favorite among the Foreword by Martin E. Marty. Min- 2, chemin Dubois often in unison. These brief texts are singers and congregation. neapolis: Lutheran University Lac-Saguay (Québec) J0W 1L0 chosen from both the Old and New Tes- Press, 2005, 320 pp. ISBN 1- Canada 819 278-0830 taments. Sophisticated music, best per- O Magnum Mysterium, Richard 932688-11-0 (paper), $26.00, Telephone: formed with quintet. Busch. SATB unaccompanied, Para-
Organ Recitals block punctuations in the keyboard, but same sort of connections between the the setting ends quietly. historical works here described and their implications for present-day choirs Away in a Manger, arr. Jantz Black. and congregations. Two-part mixed, piano and optional In Part Three, “The Life and Works flute and oboe or two C instru- of Carl Schalk,” Steven Wente reveals ments, Augsburg Fortress, 0-8006- Schalk to have been a prime mover in
Workshops & Masterclasses 2388-6, $1.75 (E). creating an eclectic as well as historical- The instrumental parts are very easy ly informed church music practice in and their music is included as a separate North America. All three parts of the www.SusanJaneMatthews.com score at the end of the choral score. book are highly recommended to pas- There are four verses with two in uni- tors and musicians who, like Schalk, are son. The calm music uses a flowing key- pondering the question of how music board accompaniment, limited vocal can best serve the Word. ranges, and an unhurried tempo. This —Lynn Cavanagh would be especially useful for small The University of Regina Photo: Lorraine Dotson church choirs. Regina, SK, Canada
16 THE DIAPASON Circle, Kirnberger; Voluntary, op. 7, no. from the start we can hear the excellent Toccata followed by a more relaxed New Recordings 7, Voluntary, op. 7, no. 9, Stanley. voicing of the glittering full chorus fugue that is most successful on this rel- On this generously timed CD, Ter- work. This is followed by a gentle ver- atively small instrument. A short setting ence Charlston plays an excellent selec- sion of Purcell’s Voluntary in G, which by Bach of Jesu, meine Freude with the Sounds Baroque. Terence Charlston tion of pieces from the late 17th and the is also indebted to the Italian style. In ornamented melody in the RH is played 2 plays the IOFS (International Organ 18th centuries on the 2-manual organ the five movements from François on the Positif 8v, 4v and 2 ⁄3v with tremu- Festival Society) organ in St Sav- designed by Peter Collins in 1989 in the Couperin’s Messe pour les Paroisses, we lant. Before Bach’s setting of Herr Jesu iour’s Church, St Alban’s, UK. Lam- style of Andreas Silbermann and the can hear in particular the incisive pene- Christ, dich zu uns wend, which again mas Records LAMM 181D, record- French branch of the latter’s family. The tration of the Trompette giving out the has the chorale given out in the RH, this ed 2004, TT 79:11, Grand Orgue contains ten flues from 16v plainchant in the first and final Kyrie, its time on the Cornet ranks, Charlston
Reuter is Pleased to Announce the 6th Annual Augustana Schools Represented 2001 - 2005 Arts/Reuter National Undergraduate Organ Competition Asbury College Augustana College Date ...... March 15-18, 2007 Baylor University Location ...... Augustana Lutheran Church • Denver, Colorado Brigham Young University Featured Performer/Judge ...... Professor Alan Morrison, Curtis Institute of Music Carnegie Mellon University Cleveland Institute of Music College of the Holy Cross Reuter congratulates the finalists and winners from 2001 to 2005, and we applaud all the participating schools for encouraging their students to Dordt College enter our competition over the last five years. We honor each one here with this listing. Because of the hospitality and organization of the host Duke University institutions (Augustana Arts and Augustana Lutheran Church – Cindy-Lindeen Martin, competition director), and in large part due to the exceed- Duquesne University ingly fine level of musicianship on display each year, this event takes its rightful place as the premier undergraduate organ playing competition East Carolina University - in the United States. Thank you to everyone involved for making this unique partnership a success. Join us in Denver from March 15 - 18, 2007 Greenville and help us inaugurate the new biennial Augustana Arts/ Reuter National Undergraduate Organ Competition. Eastman School of Music Friends University Houghton College For more information and application: Augustana Arts/Reuter National Undergraduate Organ Competition, Augustana Lutheran Indiana University Church, 5000 East Alameda Avenue, Denver, CO 80246 • Phone: 303/388-4678 Email: [email protected] • Manhattan School of Music www.reuterorgan.com/augustana.htm Martin Luther College McDaniel College Mercer University Entry Deadline: January 19, 2007 Mount Marty College North Carolina School of the Arts Finalists & Awards 2001 – 2005 Northwestern University Oberlin Conservatory of Music 2001 Finalists 2004 Finalists Rutgers University • First Prize - Fred Teardo, Eastman • First Prize - Jeffrey Wood, Holy Cross Southern Adventist University • Second Prize - Rico Contenti, Eastman • Second Prize - Jared Ostermann, St.Olaf College • Honorable Mention Kansas Stetson University Christopher Lees, Michigan • Honorable Mention The Hartt School Brett Maguire, Holy Cross Chelsea Chen, Juilliard The Juilliard School Eric Gunderson, Utah State The Peabody Institute 2002 Finalists Award Information University of Illinois at Urbana-Champaign • First Prize - Christian Lane, Eastman 2005 Finalists University of Kansas • Second Prize - Rico Contenti, Eastman • First Prize - Chelsea Chen, Juilliard First Prize University of Michigan • Honorable Mention • Second Prize - Adam Brakel, • $5,000 cash award provided by Reuter Organ Co. University of Missouri - Kansas City Christopher Jacobson, St. Olaf Duquesne • Featured performance with Musica Sacra University of Nebraska - Kearney Lars Gjerde, Augustana • Honorable Mention Chamber Orchestra on March 18, 2007 evening University of North Texas Nathan Davy, Asbury concert, part of Augustana Arts series University of Northern Iowa 2003 Finalists Clayton Roberts, Utah State • Career development sponsorship by Reuter Organ University of Wisconsin - Madison • First Prize - Jonathan Ryan, Cleveland Co., offering two recitals during the 2007 - 2008 Utah State University • Second Prize - Vincent Carr, Indiana season Wartburg College • Honorable Mention Wayne State University Daniel Tappe, Oberlin Second Prize Wittenberg University Colin Lynch, Northwestern • $2,000 cash award provided by Reuter Organ Co. • Performance on March 18, 2007 evening concert, part of Augustana Arts series
Honorable Mention (Two Prizes) • $500 cash award provided by Reuter Organ Co. • Performance during competition weekend March 17-18, 2007
OCTOBER, 2006 17 C. P. E. Bach’s three-movement Master Tallis’s Testament, Howells, Par- was somewhat smaller than it now is. return to England, though at the same Sonata in A minor is given a sterling tita, Mathias. Played by Flor Peeters on The other organ, in Liverpool Metropol- time to the calmer mood of the Flor performance, taking the listener to the the Walker organ in Liverpool Metro- itan Cathedral (Roman Catholic), is a Peeters Aria and the more medieval feel heart of the Empfindsam style, the politan Cathedral: L’Orgue mystique, four-manual, 88-stop organ by J. W. of Langlais’ Te Deum. The rest of the relaxed middle movement being framed Suite No. 24, Tournemire. Played by Walker & Sons. Dedicated on May 14, Liverpool Cathedral section of the com- by restless allegros. Kirnberger’s Musi- Noel Rawsthorne at Liverpool Metro- 1967, both the Metropolitan Cathedral pact disc is devoted to a work by the cal Circle traverses the minor keys using politan Cathedral: Invocations, Mathias. and the Walker organ were brand new at 20th-century Welsh composer, William the Cornet Décomposée, and the CD Played by Jeanne Demessieux at Liver- the time these recordings were made. A Mathias, his Partita, op. 19. Written in finishes with two voluntaries by John pool Metropolitan Cathedral: Trans- note at the end of the leaflet that comes 1962, the Partita has three movements. Stanley from his op. 7—that in E minor ports de joie, Messiaen. with the compact disc notes that the The first of these commences as a uses the Grand Cornet for the second Forty years ago, in the infancy of the recordings from Liverpool Metropolitan Maestoso and then develops into a movement after a Diapason introduc- English Cathedral tourist shoppe, quite Cathedral were made from the original dancelike Allegro ma non troppo sec- tion, while in the closing piece in G, a few cathedrals used to sell seven-inch master tapes. Unfortunately, however, tion. The second movement is a Lento Charlston eschews the printed marking 45 rpm “extended play” recordings of the original master tapes from the Angli- alla marcia in which a slightly ominous- of full organ for both the introduction their organs as “samplers” to give people can Cathedral had been lost and these sounding theme provides a more serious and the fugal second movement, prefer- an impression of the instrument. Inter- recordings therefore had to be mastered note, commencing quietly and building ring to add registers as the piece pro- ested tourists could purchase such a from a copy of the gramophone record. up to a climax before dropping back gresses, finishing with a splendid caden- record for the relatively modest sum of Apart from a tiny bit of upper-frequency again to a quiet section at the end. The za and flourish on full organ. twelve-and-sixpence. A London record- distortion in a couple of very loud pas- final movement is an Allegro in which The booklet gives excellent informa- ing studio named Ryemuse produced sages, I was unable to notice any loss of the motifs from the first movement are tion about the instrument, with photos, quite a few of these sampler records. quality associated with this, and indeed reintroduced and elaborated, culminat- as well as about the composers and The Ryemuse studio, opened in 1960 by it is hardly perceptible that one is listen- ing in an exciting cadenza. pieces played, including the registrations William Johnson and John Gregory, had ing to recordings from forty years ago. We then move a short way across the used. Throughout the recording Charl- two outstanding recording engineers in On the first section of the compact city to Liverpool Metropolitan Cathe- ston exhibits a great awareness of perfor- John Timperley and Dag Fjellner. Nor- disc, Noel Rawsthorne plays the five- dral, where the Belgian organist and mance practice and is particularly suc- man Austin was in charge of production, manual Willis organ in Liverpool Cathe- composer Flor Peeters introduces us to cessful in adding ornamentation in the and the music critic Felix Aprahamian dral. A student of Marcel Dupré and the four-manual Walker organ. Peeters’ most tasteful manner. His technical dex- wrote the sleeve notes—quite a star- Fernando Germani, Noel Rawsthorne contribution to the recording consists of terity is apparent in every piece, as is his studded cast in those days. Furthermore, became assistant organist to Harry Goss- playing the twenty-fourth suite of ability to register using smaller these records often included very inter- Custard at Liverpool’s Anglican Cathe- Charles Tournemire’s L’Orgue mys- resources; this plus the exemplary quali- esting repertoire performed by out- dral in 1937. He succeeded Dr. Goss- tique. Tournemire wrote this suite for ty of the voicing makes for the happiest standing players. I still have a few of Custard on his retirement in 1955, and the Sunday after Ascension Day, and it is marriage. This CD is most highly recom- these Ryemuse recordings in my own then held the position of Organist & not surprising that Flor Peeters should mended as an introduction to the Euro- record collection, but, alas, in these days Master of the Choristers down to his have chosen to play this particular suite pean style, its generous length being a of compact discs they largely go own retirement in 1980. The first track, since he himself was the dedicatee. Both big plus. unplayed. It is good, therefore, that Pri- devoted to Healey Willan’s Chorale Pre- of Liverpool’s cathedral organs are nom- —John Collins ory Records had the idea of buying the lude on “Gelobt sei Gott,” provides an inally eclectic instruments, representing Sussex, England rights to these old recordings and that auspicious start in which the tutti of the the British equivalent of “American they are in the process reissuing them on Willis organ is heard to good effect and Classic” design. Nevertheless, the Willis compact disc. leads to a crescendo in which the piece organ has some leanings toward the Organ Music from the Two Cathe- The Liverpool CD features three builds up to full organ at the end. This is orchestral style, while the Walker organ drals in Liverpool. Noel Rawsthorne, leading organists of the last century— followed by the highly modal and at was built at the height of the neo- Flor Peeters and Jeanne Demes- Jeanne Demessieux, Flor Peeters, and times dissonant Hymne d’Actions de baroque era. This contrast is very appar- sieux, organ. Priory Records PRCD Noel Rawsthorne—playing the organs of grâces, “Te Deum,” written by Jean ent in Peeters’ use of the Walker organ 931,
18 THE DIAPASON ter of the Anglican Cathedral as their gift mentions the newly appraised Johann vant that it ought to be followed by all Despite Mattheson’s well-known to the Roman Catholic Cathedral at the Praetorius, and argues from the stand- scholarly editions of chorale settings. comparison between Jakob Praetorius time of its dedication in 1967. The piece point of style to back his attributions of And what of the contents? For those and Scheidemann, stating that the lat- is inscribed to Noel Rawsthorne, who those works transmitted anonymously. not acquainted with Scheidemann, as ter’s works are easy to play, most of played it during the dedicatory recital on As in other volumes in the series (see Werner Breig pointed out as early as these settings require a highly devel- the Walker organ. Sarah Hughes’s review of the volumes 1967, in his surviving output we have the oped manual and pedal technique, as The player on the last track of the devoted to Jakob and Johann Praeto- largest collection of organ music from for example in Lobet den Herren, denn compact disc is the legendary French rius—THE DIAPASON, December 2005), the 17th century from the North after er ist sehr freundlich, in particular organist Jeanne Demessieux, who made he keeps the original notation where a Buxtehude and Scheidt. These 33 with the flashing alternations between a number of recordings on the Walker dotted note is carried over a barline, chorale settings, many of which are still manuals, and in the Chorale Fantasia organ at Liverpool Metropolitan Cathe- which can at first be quite misleading suitable for liturgical integration, offer a on Jesus Christus unser Heiland, in dral, including more than one of this and confusing, not being as obvious as deep insight into what was essentially an which, incidentally, Beckmann offers a particular work, the Transports de joie the newer notation of using ties, but the improvised art, ranging from nine single- considerably more difficult reading of from Messiaen’s suite, L’Ascension. separation of certain rhythmical pat- verse settings to two four-verse settings bars 205 to 225. Also required is a two- The recording of the piece on this com- terns into smaller units may well have a in various styles, the great majority hav- manual organ that offers contrasting pact disc is interesting in being one of critical bearing on the articulation ing two verses. yet balanced manual choruses, as well rather more dignity and gravitas than implicit in such groupings. Nearly all of them require pedal, either as decent pedal reeds. Some stretches was normally characteristic of Jeanne There is a most comprehensive criti- for giving out the chorale melody in long of a tenth and more occur outside of Demessieux’s treatment of this toccata- cal commentary (in German only, notes beneath figuration (i.e., Gott der the short-octave ambit (e.g., bar 22 of like movement. which, if they do not have a fluency in Vater wohn uns bei, and sometimes, as in the second verse of Es ist gewisslich an These are all classic recordings, and it the language, will certainly deprive the first verse of Mensch, willst du leben der Zeit)—the player must make his is commendable that Priory Records has those players who wish to read the most seliglich, in the tenor) or as a basso con- own decisions! reissued them. They provide a very important comments on source trans- tinuo supporting the manual work, with a These pieces will more than amply interesting window onto the British mission, and a possible bearing on inter- highly embellished melody in the right repay the time and effort expended in organ scene in the third quarter of the pretation) listing the contents of the hand (i.e., third verse of Mensch, willst du serious study, as the genial art of one of twentieth century. Clausthal-Zellerfeld and Pelplin manu- leben seliglich and second verse of first the most important figures in North —John L. Speller scripts, and only here is found a brief setting of Vater unser im Himmelreich); German organ music is revealed. The St. Louis, Missouri discussion of the ornament sign of two in some there is an interplay between the printing is clear, and the binding is parallel lines. The individual listings for Rückpositiv and the Oberwerk. There good, allowing the score to lie flat on the each work also give the origin of the are, however, several verses for manuals music desk. All in all the volume is rec- cantus firmus and extensive compar- only, and the second setting of Vater ommended, but as mentioned above, it New Organ Music isons of detail differences in the unser is a particularly lovely example with is to its detriment that the extremely sources. Fock’s edition of 1966 also its skilful interplay between manuals. valuable information available in the gives the melody and the text for the Two pieces, Jesus, du wollst uns weisen critical commentary is in German only. Heinrich Scheidemann: Complete first verse in each case at the head of the and O Gott wir danken deiner Güt are for —John Collins Keyboard Works; Part 1, Chorale musical score, which is sufficiently rele- manuals only. Sussex, England Settings, edited by Klaus Beck- mann. Schott ED9728, 34.95 euros,
Be sure that your company is listed in next year’s Resource Directory. Go to
OCTOBER, 2006 19 Introducing Charles Quef Forgotten master of La Trinité in Paris Steven Young
espite the long and glorious history Dof outstanding organist-composers at l’Eglise de la Sainte Trinité in Paris, France, featuring such notables as Alex- is Chauvet, Alexandre Guilmant, and Olivier Messiaen, another fine compos- er, Charles Paul-Florimond Quef, remains in virtual obscurity. This author first encountered Quef’s music in L’Orgue moderne, a quarterly publi- cation of organ music. In the late nine- teenth and early twentieth centuries, L’Orgue moderne featured shorter organ works by many excellent com- posers who, in recent times, have been overlooked or neglected.1 Among those forgotten is Charles Quef, whose sub- stantial legacy includes at least 47 sets of pieces from 75 opus numbers. In addition, several of Quef’s pieces lack any opus numbers, making it difficult to create an accurate catalogue of his works. It appears that many of these compositions never received perfor- mances outside of Paris or La Trinité, the church Quef served as organiste tit- ulaire for 30 years.2 Photo 1. The Quef family outside their Meudon home (1913). Standing: Maurice Photo 2. Charles Quef in soldier’s uni- Quef, his wife Louise Quef-Vallet, Charles Quef, his wife Clara Quef-Luys; seated: form (1915) (Photograph courtesy of Jacque- Quef’s life and career Isabelle Quef-Lecoche and Charles Quef (parents of Maurice and Charles); ground line Quef-Allment) Few details concerning Quef’s life level: Amélie and Hèléne Quef, daughters of Charles, with André Quef (Charles’s nephew) (Photograph courtesy of Jacqueline Quef-Allment) can be documented. He was born in been sorely neglected.12 Unfortunately, Lille on November 1, 1867, during the this organization lasted for less than one early years of the Third Republic. He concert season due to “the rough diffi- had a brother, Maurice, a sculptor, to culties of life,” according to a contem- whom he dedicated two pieces (Opus porary source.13 13 and 28, No. 2), and a sister, Marie. Quef wrote music for the organ, har- He attended the conservatory at Lille, monium, piano, choir, and solo voice, as taking the deuxième prix d’harmonie in well as for orchestral and chamber 1890. In 1894, he attended the Conser- ensembles. He harmonized many sacred vatoire Nationale et Superieure de melodies for choir and composed Musique et Déclamation in Paris, as an accompaniments for solo popular organ student of both Charles-Marie songs.14 He also transcribed and Widor and Guilmant; his studies there arranged six of Handel’s organ concerti included improvisation, harmony, coun- for organ solo and several movements of terpoint, and fugue. During his student Handel’s Suites for violin and violoncel- days, Quef served as organist at Ste. lo.15 Other transcriptions included adap- Marie de Batignolles and St. Laurent. tations of several classic funeral march- After garnering prizes in organ and es, including as the marche funèbre from improvisation, including the coveted Chopin’s Sonata in B-flat minor, in two première prix in 1898,3 he spent the volumes: one for organ and one for har- next two years as organist de choeur at monium.16 Much of Quef’s music was La Trinitè before being appointed published in musical quarterlies or little- organiste titulaire in November 1901.4 known journals;17 he published some (Quef accepted this position following pieces independently, using his own the sudden resignation of Guilmant, copyright.18 Several English and Belgian under circumstances examined more firms published his works: two of his fully below.) Quef married Clara organ works appeared in a series known Cornélie Madeleine Luys, and they had as The Modern Organist, edited by the two daughters, Amélie and Hélène; eminent British musicologist A. Eagle- Quef dedicated his Opus 46 piano field Hull, as well as in the Belgian series pieces to the latter.5 In 1903, Quef Repértoire de l’organiste. Among Quef’s moved from the boulevard Clichy6 in notable accomplishments, he ranks Paris to Meudon, a suburb, and lived among the first French composers to some 28 years on the rue Ernest-Renan. write a film score, Vie de Jesus (1908), (See photo 1.) (Meudon was also the for the band cinématographique. home of Guilmant and Marcel Dupré.) Quef served in the French army during Status within the Parisian musical World War I.7 (See photo 2.) Following community his military service, Quef developed his Although prolific and innovative, skills as an organist and improviser at La Quef remains little known. Until recent- Trinité. He remained active as both ly, only Henry Eymieu, a music critic composer and performer, and after thir- and historian, ever provided biographi- ty years of service to La Trinité, he died cal information on Quef, and that essay at his Meudon home. The funeral ser- appeared in a little-known journal with vices took place at the church of Notre- a brief existence.19 In organists’ circles, Dame de Bellevue, his home parish, his obscurity may be attributed to the and he was buried in the family grave at fact that he never wrote the large sym- Meudon cemetery. (See funeral card.) phonic organ works that established the He was awarded the Chevalier de la Funeral card popularity of Vierne, Guilmant, and legion d’honneur posthumously, on July Widor.20 In addition, he appears neither 2, 1933, exactly two years after his death have enjoyed a moderately successful the orchestra is vigorous without over- to have had many private students nor in Paris.8 career as both performer and compos- whelming the elegant writing, the logical to have served on the faculty of either of construction. It is the work of an honest Composers frequently dedicate er, as indicated in the following news- musician who is not lacking originality.)11 the major French musical institutions of pieces to family, friends, and students. paper review: the time. If one were to use this as a measure of Additionally, he performed with Another explanation for Quef’s fairly Quef’s interpersonal relationships with Le 1re Fantaisie, de M. Ch. Quef, est many of the prestigious conductors and low profile might be found in the cir- the musical community of Paris, it assez brève de proportions; l’instrument orchestras in Paris and was active in cumstances surrounding his predeces- would appear that he had very few close soliste y brille en traits ingénieux sans many smaller concert organizations, sor’s decision to resign from La Trinité. musician-friends. Only a handful of the cependant tenir le seul rôle intéressant; though it appears he never took an Alexandre Guilmant had served as pieces he composed after 1902 bear l’orchestre est vigoreux sans écrasement active leadership role in any of these organiste titulaire at La Trinité for some 9 l’écriture élégante, la construction dedications to other French organists, logique. C’est l’œuvre d’un musicien groups, with one exception. With the 30 years. He abruptly resigned his post and only three French composers probe et non-dépourvu d’originalité. (The short-lived Orchestre Philharmonique following a difficult struggle with one of (Lucien Bourgeois, Alexandre Guil- premiere Fantaisie of M. Ch. Quef is de Paris, Quef served as the choir direc- the clergy over organ renovations per- mant, and Henri Libert) dedicated somewhat small in its proportions; the solo tor for a group that sought to perform formed by the Merklin firm, the works to Quef.10 Despite the apparent instrument shines with ingenious traits music for orchestra and choir, which arrangements for which were made by lack of peer recognition, Quef seems to without holding the only interesting role; conductor Lucien Wurmser felt had one of the parish priests. Guilmant
20 THE DIAPASON Example 1. Ecce panis, Opus 74
piano, Opus 4, and the Fantaisie pour point. This contrapuntally intricate work piano et orchestre.32 is based entirely on its opening melodic From his earliest extant opus, the figure, making for a tightly constructed, Suite, one can observe Quef’s fascina- economical work. Both economy of tion with counterpoint. In the second style and fascination with counterpoint movement, Quef introduces two melod- continued to prevail in his music as he ic ideas that he later combines in the matured. (Messiaen noted that even closing section of the movement. In the Quef’s improvisations at La Trinité five Pièces d’orgue, Opus 11 (1898), one revealed a profound knowledge of coun- finds both a fugue and a trio that relies terpoint.) For example, in the Prélude on melodic imitation, in the style similar funèbre et fugue, Opus 30, of 1903, the to the six organ sonatas of Bach (BWV material used for the fugue subject 525–530). These early works attest to comes directly from the prelude. the composer’s solid training in tradi- In the motet Ecce panis, Opus 71, the tional composition. opening four-note motive permeates Another example of Quef’s use of the entire composition. (See musical complex compositional techniques can example 1.) The conciseness of the Figure 1. Sample program be seen in the aforementioned Prélude- musical language may reflect the Neo- Choral, Opus 25 (1902). Eymieu,33 in Classical movement that enveloped found the changes unacceptable and ever, most of these works received a his sketch of Quef, makes special men- many French composers during the refused to sign the official report single performance and then fell into tion of this organ work because it com- 1920s. Quef’s devotion to and refine- (procès-verbal de vérification et de obscurity. The only non-organ works bines traditional techniques with the ment of contrapuntal techniques con- réception du grande orgue). According within his output that received more new chromatic style so prevalent during tinued into the late works, such as the to Louis Vierne, Guilmant was so dis- than one documentable public perfor- this period. Compositional devices Sancta Maria, Opus 72/1, for choir and tressed by the situation that he saw no mance, according to present research, include augmentation and diminution, organ (1924), in which the outer sec- alternative but to resign.21 Quef, serving are the Suite pour instruments à vent et as well as double (invertible) counter- tions begin imitatively. In addition, he as organiste de choeur, signed the agreement accepting the changes; he was subsequently appointed as titular CHRIST CHURCH (EPISCOPAL) organist on December 1, 1901. This acceptance of the post caused quite a stir in the musical community, grievous- GREENVILLE, SOUTH CAROLINA ly upsetting some of Guilmant’s stu- dents and friends, including Vierne, one OPUS 35 • 2001 of Quef’s former teachers. Within this close-knit group of musicians, Quef appeared opportunistic.22 Yet Guilmant and Quef may have resolved any result- ing tensions as early as 1902, when Quef dedicated his Prélude-Choral, Opus 25 to “mon cher maître, Alexandre Guil- mant.” Though regrettable, this unfor- tunate situation in the organ communi- ty appears to have had little effect on Quef’s career during 1902, as he per- formed that year as organ soloist and with orchestra as part of the Associa- tions des Grands Concerts, while other concert organizations gave several per- formances of his compositions.23 (A sample program appears as figure 1.) Quef was among a handful of French organists who played his own organ works, as evidenced by a cursory exami- nation of the service music repertoire listed for the churches of Paris between 1919 and 1923.24 However, his wide- ranging repertoire also included music of Bach, Handel, Mendelssohn, Schu- mann, Liszt, and Karg-Elert, among the great German composers, as well as music by French masters such as Clérambault, Franck, Saint-Saëns, Chauvet, Guilmant, Lucien Mawet, Widor, and Eugene Gigout.25 He also played music by composers Alan Gray (1855–1935) and William Faulkes (1863–1933); these men were most like- ly contacts from England where Quef and his music were known and respect- ed, and where he gave at least one recital.26 By invitation from Guilmant, Quef performed at the Schola Cantorum in 1905.27 Also at the request of Guil- mant, Quef frequently served as a mem- ber of the organ adjudication committee at the Conservatoire, and even provided fugue subjects for these examinations. Although few accounts of Quef’s playing exist, composer and organist Olivier Messiaen, who succeeded Quef as organist at La Trinité, commented that he played neatly and with precision and chose tasteful registrations.28 It seems clear that Quef earned considerable admiration as an organist.29 Musical style Reviews of Quef’s orchestral and chamber music, though relatively 823 MASSACHUSETTS AVENUE • INDIANAPOLIS, INDIANA 46204 scarce, generally praise his innovation and compositional skill as well as his 800.814.9690 • 317.637.5222 • FACSIMILE: 317.637.5236 musical depth and sensitivity.30 Many WWW.GOULDINGANDWOOD.COM of the prestigious concert series of the time premiered Quef’s music.31 How-
OCTOBER, 2006 21 Example 2a. Suite (Entrée), Opus 4 Example 3a. Sonate pour piano et violon, Opus 18 (movement I)
Example 3b. Sonate pour piano et violon, Opus 18 (movement III)
Example 2b. Suite (Rondo-Final), Opus 4
some debate among biographers and scholars as to gram included works of Bach, Clérambault, Franck, when Messiaen actually began his tenure at the Purcell Mansfield, and three pieces by Quef. The church, as both 1930 and 1931 are cited by his biog- last of these pieces, Festal March, came from a set raphers. If Quef played elsewhere after leaving La of Five Recital Pieces, Opus 28, newly published in Trinité, it remains unknown. 1908 by the English firm, Hammond and Co. This 3. It took Quef several years to complete his recital may have been part of a promotional tour for studies, as his military service interrupted his these new works. Shortly after this tour, Quef’s time at the Conservatory. (See Rollin Smith, music appeared on several recital programs by Eng- Louis Vierne, organist of Notre Dame, Pendragon lish and American organists, including a program Press, 1999.) given by Purcell J. Mansfield. Mansfield seems to 4. Smith’s chronology, in Louis Vierne, appears have been held in high esteem by other organists; to be inaccurate, as it states that Quef became reviews of his works garnered high praise from the organist de choeur in 1901, when in actuality, he editors of The Organist and Choirmaster, a month- published three organ fugues, more preferring Quef’s synthesis of a reli- became organiste titulaire at that time. ly publication that ran from 1877–1920. than many of his contemporaries (com- gious spirit with beautifully modern 5. The Opus 46 may be incorrect as a printed 27. This recital took place on March 22 and fea- 36 program from the Concerts Touche of 28 Octo- tured music of Bach and modern French com- pare this to only one fugue by Widor harmonic tints. The reviewer felt that ber 1918 lists the “Suite dans le Style ancien” as posers as well as two works by Quef and a Sonata and Vierne).34 The textbook style of his “no organist, great or small, should be Opus 46. (possibly an arrangement) by Leclair. fugal writing reveals again his devotion without this collection.”37 6. Le boulevard Clichy is located in the ninth 28. Bertrand Duteil, Parcours musical en Ile-de- arrondissement, and was also where such luminar- France. Compositeurs et lieux de mémoire, Paris, to the techniques taught at the Conser- This essay offers only a preliminary ies as Arthur Honegger and Darius Milhaud lived. Texteul/ARIAM, Ile-de-France, 1994, p. 103. vatoire; André Gedalge, author of La survey of the music of Charles Quef; 7. A report in Le Courrier Musical mentions 29. Vierne, in Mes Souvenirs, verbally blasted Traité de la Fugue and professor of further research is required to place that Quef completed the score of his comic opera, Quef for betraying Guilmant and predicted that Pomone, during his mobilization. See Le Courrier Quef would never find acceptance in the (Parisian) fugue at the Conservatoire, would have Quef in proper historical and musical Musical, vol. 19 (15 Avril 1917), p. 205. musical community. been proud! context. Closer study of the music and 8. Quef died on July 2, 1931 in Paris, not in Lille 30. These two reviews attest to the type of criti- In other works by Quef, one encoun- other documentary evidence may fur- as claimed by Smith, in Louis Vierne, p. 128. cal evaluation his work received. (Translations by ters a more Romantic spirit, embodied ther our understanding of Quef’s per- 9. Only one organ work, Opus 29/1, bears a the author) dedication to a French organist, Henri Libert. Le Courrier Musical, vol. 15, no. 22 (15 Nov 1912), in titles such as Rhapsodie, Idylle, and sonal life, his career as performer and Other works feature dedications to British organists p. 610–11: Reverie. Evidence of Franck’s influ- composer, and his substantial artistic or other obscure French individuals. Parmi ces ouvrages, tous ceux de composition ence, namely the cyclic treatment of contributions. I 10. These works are 5 Versets sur des thèmes récente témoignent d’un noble souci de style et liturgiques, Offertoire (Opus 65, 9e livraison), and d’une grande conscience d’écriture. (Among thematic material, also appears. For Duo en forme de canon, respectively. these works, all the new compositions attest to example, in the Suite, Opus 4, the open- The author is deeply indebted to the staffs 11. Le Ménestrel, vol. 78, no. 46 (16 Nov 1912), great care with the style and to a grand integrity ing theme of the Entrée returns in the of the Bibliothèque Nationale, Paris, France; p. 364. of the writing.) final movement, Rondo-Final, here the Library of Congress, Washington, D.C.; 12. Le Courrier Musical, vol. 24, no. 18 (15 Nov Le Ménestrel, vol. 78, no. 46 (16 Nov 1912), p. 364: and the British Library, London, England 1922), p. 341. Le 1re Fantaisie, de M. Ch. Quef, est assez transformed into a dance tune. (See for their gracious help. Additional thanks go 13. Ibid. “les difficultés matérielles de la vie…” brève de proportions; l’instrument soliste y brille musical examples 2a and 2b.) This cyclic to musicologists Agnes Armstrong, Jean 14. In the 1920s, a collection entitled Cinquante en traits ingénieux sans cependant tenir le seul treatment occurs more subtly in the chanson populaires was published in Paris, with rôle intéressant; l’orchestre est vigoreux sans Kreiling, and Kurt Lueders for their invalu- melodies by other composers harmonized by Quef. écrasement l’écriture élégante, la construction other chamber works. For example, in able assistance in the preparation of this arti- This collection is now held in the Bibliothèque logique. C’est l’oeuvre d’un musicien probe et the Sonate pour violon et piano, Opus cle, and to the Center for the Advancement of nationale (Paris). See also Le Courrier Musical, vol. non-dépourvu d’originalité. (The premiere Fan- 18, an intervallic transformation links Research and Teaching (CART) at Bridgewa- 24, no. 5, p. 92, for a review of this collection. taisie of M. Ch. Quef is somewhat small in its the first and last movements: specifical- ter State College for its financial assistance. 15. The transcriptions were published in 1924 by proportions; the solo instrument shines with Schott and Co., Ltd., of London in a series of vol- ingenious traits without holding the only inter- ly, the opening melodic tritone and fifth umes that featured many organ transcriptions by esting role; the orchestra is vigorous without of the first movement are expanded to a Steven Young holds the Doctor of Musical various composers. The transcriptions of the organ overwhelming the elegant writing, the logical sixth and a seventh in the opening Arts degree in organ performance from concerti were published by Durand (no copyright construction. It is the work of an honest musician theme of the last movement. (See musi- Boston University and holds the Associate date provided). who is not lacking originality.) Certificate from the American Guild of 16. Other transcriptions are based on music of 31. Two larger works, Suite flamande and Fan- cal examples 3a and 3b.) In Trio, Opus Organists. He is an assistant professor and Beethoven, Handel, Mozart, and Schubert. taisie pour piano et orchestre, received perfor- 34, for piano, violin, and cello, the open- department chair of music at Bridgewater 17. For example, three of Quef’s late choral mances by the Concerts Séchiari and the Concerts ing tune of the first movement haunt- pieces, Opp. 71, 72, and 75, appeared in the quar- Lamoureux, respectively. Further research has doc- State College, Bridgewater, Massachusetts, terly collection, La Grande Maîtrise, published by umented premieres of one orchestral work at the ingly recurs just prior to a dramatic coda where he teaches courses in music theory and Herelle et Cie. Concerts Lamoureux and two chamber works in that closes the third movement. serves as director of choral activities. Dr. 18. In 1908, Quef published his Deux Pièces, smaller concert venues. Quef also had works per- Reviews of Quef’s music, including Young is the organist/music director of the Opus 29, as part of a group of composers collec- formed by the Concerts Touche, one for organ and those by the eminent English organist Old South Union Church in S. Weymouth, tively known as the Société Cooperative de Com- orchestra (“Fantaisie sur des Airs Anglais”) and one Massachusetts. He is an active recitalist, con- positeurs de Musique. for orchestra alone (“Suite dans le Style ancien”). and editor Harvey Grace, offer glowing 19. Henry Eymieu, “Nos grands organistes: 32. According to Eymieu, in Nos grands organ- praise for the composer’s skill and ductor, accompanist, and choral adjudicator. Charles Quef,” Revue Pratique de Liturgie et de istes, the Suite was performed in many places in imagination. Grace claimed that Quef Musique Sacrée, Juillet–Août, 1923, vol. VII, nos. France. Attesting to the popularity of this work, the Notes 73–74 (pp. 31–34). Bibliographie Musicale Française (année 28, 1902) was at his best when writing smaller 1. This series, published by Alphonse Leduc, 20. Research has shown, however, that compos- indicates that the Suite was first appeared in the pieces.35 Echoing this sentiment, running at least 33 issues, initially featured compo- ing an organ symphony does not guarantee one’s original version sometime between January and French reviewer M. Courtonne praised sitions by students of Charles-Marie Widor and, fame in the organ world. The author has found over March and the four-hand piano version by Isidor later, Felix-Alexandre Guilmant at La Conserva- twenty organ symphonies written by Paris Conser- Philipp was published between July and September the short works for harmonium, toire supérieure de musique in Paris, France, vatory graduates whose names remain little known. of the same year. Impressions religieuses, Opus 54. The beginning in 1894. 21. See Smith, Louis Vierne, p. 135. 33. Ibid. same writer criticized the state of reli- 2. According to Messiaen, in a letter to Timothy 22. For a more complete explanation of the rea- 34. This comparison excludes Vierne’s “verset gious music that merely represented a Tikker in THE DIAPASON, December 1988, Quef sons for Guilmant’s resignation and the ensuing fugeé sur ‘in exitu Israel,’” which is technically a served as organiste titulaire until the end of 1929, problems for Quef, see Kurt Lueders, “Alexandre fughetta. pastiche of Gregorian chant fragments, and then Messiaen took over. There seems to be Guilmant et l’Affaire de la Trinité,” La Flûte Har- 35. In Musical Times, no. 940, vol. 62 (June monique, Publication de l’Association Aristide 1921), p. 418, Grace reviewed Désespoir for organ Cavaillé-Coll, 57/58 (1991): pp. 2–43. See also and wrote, “Charles Quef is well known and Frederick B. Stiven, In the Organ Lofts of Paris esteemed in this country as the successor of Guil- (Boston: The Stratford Co., 1923), who makes ref- mant at the Madeleine (sic). His gift for writing erence to Quef’s “eye for business.” short expressive pieces is shown at its best in his 23. See Le Ménestrel, vol. 68 (1902), nos. 15–16. ‘Desespoir’ (Novello). It is simple, and easy to 24. Recital programs of English organists reveal play—a broad solo over a throbbing accompani- that Quef’s music did receive some attention. In ment, with some striking harmonic touches.” 1921 and 1922, two organists performed the Dés- 36. The use of chants and harmonized chants, espoir while another played the Reverie and Canti- promoted by Louis Niedermeyer, was very much lene from Four Pieces, Opus 37. In 1924, Le Guide the norm throughout the nineteenth century. Con- du concert listed church music selections by sider, for example, Eugene Gigout’s Cent pieces Parisian organists, and George Ibos (St. Honoré- brèves dans la tonalité du plain-chant, published in d’Éylau) and René Blin (St. Élisabeth-du-Temple) 1888. Even Widor exclaimed that, with few notable played organ works of Quef. exceptions, he could only consider music based on 25. According to Frederic B. Stiven, Quef was chant as being sacred, according to Orpha Ochse, the only organist in Paris to play music of Organists and Organ-playing in Nineteenth Centu- 1184 Woodland St. SW, Hartville, Ohio 44632 Mendelssohn in the 1920s. ry France and Belgium (Bloomington: Indiana Uni- 330-966-2499 www.keggorgan.com 26. An anonymous review in Musical Times 39, p. versity Press, 1994), p. 139. 518, describes a recital at the Bow Church, Cheap- 37. La Revue des Maitrises, vol. 3, no. 4, 1922, side, London (possibly St Mary-Le-Bow); the pro- p. 32.
22 THE DIAPASON Ann Arbor Summer Festival Classical Music Series 27th International Organ and Church Music Institute Gordon Atkinson and James Wagner
Devotees of the pipe organ in the Fisk organ through its paces on July 9 Dr. Seth Nelson closed the program Lecaudey of France. Later, Dr. Chris- Ann Arbor environs look forward during with a mostly North German recital of with the Choral in A Minor. tine Clewell from Indiana University in the late spring/early summer to a num- Buxtehude, Böhm, Bach, etc. Attendees to the institute were Pennsylvania discussed the four Duet- ber of special events. The first is the For the 27th International Organ and charmed by native Australian Gordon tos from Bach’s Clavierübung III. Classical Music Series of the Ann Arbor Church Music Institute, June 25–27, Atkinson who presented various ses- The institute concluded with a Tues- Summer Festival; the second, the annu- director Marilyn Mason and her assem- sions on chant traditions and hymn play- day night recital at Hill Auditorium by al International Organ and Church bled presenters and recitalists served up ing. Dr. Atkinson invoked his extensive recent UM doctoral alumni. James Music Institute at the University of a memorable set of workshops and pro- experience in the Anglican tradition Wagner played the soon to be published Michigan School of Music. This year’s grams with the theme “Franck and both in his native land, as well as in Eng- work, Chorale Fantasia on “I Know events did not disappoint. Church Music Practicum.” The opening land and the USA. That My Redeemer Lives,” by local com- Four Sunday afternoons (June 18, 25, event dovetailed with the above series Monday night, June 26, doctoral poser Karen Phipps, who was in atten- July 2, and 9) were scheduled for the in the performance of Johns and Yrjölä. candidate David Saunders offered an dance. Kirsten Hellman then delivered Classical Music Series with internation- Later that night, again on the Fisk, UM intriguing first dissertation recital on a lively rendition of the Prelude and ally renowned artists holding forth in student Paul Haebig presented his mas- the Aeolian-Skinner at Hill Auditori- Fugue No. 1 in C Minor, op. 37 of the superb acoustics of the Blanche ter’s recital featuring Mendelssohn’s um. Opening with a towering perfor- Mendelssohn. Dr. Seth Nelson brought Anderson Moore Hall at the UM School Sonate III, Bach’s Trio Sonate I, and a mance of the Bach Passacaglia in C the Institute to a fitting close with a of Music, home to the Fisk organ Lebègue Magnificat with Haebig sup- Minor, Saunders then joined forces powerful performance of Franck’s named in honor of Marilyn Mason. plying his own alternatim chants. with local musicians in the haunting Grande Pièce Symphonique. Based on the instruments of Gottfried At a number of times over the next but infrequently performed Fugue, —James Wagner Silbermann, it most closely resembles two days, Prof. Ralph Kneeream lec- Canzona, and Epilogue of Karg-Elert James Wagner holds a DMA in organ per- the organ built for the Georgenkirche in tured on the music of Franck, drawing for organ, violin, and women’s voices. formance/church music from the University Rotha, Germany. upon his close personal connections to Also heard were works by English com- of Michigan. His studies in organ have been with Marilyn Mason, Pamela Ruiter-Feen- The first program, on June 18, fea- Dupré, Duruflé, and Mme. Tournemire. posers Jackson, Holst, Howell, Bridge, stra, and Mary Ida Yost. Dr. Wagner partic- tured University Organist Marilyn At a masterclass with Dr. Kneeream, the and Cocker. ipates in the musical life of greater Ann Mason and soprano Brenda Wimberly. following UM students performed: John Tuesday morning, Saunders present- Arbor, Michigan as an organist, conductor, Two works by Johann Pachelbel were Kramer (Fantasy in A), Christine Chun ed a lecture on the topic, “An Approach teacher, and composer. He presently serves played by Dr. Mason to commemorate (Prélude, Fugue, et Variation), and to French Classic Ornamentation,” as Sub-Dean of the Ann Arbor Chapter of the the 300th anniversary of the composer’s Andrew Meagher (Cantabile). Alumnus based on his studies with Jean-Pierre American Guild of Organists. death: Toccata in E Minor, and the par- tita Christus, der ist mein Leben. (Mari- lyn Mason is presently recording the ANDOVER BEDIENT BERGHAUS BIGELOW BOND
music of Pachelbel for the Musical Her- B itage Society.) Brenda Wimberly sang O UZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD Divine Redeemer and Ave Maria by Gounod, and ended her part of the pro- gram with Mozart’s Exultate Jubilate, performed in honor of the 250th year of the composer’s birth. Mason then played Bach’s Pastorale in F, BWV 540, and concluded with Spirituals for the Organ by Calvin Taylor, commissioned by and dedicated to Marilyn Mason. The concert on June 25 featured Michele Johns, organ; Tapani Yrjölä, violin; and David Troiano, tenor, in a potpourri spanning four centuries. Con- certo in A Minor, BWV 1041, by Bach, three arrangements of medieval songs by Pietari Korhoven, and settings of Ave Maria gratia plena by Giulio Caccini and César Franck were performed by Johns and Yrjölä. Troiano sang God is a constant sure defense by Handel and Jesu, the very thought of Thee by Samuel Wesley. The suite for organ, Veni Creator Spiritus by de Grigny, was heard next, and the program concluded with music of Mendelssohn played by the three artists: the recitative Ye People rent your hearts and the aria If with all your hearts from Elijah, followed by an arrangement of Not unto us, O Lord (Psalm 115), op. 31. —Gordon Atkinson Gordon Atkinson was born in Melbourne, Australia, and spent most of his life in Cana- da and the USA. He studied at the University of Melbourne, the Royal College of Music, London, the University of Michigan, and the Graduate Theological Foundation. His prin- cipal organ teachers were A. E. H. Nickson, A Week in These Can Change a Lifetime Harold Darke, and Marilyn Mason. He was national president of the Royal Canadian College of Organists. Dr. Atkinson is a pub- lished composer, and has played recitals in In just a short week, young people attending a Pipe Organ Encounter were inspired England, continental Europe, Canada, the to become the next generation of organists and church musicians. United States and Australia. He returned to Melbourne in February 2005. Join APOBA in welcoming these talented young musicians, as they dedicate their The Classical Music Series continued lives to expressing themselves through the Pipe Organ! on July 2 in a patriotic mien with read- ings from Jefferson, Lincoln, and Frost rendered by Elizabeth Graham, inter- spersed among the mostly American musical selections. Marilyn Mason again To receive information about pipe organs presided at the organ, complemented by flautist Donald Fishel to form “Duo A and recognized pipe organ builders Pneuma.” From far away Singapore, P write or call toll free 1-800-473-5270 UM alumna Dr. Evelyn Lim put the BO or on the web @ www.apoba.com THE DIAPASON has moved. Note A Associated Pipe Organ Builders of America our new address: P.O. Box 155 • Chicago Ridge, Illinois 60415
3030 W. Salt Creek Lane, Suite BOODY 201 & QUIMBY TT PARSONS REDMAN SCHANTZ SCHOENSTEIN TAYLOR Arlington Heights, IL 60005 O Phone, fax, e-mail, and web remain the same. NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON
OCTOBER, 2006 23 Searle Wright as a Teacher Bruce Bengtson
his article was inspired by Ralph Chapel Music, because of scheduling TKneeream’s elegant and moving problems. Searle was not, to put it mild- tribute to Searle Wright in the Novem- ly, enamored of the sound of the organ ber 2004 issue of THE DIAPASON. Dr. in James Chapel! And it was no wonder. Kneeream strongly encouraged me to The room was dreadfully dry acoustical- memorialize my thoughts and impres- ly, which would put any organ at a dis- sions of Searle as a teacher to provide an advantage from the outset. Rebuilt and additional perspective on the talents updated in 1960, at a time in American and contributions of this remarkable organ building when pipe scales were man. It was my privilege to study organ, getting thinner and thinner, making composition and improvisation with mixtures work properly with the thinly Searle from September 1964 through scaled foundational underpinning was a May 1966, and to be able to keep in real problem. Dr. Baker had the Swell contact with him after graduation from mixture replaced at least three times Union Theological Seminary’s then- after he became Director of the School existing School of Sacred Music until his upon the death of Dr. Hugh Porter. death June 3, 2004. Searle was accustomed to the magnifi- cent G. Donald Harrison American As a teacher of composition classic Aeolian-Skinner and the rever- One of his aphorisms was specifically berant acoustics of St. Paul’s Chapel. I applicable to this area of music study: vividly recall Searle’s frustration during “Write quickly, but revise exceedingly one of my lessons while helping me with slowly and carefully!” While he was a registration. Exasperated, he mut- referring to musical composition, his tered: “This organ is as subtle as a train cautionary wisdom applies equally well wreck!” However, that did not stop him to writing an article! I have endeavored from finding combinations that not only to carefully follow this advice in compil- Searle Wright at the Aeolian-Skinner Searle Wright in front of St. Paul’s worked well for the literature being ing these thoughts and reflections. console, St. Paul’s Chapel, Columbia Chapel, 1964 (photo: Ralph Kneeream) played, but were beautiful! He had a As a composer of numerous organ University, New York City, c. 1952–53 wonderful ear for sounds and total mas- and choral works himself, he often tery of the art of registration. joked about it being said of him that he I always felt he was able to correct us intact in the top voice.” I never had the One of my many lasting memories is was in this century (the 20th) but not of without putting us down, and in such a privilege of hearing Searle play a service, how excited he would become when I it! This self-deprecating humor was gen- way that we were willing to embrace and but Dr. Kneeream tells me that Searle came to my lesson prepared with a sig- erally followed by this remark: “If one is work on his corrections and suggestions. was very careful to play the hymns as nificant amount of literature to play. going to write conventionally, one must I will never forget one time when it written for the services. When I heard He loved it when I was willing to take have something to say and write exceed- was my turn to improvise in class. this I was reminded of another of Searle’s his ideas on the pieces and at least try ingly well.” He always advocated that a Somehow I got stuck on a theme from sayings: “Just because one can do some- them. During my second year at composition have a good “tune” or Grieg; no matter how hard I tried, I thing does not mean one should!” Union, my lessons were in St. Paul’s melody involved. He was not averse to could not shake the theme or improvise Another valuable lesson he taught Chapel. Scheduled to begin at 2 pm on 20th-century compositional devices my way out! While the theme was good, was how a chromatic sequence is con- Fridays, they seldom got underway (polytonality, 4th-built chords, etc.), but I soon ran out of material and ways to structed and functions. Using a variety until 2:30. Searle was not a morning these were used as means to an end, not deal with the theme. Mercifully, I some- of examples, he demonstrated how this person! He often stayed up as late as 4 an end in themselves. how brought the improvisation to an knowledge can hasten learning the am practicing or composing, followed He encouraged honest efforts at com- embarrassing conclusion. As I turned music of Vierne. He progressed from by sleeping until noon. Therefore, 2 position, but he could come down hard around on the organ bench, I could see that lesson to show us how to improvise pm was very early in his day. He would in his evaluations. I vividly recall his the looks on the faces of some of my around a cipher, a skill I once heard him come in late, half-awake, apologizing written comments on one of my own classmates; all of us awaited his com- demonstrate “under the gun” when he for being late and saying he had to stop efforts, which I still have: “Good grief, ments. With a broad smile Searle said: was playing theatre organ for his 75th along Broadway to get an orange juice. the chords! The piece can’t move! It “Well, it sounds like Bruce got stuck in birthday party in Binghamton, New Upon ascertaining I had prepared a falls under its own weight!” This sent a tune taught him by his Swedish grand- York. He worked around the persistent number of pieces for him to hear, he shock waves through my system at the mother!” He was aware that I am cipher for over two minutes, never los- quickly awakened as his enthusiasm time. But the encouraging part of his Swedish on my father’s side, and well ing a beat, until it suddenly ceased, bubbled to the surface. teaching style came to the fore in his aware that the composer of the theme allowing him to proceed! Having taken advantage of the 20–30 comment on the last page: “Big talents was Norwegian. Much relieved, I joined minutes he was late to work out regis- carry big responsibilities!” I had been my classmates in a good laugh, and he As an organ teacher trations on the magnificent chapel brought down, but also lifted up. He proceeded to show us all how to escape As an undergraduate organ major at organ, I would begin to play. His keen proceeded to outline in writing some of from such musical traps in the future! the University of Northern Iowa, my ear for color would take over as he the options that could correct my many Part of our improvisation training was organ study was with Philip Hahn (later, would rapidly approach the console compositional errors. learning how to “decorate” hymns with Dr. Philip Hahn, AAGO, President of from his “listening post” in the nave of passing tones and harmonic changes, as the American Guild of Organists), who the chapel to compliment me on my As a teacher of improvisation well as using hymn tunes as the basis for was a student of Robert Noehren at the registration, quickly followed by: “Have He worked with the Union students in an improvised prelude to a service. University of Michigan. The question of you thought of doing it this way?” as he a class setting. He would demonstrate While teaching this subject, he did not whom among the Union faculty I should changed all the stops I had selected! In how to build an improvisation with what hesitate to express his opinion on free study with arose when I was accepted at amazement I marveled that I had not seemed, and were, very basic and practi- accompaniments: “Dr. Noble’s (T. Ter- Union. Phil suggested I write to Dr. thought of it in the new way and would cal methods. It sounded easy when he tius Noble, Organist and Master of the Noehren, since he had heard me play in reach for my pencil to jot down the idea. would demonstrate, but I think there Choristers at St. Thomas Church, Fifth my sophomore year at UNI when he was But he would protest, “No, don’t bother was a certain apprehension in all my Avenue, New York City from at the university to work on final plans for to write it down; you could also think classmates when we had to play, know- 1913–1943) free accompaniments are his new instrument slated for installation about doing it this way,” and quick as a ing his phenomenal reputation as an fine, but he didn’t always put the melody in the newly completed music building. I flash, he would again change all the reg- improviser and our natural desire to in the top voice. If you’re going to do a well remember Dr. Noehren’s reply: istration. The moral of the story soon avoid making total fools of ourselves! Yet free accompaniment, leave the melody “You have had enough discipline in your became readily apparent: he felt it lim- training. Now the time has come for you iting to be doctrinaire; rather, he to have some freedom. Therefore, I rec- encouraged me to use my ear, take into ommend you study with Searle Wright.” account the resources at my disposal, I told this story to Dr. Baker (Dr. Robert the acoustics of the room, the structure S. Baker, Dean of the School of Sacred of the music, etc., to achieve a series of Music) during my entrance interview musical sounds that emphasized the with him at UTS and recall his reaction: music and what it was trying to convey. “Very interesting that Bob (Dr. He was exceedingly generous with his Noehren) would recommend you study time. If I had a significant amount of with Searle. They are of very different repertoire prepared, my “hour lesson” persuasions, you know!” Thus it came to might well run until nearly 5 pm when pass that I studied with Searle. he had his Friday evening choir During my first year at Union, I had rehearsal! I well recall stumbling out of my lessons on the organ in James the chapel physically exhausted, but Chapel at Union, not at St. Paul’s mentally and emotionally on an unbe- Chapel, Columbia University, where lievable “high” after those lessons. They Searle was the Organist and Director of were so stimulating!
24 THE DIAPASON Searle Wright (photo: James Wilkes) Searle Wright at theatre organ console (photo: James Wilkes) Bruce Bengtson
His knowledge of the repertoire was Master of Sacred Music degree at UTS articles were published showing that the wrote letters and was generally good for comprehensive. Often during lessons he in those days was to write both abbrevi- metronome markings in the Vierne an hour on the phone, joking that he would ask if I knew or played such-and- ated and extended program notes on symphonies are wrong. He said that the was vaccinated with a phonograph nee- such work. Often, I not only did not play each work in our master’s recital, I tempo markings in the score of the dle! What a legacy he left! it, I had never heard of it! He would arranged to interview Searle and get the Final were “ridiculous!” “Slow it down! May the soul of the faithful departed allow me the time to write down the background of the piece “straight from Just let the piece happen.” He also rest in peace, and may light perpetual names of these suggestions. My organ the horse’s mouth,” as he said. As we sat talked about the construction of the shine upon him. Amen. I scores are rife with names of works to in “The Pit” (the “break room” at piece, how to handle the three episodes learn, written in pencil scrawls that fade Union) over coffee, he told me about his before the theme recurs in minor, then Bruce P. Bengtson began his study of the more and more as the years go by. I am life and the piece. He was especially again in major against the triplet figura- organ at the First Congregational Church, still, after all these years, exploring some proud of the work; it had come out in tion. As always, he talked about the big Waterloo, Iowa, and served as organist for of the suggestions he made in those print only three years earlier. I shall line and the shape of the piece. “The the church from 1958–1964. He received his bachelor’s degree from the University of lessons. Though the pencil scrawls are always treasure the note he wrote in my details are fine, but if you lose the shape Northern Iowa in 1964 and a Master of faded or nearly invisible after 40 years, score after the recital, “Thanks for a of the piece while getting the details, Sacred Music degree in 1966 from Union my memory of the man, his teaching great performance!—Searle.” what have you gained?” Theological Seminary in New York City. In 1 and his ideas are as fresh in my mind as He championed Vierne and Karg- After the lesson (2 ⁄2 hours, just like in 1968 he completed the requirements for the if I had just heard them yesterday. Elert when they were out of vogue in the “old days!”), I took him out for din- Associate Certificate of the American Guild As in his teaching of composition and the 1960s. I studied the Vierne Trip- ner. He would accept no pay for the les- of Organists. He has served as organist and improvisation, he could be a very tyque with him. It ends with the “Stèle son! We had a wonderful conversation choirmaster for churches in Waterloo, Iowa; encouraging organ teacher. After play- pour un enfant defunt,” the last piece on a variety of topics. After dinner I Elizabeth, New Jersey; Pittsburgh, Pennsyl- ing a noonday recital at St. Paul’s Vierne played on his recital at Notre bade him goodnight as he headed back vania; and Lincoln, Nebraska. He served as organist-choirmaster of Christ Episcopal Chapel, I expressed my disappointment Dame in June, 1937, when he collapsed to the church—he wanted to practice! Church in Reading, Pennsylvania, from in missing too many notes in the G- and died at the console just prior to the He was working on the Roger-Ducasse 1971–1982; he relinquished the choirmaster Major Voluntary, op. 1, no. 5, by customary improvisation. Searle took Pastorale. Even Searle admitted it was a responsibilities in 1982, but has continued William Walond. Searle pointed out such pains in teaching these little minia- hard piece! It was the last time I saw to serve Christ Church as organist. In the that errors in this type of music can be tures, talking about ways to pace and him alive, but I kept in contact with him fall of 2005 he celebrated 50 years as a minimized by first taking care to cover phrase them. I have all his markings in by phone the rest of his life. He seldom church organist. the notes one is about to play, then my score, and I treasure them. What he keeping your hand and wrist as quiet as accomplished with me in those lessons possible while playing. While he did not was not only to give me a thorough often talk about technique or fingering, understanding of those specific pieces when he did, it was right on target and but also to develop my understanding to the point. Note that this was brought and feeling for the use of phrasing and home to me by the one who was to give rubato, not only in the music of Vierne, Eloquence and Artistry me “freedom” and not impose more dis- but other composers as well. cipline on me! “Most players have more technique than they need,” he would His teaching philosophy in Organ Building say. “Technique must be the servant of • Use your ear, decide on and prac- the music.” He had such a wonderfully tice your pacing, don’t forget the big fluid technique and sat very quietly on line, and play musically. the bench, always playing with an econ- • There are no difficult pieces, only omy of motion; but could he move when unfamiliar ones. Your job as a musician the music called for it! is to make familiar that which is unfa- I vividly recall his working with me miliar and to communicate. before my master’s recital at St. • A teacher is constantly in danger of Thomas, helping me to set registrations, falling into the trap of trying to be all tempi, etc. He would walk around the things to all people, of trying to do too nave, listening intently. Interestingly much, and of being a jack-of-all-trades. enough, he did not radically alter the It is good to know something about a lot sounds I had chosen; rather, he adjust- of things musical, but it is necessary to ed them for balance in the room in a remember that it is “a little” that one way I could not possibly do from the knows. The teacher must take a point of console. As we worked, he would fre- view in order to give the subject studied quently tell me how the organ was when a personality and a point of departure. it was all E. M. Skinner during the time The teacher’s viewpoint should be only he was working with Dr. Noble. I recall a point of departure, not the gospel for his mild grumbling about Harrison the student. putting the Great manual on the bottom and questioning the wisdom of a Epilogue French-style organ in an Anglican I took my last lesson from him in church. But he loved “his” Harrison April, 1993, at the First Congregational Aeolian-Skinner in St. Paul’s Chapel, Church in Binghamton, New York, his built almost 20 years before the St. last church position. The entire lesson Thomas instrument. was devoted to the Final from Vierne’s On my master’s degree recital, I Fifth Symphony, which Searle had played Searle’s Introduction, Pas- played impromptu for me one time dur- All Saints Episcopal Church, Atlanta, GA sacaglia and Fugue. As we were plan- ing a lesson at St. Paul’s Chapel to illus- Raymond & Elizabeth Chenault, Music Directors ning the repertoire for my recital, he trate a point he had been making about asked me if I would be interested (note: “the big line” versus detail treatment. I asked me!) in learning the work. He was so overwhelmed hearing him play described it as a big virtuoso piece not the piece at the time that I promised Member, Associated Pipe Organ many people play. He had written it for myself I would learn it some day. Before John-Paul Marilyn Mason in 1960, and she gave its the Binghamton lesson, he had Builders of America first performance at the AGO national relearned the piece himself so he could Buzard 112 West Hill Street convention in Detroit that year. Searle teach me. This was so typical of Searle: Pipe Organ Builders Champaign, Illinois 61820 felt it to be a good piece and worthy of he believed in preparing and expected the time I would need to spend on it. I the same of his students. I still have all 800.397.3103 • www.Buzardorgans.com readily agreed to tackle it! his markings and suggestions in my Since one of the requirements for the score. This lesson took place before the
OCTOBER, 2006 25 E. Power Biggs in Mozart Country Part 4 Anton Warde
Parts 1, 2, and 3 of this series appeared organ) of 1694, built by the Saxon in the July, August, and September issues (Lausitzer) Paulus Prescher (then work- of THE DIAPASON, respectively. ing in Nördlingen). The instrument lies on, and partly below, the floor of the rom Ochsenhausen, Biggs and com- chancel, centered between the choir Fpany moved on to the jaw-dropper stalls on either side. In the manuscript of of all the Baroque places they would an unpublished (and undated—but visit: Ottobeuren. Like a great white probably post-1970) essay about his ship plowing across the sea of agricul- best-liked organs, Biggs wrote, “The ture that surrounds it for miles, the pipes point away from the player “en Benedictine monastery at Ottobeuren chamade,” like so many guns on a battle- begins to rise from the horizon of the ship; the organ [thus] gains wonderful Allgäu region many kilometers before tone projection and accent.”3 It is pre- one arrives at its portal. As Biggs later cisely these qualities of course that Biggs wrote to David Oppenheim, in a letter most appreciated in any organ; and we dated December 26, 1955, “It’s really hear them in full measure in the tuneful quite a feather in our cap to have the Little Prelude and Fugue in F-major, Fantasy heard in—of all places—Otto- BWV 556 (accompanied, unfortunately, beuren, for this is just about the most by a faint whistle that sometimes bedev- remarkable example of rococo [any- iled the Ampex). Biggs’s choice to pluck where], with a magnificent organ and this music from his portfolio that morn- spacious echo.” The “Fantasy” here is ing was a small stroke of programming not by Mozart but by Bach: his Fantasia genius, as fitting for the Prescher instru- in G Major, BWV 572, for which, as ment as the selection of BWV 572 had Biggs wrote in the album notes, “the been for the Riepp at Ottobeuren. Biggs baroque splendor of Ottobeuren affords must have carried a vast library of sheet a perfect acoustical setting.” music with him; but where did he keep Not the least of the rococo furnish- it all? Steinmeyer has no recollection of ings in the vast swirl of the church’s any supply beyond the slender folder interior are the two extravagantly ornate Biggs brought with him each day. choir organs completed by Karl Riepp in 1766 and renovated by the firm of From Oettingen to Salzburg Steinmeyer in 1914 and 1922.1 For this Nine days remained before Biggs was particular piece by Bach, the French to appear for his concert with orchestra accent of the larger, “Trinity” organ at the Mozarteum in Salzburg, now (four manuals, 49 registers) suits per- rescheduled for the evening of Friday, fectly. And the recorded performance August 26. After that initial “pass” Biggs delivered as the ninth cut on the through Salzburg, another week of 1956 “Eight” album was a jaw-dropper Mozart-touring would follow, before a in its own right. The coda alone, with return for the sonata project in Salzburg fiery manual flourishes over the chro- Cathedral that would begin on Monday, matically descending buzzsaw of a 16v September 5. On their way to the first Bombarde “to an insistent dominant,” Salzburg engagement they would spend was itself worth the price of the album. August 17 and 18, Wednesday and Among countless recorded perfor- Thursday, recording (along with pieces mances of Bach’s Pièce d’Orgue (includ- by Brahms, Reger, and Purcell) ing certainly his own rather plain one in Mozart’s Prelude and Fugue in C Minor, Volume Five of “Bach Organ Favorites” K. 546, at both Ulm and Augsburg. played on the Harvard Flentrop), the Biggs at Riepp console, Ottobeuren (Condensing geography for the Mozart performance he achieved at Ottobeuren album, Biggs locates the prelude at on Friday, August 12, 1956, remains a Had he failed once to do so? The sud- brought them to a third example of Ulm, played on the Cathedral’s Walcker stunner, easily the equal of its amazing den failure of a critical part in the Sta- baroque splendor, the monastery organ, and the fugue in the Pfarrkirche, setting. (See photo: Biggs at Riepp con- nis-Hoffman oscillator that afternoon church at Irsee. The recording log entry Heilig-Kreuz, Augsburg, played on sole, Ottobeuren.) brought the Ottobeuren recording ses- for that visit consists of only one cryptic another Steinmeyer.) The party of sion to a cruel halt just as Biggs was line: “the famous Irsee wobble.” And so four—Hanne Steinmeyer had joined the Recording cut short at Ottobeuren moving from Bach to Brahms. It meant they pressed on to examine organs at expedition at Oettingen—spent the Riepp’s “Trinity” organ stands on the that for the rest of the tour they would “Mozart sites” in Landsberg and Augs- afternoon and evening of Friday, August “Epistle” side of Ottobeuren’s broad have to perform a tricky, manual moni- burg that weekend (not yet recording 19, playing (and recording to their chancel, his smaller “Holy Ghost” organ toring of cycle-control during each ses- any) and arrived in Oettingen in time to hearts’ content) the automated musical on the “Gospel” side. On Steinmeyer’s sion, a major nuisance.2 (See photo: dine bei Steinmeyer on Sunday evening. instruments in the collection of the many trips past the high altar under the Finished too soon at Ottobeuren, page There, at the midpoint of their odyssey, Deutsches Museum in Munich, to gaze of visitors to the basilica (a three- 27.) Ironically, they would soon receive they could slow the pace for two days, which Steinmeyer had persuaded “Ver- star destination—“worth a journey”—in this note from “boss” David Oppen- enjoy three nights of the Steinmeyer waltungsdirektor Bäßler” to give them the Michelin Guide) to position and heim, posted two days before the break- family’s hospitality, view the Steinmeyer free access. There Biggs filled two reels then to adjust his microphone, which he down: “I am happy to hear that the organ shop—and finally get some laun- of tape with such mechanical novelties and Biggs had decided should be hung Mozart trail is proving to be a negotiable dry done. as “Vierundzwanzig Trompeten und on the opposite side of the choir, in one and that the equipment has settled zwei Pauken,” followed by five more front of the lesser organ, Steinmeyer down to doing its job.” An all-time favorite organ for reels with numerous takes of the organ remembers feeling that decorum A half hour’s drive farther to the east Biggs sonatas of Josef Rheinberger, his peren- required him to genuflect at each pass. on Saturday morning, August 13, While the travelers recuperated from nial favorite among “later” composers. their two-week whirl of new places, Oet- He played the Rheinberger on the large tingen served as a point of departure for Steinmeyer in the Festsaal of the muse- two day trips. On Monday, August 15 um.4 By noon on Saturday, August 20, (the date Biggs had originally proposed the group had reached Innsbruck and for beginning the whole journey!), Stein- environs where, for the rest of the week- meyer took Biggs “down the road” to end, they would explore possibilities for examine a 1948 Steinmeyer at the recording and make final arrangements church of St. Georg in nearby Nördlin- to do so at Fügen, at Absam, and in gen, one of a trio of much-visited Innsbruck’s famed “Silver Chapel” the medieval towns along the Romantische following week, when they were to pass Strasse. Biggs played some Brahms and through the area again. Ritter on it, which they recorded to give On Tuesday, August 23, the quartet The b e s t of the European tradition themselves a chance to practice the reached Salzburg and settled in for the “work-around” on the hobbled oscilla- three days before Biggs’s Mozarteum Proudly made in America tor—nothing very inspiring for Biggs “debut.” Between practice sessions with that day. the orchestra for Friday’s concert, Biggs Tuesday, August 16, however, would and Steinmeyer made a half day’s excur- 1003 Barnwood Lane present Biggs with one of the highlights sion eastward into the Salzkammergut of the trip. That morning, after another for a recording session of little conse- Camillus, New York 13031 short drive from Oettingen, they came quence at Bad Ischl; and later in the to the small monastery of Mönschsdeg- week Biggs recorded Brahms, Mozart, (315) 751-0505 gingen, very much off all beaten paths. and motorcycles in the Church of St. www.lewtakorgan.com Here Steinmeyer introduced Biggs to an Cajetan at the center of Salzburg, on the organ that he would later number single most “authentic” Mozart organ he among his 20 favorites of all time: the lit- would find in his travels. In one of his tle seven-rank liegende Orgel (horizontal notes, Biggs muses that he was hearing
26 THE DIAPASON Bierdeckel game in Passau
And at the Silberne Kapelle in Inns- bruck he competed with ceaseless traf- fic noise to record Mozart’s Adagio “for glass harmonica,” K. 356 (included in the Tour album), played on the chapel’s Italian organ of 1580, as well as music by Italian composers (never released). Finished too soon at Ottobeuren On the day after the recital in Feld- kirch, Sunday, September 4, the music exactly as Mozart had (except for monastery soldering iron was produced, Microbus with its precious cargo would the traffic noise), complete with the plugged in at the altar (where often is to retrace the long route eastward through be found the only electrical outlet) and annoying sound of church’s strangely repairs made right there.5 the Alps to Innsbruck and then on to unmusical bell. Salzburg. During that 350-kilometer (See series of photos: Soldering at Lam- grind across half of Austria, Biggs must Playing Bierdeckel in Passau bach, pages 28–29.) have savored some sense of triumph at With the Mozarteum engagement all that had fallen into place for the cli- behind them, and with all arrangements Up the valley of the Inn mactic week to come: a prestigious completed for starting to record the On Tuesday, August 30, the travelers’ Mozart orchestra, an expert Mozart sonatas a week later, the travelers set path led them southwestward, again conductor, and permission to record in forth once more on the morning of Sat- toward Innsbruck. By the end of the the most splendid of all Mozart spaces. urday, August 27. Steinmeyer drove week, Biggs needed to reach Feldkirch, them 200 km. northward, to the east- at the extreme western tip of Austria “An experience never to be ernmost corner of Bavaria where, in the near the border of Liechtenstein, where forgotten” picturesque city of Passau, “piled” on an he was to play a concert on Saturday, On Monday morning, September 5, ever narrower tongue of land at the con- September 3 (the second of the five that when Biggs and his team of “amateurs” fluence of the Danube, the Inn, and the the American embassy in Vienna had carried their recording gear into Ilz, they would keep their 3:00 p.m. arranged for him). On the way to Feld- Salzburg Cathedral (see photo: Arrival appointment to record Brahms chorales kirch, they would carry out plans laid in Salzburg, page 30), they found a crew and Mozart’s dramatic K. 608 on the the previous week for recording sessions of hyper-professional engineers from huge 1928 Steinmeyer organ in Passau at Fügen, Absam, and Innsbruck— Philips already at work, officiously set- Another young Mozart? Cathedral, another grand baroque located in a convenient row along their ting up their fancy two-track equipment space. After dinner on their second route up the valley of the Inn. In the to record the project in stereo. Next to Dear Biggses, finally I have the time to evening in Passau the four of them parish church at Fügen (famed for these Profis in their starched white lab- write to you after being away from played “if you drop the coaster, you Franz Gruber’s first performance of his oratory coats, Georg Steinmeyer Salzburg almost a week. We arrived safely drink!” at a local Gaststätte. (See photo: carol “Stille Nacht”), Steinmeyer recalls remembers feeling like a brash upstart. in Munich on the 5th in the evening. . . . Bierdeckel game in Passau.) everyone’s amazement at finding the That day he would be placing the On the 6th it took us from 8:30 a.m. until 4:20 p.m. to get through the whole visa The next morning, the Steinmeyers seven-year-old son of the organist play- microphone for the last time. As procedure. With the baby it was not too found themselves delivering curt mes- ing the “Mozart organ” with the virtuos- planned, he and Hanne would now peel much fun. We went back to Oettingen on sages between the two Biggses at ity of a seven-year-old Mozart himself. away from the venture and go about the the same evening, since a letter from breakfast: from Peggy, “tell Biggsy, (See photo: Another young Mozart?) business of their move to America. With Estey Organ Corporation was waiting for please . . . ,” and from Biggs, “Well, Playing a handsome eighteenth-century everything “set to record,” the two us. . . . We are finishing our packing at the please tell Peggy . . . .” Had one or the organ in the Pilgrimage Church of St. Steinmeyers wished the two Biggses moment and shall ship our trunks proba- other dropped the beer coaster too Michael at Absam, Biggs recorded Lebet wohl, sped away in the Microbus bly next week. often and downed too many draughts BWV 555, the last of the four “Little (without that load, how it could fly!), the previous evening? Had Peggy final- Eight” for which he had wanted to pro- and reached Munich that evening. On He went on to explain that Estey wanted ly had enough of living out of the single duce more “authentic” realizations than September 11, Steinmeyer found time him to come immediately, that the air- suitcase they shared between them— the ones he had carried home in 1954. to send his friends a letter: line tickets the company had sent were only a fraction the size of the collection of gear they hauled around every day? Had all those noisy takes of K. 608 on “the world’s largest church organ” sim- ply driven her over the edge? Stein- Log On and take the tour! meyer has no recollection of the issue that morning but remembers that rela- tions warmed again soon enough— probably long before lunchtime. ANNUAL AND ONE-TIME COPYRIGHT Repairs at Lambach PERMISSIONS WITH THE In any event, no visitor could stay angry for long at their next Mozart stop, CLICK OF A MOUSE on Monday, August 29: the monastery at Lambach, Austria, 100 km. southeast of Passau. “It is a beautiful place,” Biggs wrote, “with the courtyard buildings painted a jonquil yellow so that the whole place seems filled with sunshine whether or not the day [is] bright.” After the trip, Biggs remembered it as one of their happiest sojourns, despite some frustrating moments:
In the process of recording, we somehow dropped a minute screw vitally important to our equipment. [Steinmeyer: “Nothing less than the screw that held the recording • EASY—online permission and reporting head in place!”] After several fruitless hours of search for it we gave up, and • ECONOMICAL—based on average weekend attendance returned disconsolate to the hotel. Next • THOROUGH—your favorite songs morning we were greeted by the smiling Abbot. He “couldn’t sleep” he said, and • CONVENIENT—includes a growing list of publishers had arisen at four and searched the floor foot by foot by candle light and—minor miracle—he had found the missing part. Later that day, the microphone cable part- LOG ON TODAY! WWW.ONELICENSE.NET ed, necessitating metallic connection. A
OCTOBER, 2006 27 Soldering at Lambach 1 expected any day, and that he would scene, should have been chosen by thus surely not be available to drive the Columbia over what the crack team Biggses from Salzburg to Frankfurt at from Philips had produced still makes the end of their Austrian circuit. Georg Steinmeyer beam with pride. “Of In Salzburg, meanwhile, Biggs found course,” he concedes, “Columbia may Soldering at Lambach 2 himself in his element: not have had the means at that time even to process a stereo recording.” And on Sunday but all through the week!”8 near Linz, September 16 at Klagenfurt, There in Salzburg Cathedral, with yet it seems likely that Philips could eas- Finally, Biggs the connoisseur of “tonal and September 17 at Graz) and to con- acoustics on the same ample scale as Ulm, ily have provided a monaural version if clarity in the midst of reverberation” tinue exploring Mozart sites along the in the organ gallery where Mozart himself Columbia had asked for one. In any offers this characteristic observation: way. The far-flung concerts Angelo had once played the Sonatas, we recorded all 17 of these enjoyable works. The event, Columbia Masterworks was Eagon had arranged would take them, orchestra (the Camerata Academica of happy enough to release what the It is worth noting how very cleverly almost amusingly, to the most distant Salzburg) duplicated that used by the com- “Biggs team” had produced, with no Mozart writes for the spacious length of corners of Austria. For the one at Feld- further ado. And the reviews seem to Salzburg Cathedral. Themes are strong kirch, they had already journeyed far to poser, and the director was Dr. Bernhard and chordal in outline, so that the sound of Paumgartner, leading Mozart authority. To have justified their decision. orchestra and organ may pile on itself with the west. Now it would be 150 km. complete the picture of authenticity, as far fine effect yet without confusion.9 north, to the Monastery of St. Florian, as possible only the organ stops in the pres- “Salzburg Festival Tempo” for a recital on its “Bruckner” organ, ent instrument that derive from the organ All in major keys, the sonatas differ The measured tempo of the Paum- then down the Danube to Vienna (200 Mozart played were used. . . . The drama of recording there in the darkened cathe- from the two Fantasias, in their unset- gartner/Biggs performances sets them km.), and finally to the southeastern dral through long evening sessions, with tling key of F minor, as day does from favorably apart from other recorded provincial cities of Klagenfurt and Graz, the Cathedral Square cleared of all traffic night: realizations of the pieces, especially close to the Yugoslavian border. The by the Salzburg police, is an experience considered as a collection. Most of the concert at Graz cathedral, on September never to be forgotten.6 Every one perfect in form, all seventeen others sound almost frenetic by compar- 18, would place the Biggses 15 hours of are nonetheless quite varied in character. ison, too over-energized to be enjoyed travel time distant from the plane they Rehearsing during the day, the play- Some are of rare expressive beauty, as if for more than one or two sonatas at a were to board in Frankfurt for the flight for Christmas. Many are for festival occa- ers mastered each piece so well (reading sions, particularly those with trumpets, time. The graceful “swing” of the 1956 home on September 21, according to scores provided by Biggs) that they oboes, and kettle drums. . . . It was in fact readings lets the seventeenth sonata fall calculations scribbled by Biggs as he needed no more than a take or two in a remark of Dr. Paumgartner that led us to as refreshingly on the ear as the first. planned their schedule for the final days. the evenings, and rarely an insert. THE rechristen these engaging works “Festival” Like Biggs in solo performance, these Biggs kept the Ampex and all 84 tapes DIAPASON’s reviewer wrote, “The Sonatas. For Dr. Paumgartner accepted a players seem to be listening closely to with him as the journey continued; but authentic atmosphere captured here compliment on his choice of tempo (in the the music as they perform it. We can bet he must have sent the oscillator and all apparently inspired all concerned to C major Sonata that opens our recording) that the compliment by “someone” its accessories home at some point, pos- with the remark, “Yes, that’s the Salzburg great heights—the results approach 7 about the tempo Paumgartner set came sibly already from Linz following two perfection itself!” And the reviewer for Festival Tempo!” from Biggs himself. post-Salzburg recording sessions: one at The American Organist agreed: “Play- Kremsmünster on the way to Linz and ing and recording are uniformly excel- How grateful the un-churchy Biggs felt Homeward with his trophies one at St. Florian’s (in both cases, music lent. . . . I feel increasingly indebted to to be given a designation for these With the seventeen sonatas literally in of Brahms and Bruckner, none of it ever Mr. Biggs for his outstanding contribu- works beyond the customary “epistle,” the bag by the end of the day on Sep- released). To avoid a repeat of the pre- tions of this type.” or “church,” or even “short”! “Having tember 9, the Biggses set off on Satur- vious year’s nightmare (tapes long That the recording taken with a single noted their church origin,” he mischie- day, September 10, to keep their three delayed in shipping and customs), Biggs microphone, placed by one who felt vously wrote, “one may as well forget it, remaining Austrian concert engage- wanted to bring his trophies home this himself almost an interloper at the for here is music to be enjoyed not only ments (September 11 at St. Florian’s, time as part of his personal luggage. And it seems to have worked. Although he would still have to pay duty on the tapes’ contents, and leave them in the possession of U.S. customs in Boston for a week, payment could wait, it appears, until a final determination was made (by him) of the extent of the value of their contents.10 In the meantime he would have them to edit. For travel from Salzburg to St. Flori- an’s and on to Vienna, the Biggses were accorded the services of an embassy car (a 1952 Plymouth station wagon) and driver. (After Graz, we can hope that they traveled by train, since it would have been more comfortable by far than by automobile, given the roads of the day and the mountainous terrain to be traversed. Steinmeyer points out that today’s ubiquitous car-rental agencies were unknown in the Europe of 1955; his own two rentals had been by special arrangement with dealers.) On their way from St. Florian’s to Vienna via Melk, Krems, and Klosterneuburg, the Biggses stopped to view Mozart’s reversed initials on the organ case at Ybbs, carved by him at the age of eleven. Biggs snapped a picture (see photo: Mozart’s initials at Ybbs, page 29), made his own pencil-tracing, and later began one of his essays about the trip by citing this curiosity:
M A W 1767—So reads the penknife sig- nature on the organ case of the little church in the . . . town of Ybbs, on the
28 THE DIAPASON Soldering at Lambach 3 Soldering at Lambach 4
And on October 30 Biggs would write three months ahead of the Mozart col- “Bitten by the multi-track bug” to him once more: lection), “deserved more attention than Until he heard an organ recorded in it received at the time.”14 Despite the stereo, Biggs had not grasped the value At last I’ve sorted out some fifty miles of sense one often has of hearing the music of binaural recording for the instru- tape and ploughed through stacks of pho- through a tunnel (or from the vestibule ment. He had assumed that any solo tographs of last summer! And, as soon as or outside a window) the easily discern- instrument would benefit little from convenient to you, I’d like to bring down the following for your consideration. able variety with which the nine organs spatial expansion. What he could not speak makes for a rich collection. This have known was that the space itself album stands apart from the other three into which an organ speaks, more In “the following,” however, Biggs had in the 1955–56 quartet in demonstrat- important for that instrument than for replaced the Brahms and Bruckner with ing how enormously different, yet uni- any other, would be precisely what a program he proposed to entitle “Musi- formly appealing, older organs can stereophonic miking dramatically cal Fun in the Munich Museum,” with sound from one specimen to the next. expands. It was, in fact, just before he the sounds of all the automated instru- ments: “I think you’ll be tickled when you hear them,” Biggs wrote to Oppen- heim, “In fact, you’ll grin from ear to ear professional at the ‘Twenty-four Trumpets and Two Mozart’s initials at Ybbs Kettle Drums.’” Oppenheim may have smiled, all right, but probably more at Danube. Apparently Mozart was fond of Biggs’s enthusiasm than at the prospect inverting the order of his name—to musiciansicianiician for any profit from the release of such a Mozart Amadeus Wolfgang—and to pastoral theological announce himself as “Trazom.”11 recording. It would take less time to get the Bach As they had begun their tour with album ready for release than the three- music-making at Kirchheimbolanden, so LP Mozart compendium simply because would they end it. On September 6, most of it was ready to go. Biggs had Biggs had received a sudden, irresistibly brought recordings of all eight of the lit- Master of cordial invitation to return to Kirch- tle preludes and fugues back with him heimbolanden and play a recital there on the previous year. But four of them dis- the eve of the flight home from Frank- satisfied him. He had wanted to replace furt. He happily assented—in part, per- these with versions to be played on more Sacred Music haps, because he liked the symmetry of appropriate organs as he happened it. On that flight home, he may have upon them on the Mozart trip. Notably, www.luthersem.edu/msm begun to compose the essay that added he tried each one of the four on only one the symmetry of one last, very Biggsian, organ, found the results pleasing, and justification for his latest recording ven- put the piece away for the rest of the ture, now completed: trip. The four replacements were these: “We seek to give musical and theological No. 1 played on the Andreas Silbermann But why travel 15,000 miles with some 850 flesh and bone to those who are called pounds [Biggs here ups the weight by 200 organ at Ebersmünster (replacing the pounds!] of electronic equipment to big Schnitger in Hamburg), No. 2 to serve the church as leaders of the record all this music? The spice of curiosi- played on the 18th-century Fuchs/Mau- people’s song.” ty and the search for authenticity are the racher organ at Absam, Austria (replac- reasons, coupled with the conviction that ing a modern Flentrop at Amstelveen, – Dr. Paul Westermeyer, Director the union of modern recording techniques Holland), No. 4 played on the small with the arts of the classic organ builders is Prescher organ at Mönchsdeggingen a particularly invaluable coincidence of the new and the old. By this happy coupling (replacing a modern organ in Hilver- we hear music with new character and sum, Holland), and No. 5 played on the authenticity and we learn of organ building Gabler organ at Ochsenhausen (replac- arts that have become almost forgotten.12 ing the Schnitger at Stein-kirchen). The others heard on the final LP, all record- “Fifty miles of tape” ed in 1954, were No. 2 at St. Jakobi, Two weeks later, on October 8, he Lübeck, No. 6 at St. Jan’s, Gouda, No. 7 could already send this report to David at Neuenfelde (hence no need for Oppenheim: another Schnitger?), and No. 8 at Lüneburg (on the “Böhm” organ once I’m ploughing right into the 84 tapes, played by Bach). Rounding out the which are now safely through customs . . . album (some choice for “filler”!) would and know that we have safely in the bag all be Bach’s G-major Fantasia recorded at items for the expected groupings: 1) All the Mozart music (“Down the Mozart Trail”), Ottobeuren. 2) the Bach “Eight little fugues and pre- Barbara Owen has rightly written that ludes” on eight historic European organs, this album (fully entitled, Bach: Eight 3) the Brahms “Eleven Chorale Preludes,” Little Preludes and Fugues, “played on Armstrong Aspaas Ferguson Rodland Westermeyer Opus 122 and some Bruckner—in eleven eight classic European organs,” and European Cathedrals.13 released as ML 5078 in April of 1956,
OCTOBER, 2006 29 to pay good money to listen simply From the back seat of the Studebaker gilded the lily. Biggs produced a brand new Columbia For Biggs, the music and the instru- phonograph, the latest model, and ment were “the things,” and the church from the trunk a set of his current association of both nearly nothing. It albums—foremost among them, of must have been with some sense of iden- course, the ones Steinmeyer had tity with Mozart that he wrote for the helped him make. A.G.O. Quarterly, “Once Mozart’s years Georg Steinmeyer still marvels at the as an organist at Salzburg were past, he magic of that record player: “It sounded did not seek a church position. Yet all his absolutely wonderful to us. We listened life he played organs all over Europe, and listened and listened. It was such a and he did so for no other reason than treasure—like nothing else we knew.” that it gave him pleasure.”15 So, too, did None of the excellent stereo equipment Biggs “never again seek a church posi- he has owned since has delivered quite tion” once he no longer needed one, and the same level of psycho-acoustical so too did he play organs all over Europe excitement. We understand! The inter- as much because it gave him pleasure as vening decades have produced countless for any other reason. fine recordings of the same music played Whether valid or not, the appearance on the same, and similar, instruments. of a kind of perpetual youthfulness in Technically, they sound ten times better Mozart’s genius may have come to influ- than those old mono LPs—yet not one- ence Biggs in his own development; for tenth as thrilling. I one can easily argue that he became more youthful in the application of his The author can be reached at own special genius the older he grew. It
OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN Correction & In Part 2 of this series (August issue), an errant CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND keystroke in the final stages of editing accidentally joined the wrong image with the caption, “Peggy ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS Biggs records at Weingarten.” This is the photo that should have appeared: /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR EXPERIMENTS n lNDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES
7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS
%VERYWHERE AND AROUND THE WORLD /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING
/44/ (%533 'MB( n 'ERMANY 0HONE n s&AX n E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE
30 THE DIAPASON Cover feature
Bedient Pipe Organ Company, Roca, Nebraska St. Mark’s Pro-Cathedral, Hastings, Nebraska Hastings, Nebraska, 1927. While Edwin Perkins was perfecting the final collection of ingredients that was to become “Kool-Aid,” a few blocks away on North Burlington Avenue workers were assembling a limestone building that would become home to one of our more unusual projects. Erected from 1921 to 1929, St. Mark’s Episcopal Pro-Cathedral was designed by Ralph Adams Cram, Amer- ica’s leading Gothic Revival architect. This is the man who established Gothic as the standard style for college cam- puses across the country during that period. In fact, the Boston architect and writer served as consulting architect for Princeton when he drew up the plans for St. Mark’s in 1919. Austin Opus 1789, before reconfigu- Displaying characteristics of English ration Gothic churches, the building looks like a little piece of Europe relocated to the St. Mark’s Pro-Cathedral middle of the Great Plains. As Bedient Opus 74 described by the Adams County Histor- ical Society, Cram’s design “emphasizes GREAT length, a moderately pitched roof, 16v Bourdon stepped rectangular apses, and a tower 8v Principal over the crossing.” Cram’s Gothic 8v Rohrflute vision extends to the interior, which 4v Octave 4v Spitzflute features post and beam construction, 2 plastered walls and a vast array of 2 ⁄3v Quinte 2v Octave stained glass windows. Mixture IV However, when workers pulled down 8v Trompete ladders and packed away their tools 77 8v Dean’s Trompette (TC) years ago, the nave still lacked a very Carillon* significant element. Cram had also pro- Great 16 vided a drawing for a grand pipe organ Bedient Opus 74, after reconfiguration Swell/Great 16 façade, the construction of which had to Swell/Great 8 be delayed until funds were available. Swell/Great 4 Choir/Great 16 When the congregation did raise Choir/Great 8 money for a 21-stop Austin organ in Choir/Great 4 1931 (which they combined with an older organ), the instrument was SWELL squeezed into the organ chamber above 16v Bourdon* the nave and bore no visual resem- 8v Stopped Diapason* blance to the plans Cram had in mind. It 8v Salicional* was not until 72 years later, following a 8v Voix céleste* 4v Prestant succession of repairs and attempted 4v Harmonic Flute* 2 improvements, that the church conced- 2 ⁄3v Nazard ed it was time to start over. 2 Doublette 3 Although several builders were 1 ⁄5v Tierce being considered, St. Mark’s chose 16v Basson Bedient following a tour of the interior 8v Trompette of Opus 70 in Lincoln, Nebraska. 8v Hautbois* Impressed by the attention to detail on Pipemaker Eric Smith in the Bedient 8v Dean’s Trompette (TC) metal shop 4v Clairon general layout and structure, “they felt Tremulant that indicated how meticulous the Swell 16 builder would be in other areas,” said Swell Unison Off Dr. Dan Schmidt, director of music. Gene Bedient solders blocks onto Swell 4 Our proximity to the project played a resonators key factor, as well as our 36 years of CHOIR experience building and renovating 8v Bourdon* mechanical and electric action instru- 8v Dulciana* 8v Unda Maris ments, and our proven proficiency with 4v Prestant (prepared) electro-pneumatic slider chests. 4v Flute d’Amore* The Bedient organ at St. Mark’s Pro- 2v Principal Cathedral was a challenge on several Sesquialtera II (prepared) levels. Due to the general age and con- Cymbale III dition of the organ, and a questionable 8v Trumpet* rebuild in the 1980s, we faced many 8v Dean’s Trompette (TC) issues that needed to be resolved. The 8v Cromorne* Carillon* original layout of the Austin organ was Choir 16 fine for the time, but the need to update Choir Unison Off the organ tonally necessitated a new, Choir 4 more accessible design. Swell/Choir 16 One concern was the appearance of Swell/Choir 8 the organ. The congregation was initially Swell/Choir 4 hesitant to make any significant changes Zimbelstern (prepared) to their worship space—understandably PEDAL so, as their church is on the National 32v Resultant* Register of Historic Places. Fortunately, 16v Open Diapason* Cram’s original blueprint for the organ 16v Bourdon* was discovered in the St. Mark’s attic 16v Lieblich Gedackt* during a search for drawings for a reno- Todd Znamenacek carves the winged Ed Stibal, Alan Baehr and Dave Mus- 8v Open Diapason vation project. All involved decided that lions that adorn the top of Opus 74 feldt stack the Bourdon 16v 8v Flute* plan would be our guide. 4v Choral Bass Working from Cram’s drawing, Bedi- including an en chamade Trompette, with the addition of two winged lions 16v Bombarde* 8v Trumpet* ent designer Alan Baehr developed a one of the few modifications to the orig- perched atop the instrument. Prior to Great/Pedal 8 façade design that closely resembles inal façade design. their installation, many of Znamen- Great/Pedal 4 the 1919 plan. Where the previous Pipe shades and ornamental carvings acek’s Opus 74 carvings spent two Swell/Pedal 8 organ was tucked into the chamber featured in the plans provided inspira- months on display at the Stuhr Muse- Swell/Pedal 4 nearly out of view, the new white oak tion for our woodcarver, Todd Zname- um in Grand Island, Nebraska as part Choir/Pedal 8 casework now projects three feet into nacek, who closely followed Cram’s of the “Wings Over the Platte” exhibi- Choir/Pedal 4 the nave and towers more than 26 feet original organic/geometric style. Using tion. Because Cram’s façade would above the congregation. Bedient the symbol of St. Mark, Znamenacek * 1931 Austin stops designers accentuated the projection by appropriately enhanced Cram’s design ® page 32
OCTOBER, 2006 31 ® Bedient cover feature project outward from the organ cham- New Organs ber, it would also provide additional space for the inclusion of an indepen- dent Great division, which the organ never had. David Petty & Associates, Another layout concern was where to Eugene, Oregon place the ubiquitous Austin 16v wood First United Methodist Church, open pipes that were lying in a heap on Eugene, Oregon the floor right where the new Great The Petty portative is one of four vir- windchest needed to go. We solved that tually identical mechanical-action problem by refurbishing the pipes, instruments made from the same plans. painting them the same color as the This instrument, designated 2b, is the wood ceiling of the church, and hanging first of the four to leave the Petty shop. the largest ones from the transept ceil- It contains four ranks of pipes, which 2 ing directly outside of the organ cham- are an 8v Gedackt, a 4v Flute, a 2 ⁄3v ber. This was a very successful idea. It Nasard (mc) and a 2v Principal. The not only got the pipes out of our way, carvings were designed and executed by but their sound is much more present in David Campbell, a former colleague of the nave, a desirable achievement. the builder from the Brombaugh shop. The new Great division and the new The case and carvings are made of Swell division windchests are all of quarter-sawn white oak as are the 8v major third layout. They are slider wind- Gedackt and the 4v Flute. The Nasard is chests with rectangular electro-pneu- made of cherry and the 2v Principal is matic key action valves, and the sliders made of purpleheart. The natural keys are operated by magnetic solenoids. are made from yellowheart; the sharps One of the inherited problems with the are cocobola. The keycheeks are zebra- old layout was the jumbled arrangement wood and the thumper rail is made of of the 16v Bourdon pipes on top of the ebony. The internal components are Swell box and other places. We thought made from white oak, western red that the idea was good but the arrange- cedar, poplar, maple and sugar pine. ment left a lot to be desired. The new The organ took over 1,000 hours to arrangement is much more orderly, with make and is entirely hand made, good access to all of the pipes for tuning. minus the screws. The pipes are wind- can be tuned in any temperament. Manual The remaining Austin Universal ed by an electric blower in the base. The instrument can be seen in color 8v Gedackt 4v Flute Windchest is that of the Choir chest, The instrument weighs about 250 and great detail on the builder’s website, 2 which was originally duplexed to be a pounds and is easily movable by
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Pickle Piano & Church Organs Paul Jacobs, workshop; State University of This calendar runs from the 15th of the month New York, Potsdam, NY 3 pm Bloomingdale, IL of issue through the following month. The deadline Ken Cowan, masterclass; St. John’s Episco- is the first of the preceding month (Jan. 1 for pal, Hagerstown, MD 10 am Feb. issue). All events are assumed to be organ John Weaver; St. Norbert Abbey, DePere, recitals unless otherwise indicated and are grouped WI 2 pm Christopher Babcock within each date north-south and east-west. •=AGO chapter event, • •=RCCO centre event, +=new 22 OCTOBER St. Andrew’s by the Sea, organ dedication, ++= OHS event. James O’Donnell, conducting choral Information cannot be accepted unless it spec- Eucharist; Christ Church Christiana Hundred, Hyannis Port ifies artist name, date, location, and hour in writ- Greenville, DE 11:15 am ing. Multiple listings should be in chronological James O’Donnell, Evensong and recital; Christ the King, Mashpee order; please do not send duplicate listings. THE Christ Church Christiana Hundred, Greenville, DIAPASON regrets that it cannot assume responsi- DE 5 pm bility for the accuracy of calendar entries. Organized Rhythm; Church of Christ, Norfolk, CT 4 pm David Higgs; First Presbyterian, Ilion, NY 3 pm UNITED STATES Paul Jacobs; Helen M. Hosmer Concert Hall, East of the Mississippi Potsdam, NY 3 pm Thomas Murray; Rye Presbyterian, Rye, NY 15 OCTOBER 4 pm Paul Bisaccia, music conference; University Olivier Eisenmann; Cathedral of St. Patrick, of Connecticut, Storrs, CT 1 pm New York, NY 4:45 pm Andrew Dewar; St. Barnabas Episcopal, Andrew Sheranian; St. Thomas Church Fifth Greenwich, CT 5:30 pm Avenue, New York, NY 5:15 pm Thomas Spacht; Christ Church, New Francesco Cera; Memorial Art Gallery, East- Brunswick, NJ 6:30 pm, Vespers at 6 pm man School of Music, Rochester, NY 5:30 pm James Welch; Heinz Chapel, University of Stephen Hamilton; The Church of the Holy Pittsburgh, Pittsburgh, PA 4 pm Trinity (Episcopal), New York, NY 4 pm Ken Cowan; St. John’s Episcopal, Hagers- John Scott; St. Thomas Church Fifth town, MD 7 pm Avenue, New York, NY 5:15 pm +Haig Mardirosian; Our Savior Lutheran, Matthew Lewis; Christ Church, New Arlington, VA 5 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm Rastrelli Cello Quartet; Abingdon Episcopal, Westminster Cathedral Choir London; Wash- White Marsh, VA 5 pm ington National Cathedral, Washington, DC 4 pm Stephen Tharp; Chapel, Duke University, Paul Jacobs; First Presbyterian, Roswell, GA Durham, NC 5 pm 5 pm Susan Ferré; St. John Church, West Chester, J. Franklin Clark; Cathedral of St. Philip, OH 4 pm Atlanta, GA 3:15 pm Onyx Brass; First Presbyterian, Yellow Choral Evensong; Cathedral of St. Philip, Springs, OH 7:30 pm Atlanta, GA 4 pm Dean Wagner; Cathedral of St. Philip, Choral Evensong; Cathedral Church of the Atlanta, GA 3:15 pm Advent, Birmingham, AL 4 pm Choral Evensong; Cathedral of St. Philip, James Metzler; Park Congregational, Grand Atlanta, GA 4 pm Rapids, MI 5 pm James David Christie; Sursa Recital Hall, Thomas Gouwens; Cathedral of the Holy Muncie, IN 4 pm Angels, Gary, IN 3 pm Istvan Ruppert; Kenilworth Union Church, Felix Hell; Christ Church Cathedral, Kenilworth, IL 5 pm Nashville, TN 4 pm Brett Zumsteg; First United Methodist, Park Sal Soria; St. John’s Cathedral, Milwaukee, Ridge, IL 3 pm WI 4 pm Francesco Cera; Holy Name Cathedral, Choral concert, with orchestra; St. James Chicago, IL 4 pm Episcopal Cathedral, Chicago, IL 4 pm 23 OCTOBER 16 OCTOBER James David Christie, masterclass; Ball Nigel Potts; St. Peter’s Episcopal, Morris- State University, Muncie, IN 9 am town, NJ 7:30 pm Istvan Ruppert; Presbyterian Homes, Elliott Mozart, Vesperae solennes de Confessore; Chapel, Evanston, IL 1:30 pm St. James Cathedral, Chicago, IL 4 pm 24 OCTOBER 17 OCTOBER Westminster Cathedral Choir London; Cathe- Westminster Cathedral Choir London; St. dral of St. John the Evangelist, Cleveland, OH Thomas Fifth Avenue, New York, NY 7:30 pm 7:30 pm Ensemble Amarcord; St. Thomas Episcopal, John Hamersma; Park Congregational, Coral Gables, FL Grand Rapids, MI 12:15 pm North American Choral Company Singers; Clive Driskill-Smith; St. Paul’s Episcopal, Park Congregational, Grand Rapids, MI 12:15 pm Chattanooga, TN 7 pm Francesco Cera, masterclass; University of Ray Johnston; Church of St. Louis, King of Illinois, Champaign-Urbana, IL 9:30 am France, St. Paul, MN 12:35 pm Istvan Ruppert; Church of St. Louis, King of Erik Suter; Cathedral of St. Joseph, Baton France, St. Paul, MN 12:35 pm Rouge, LA 7:30 pm 25 OCTOBER 19 OCTOBER Nancianne Parrella; St. Ignatius Loyola, New Joseph Gramley, percussion; Fellowship York, NY 7 pm Hall, Bloomfield, CT 6:30 pm Choral concert, with orchestra; St. Ignatius Stephen Roberts; Church of the Holy Fami- Loyola, New York, NY 8 pm ly, New York, NY 12:45 pm Westminster Cathedral Choir London; First Andrew Scanlon; National City Christian United Methodist, Birmingham, MI 7:30 pm Church, Washington, DC 12:15 pm The American Boychoir; Music Institute of Choral Evensong; Cathedral of St. Philip, Chicago, Evanston, IL 7:30 pm Atlanta, GA 5:45 pm Peggy Massello; First Presbyterian, Arling- Francesco Cera, masterclass; Neu Chapel, ton Heights, IL 12:10 pm University of Evansville, Evansville, IN 10 am Francesco Cera; Aldersgate United 26 OCTOBER OBERT LASGOW Methodist, Evansville, IN 7:30 pm Alan Morrison; Thomson Alumnae Chapel, RAntoneG Godding Antone Godding Christine Kraemer; First Presbyterian, Wilson College, Chambersburg, PA 8 pm PROFESSOR EMERITUS Arlington Heights, IL 12:10 pm Onyx Brass; St. Barnabas Apartments, Chat- Nichols Hills Nichols Hills James David Christie; St. Peter’s Catholic tanooga, TN 7 pm TheUnited University Methodist of Michigan Church United Methodist Church Cathedral, Jackson, MS 7:30 pm The American Boychoir; Trinity Christian Col- OklahomaAnn Arbor City Oklahoma City Westminster Cathedral Choir London; Cathe- lege, Palos Heights, IL 7:30 pm dral of St. Paul, St. Paul, MN 8 pm 27 OCTOBER 20 OCTOBER Scott Foppiano, silent film accompaniment; LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. Philip Scriven; Methuen Memorial Music Merrill Auditorium, Portland, ME 7:30 pm A two-inch Hall, Methuen, MA 8 pm Chandler Noyes, silent film accompaniment; Mozart, Requiem and Exsultate Jubilate; First Methuen Memorial Music Hall, Methuen, MA 8 Associate Professor Presbyterian, Birmingham, MI 7:30 pm Professional Card pm University Organist The Chenaults; La Grave Christian Pierre Pincemaille; Vassar College Chapel, HE IAPASON Reformed Church, Grand Rapids, MI 8 pm Poughkeepsie, NY 3 pm in T D Presidio Saxophone Quartet; First Baptist, Nigel Potts; St. Stephen’s Episcopal, Rich- Valparaiso University For information on rates and Worcester, MA 8 pm mond, VA 7:30 pm Valparaiso, IN specifications, contact: Vincent Dubois; Trinity Episcopal, St. www.valpo.edu 21 OCTOBER Augustine, FL 7:30 pm Jerome Butera James O’Donnell, lecture; Christ Church •David Lamb, Timothy Baker, John Buckel, Christiana Hundred, Greenville, DE 11 am Linda DeRungs; Harvey Brown Presbyterian, [email protected] 219-464-5084 James O’Donnell, open rehearsal with Christ Louisville, KY 7:30 pm 847/391-1045 Church Choir; Christ Church Christiana Hun- Herb Buffington, with piano; Cathedral [email protected] dred, Greenville, DE 1 pm Church of the Advent, Birmingham, AL 12:30 pm
OCTOBER, 2006 33 Johannes Unger; Trinity Ev. Lutheran, Peo- Mary Mozelle; The National Presbyterian ria, IL 7:30 pm Church, Washington, DC 3 pm Francesco Cera; First Presbyterian, Spring- Paul Jacobs; Church of the Ascension, Hick- field, IL 7:30 pm ory, NC 4 pm Clive Driskill-Smith; St. Paul’s by the Sea 28 OCTOBER Episcopal, Jacksonville, FL 3:30 pm Gerre Hancock, masterclass; Christ Church Paulsson & Canning; First Presbyterian, Episcopal, Exeter, NH 1 pm Lake Wales, FL 4 pm Onyx Brass; All Saints Episcopal, Wolfeboro, William Picher, with violin; St. Dunstan’s NH 7:30 pm Episcopal, Largo, FL 7 pm William Ness, with orchestra; Memorial Con- Duruflé, Requiem; Church of the Covenant, gregational Church, Sudbury, MA 7:30 pm Cleveland, OH 10 am Brian Jones Bruce Neswick; Chevy Chase United Rico Contenti; Cathedral of St. Philip, Director of Music Emeritus Methodist, Chevy Chase, MD 4 pm Atlanta, GA 3:15 pm The American Boychoir; Spruce Street United Choral Evensong; Peachtree Road United TRINITY CHURCH Methodist, Morgantown, WV 7:30 pm Methodist, Atlanta, GA 5 pm Todd Wilson; Interlochen Center for the Arts Andrew Peters; Christ Church Cathedral, BOSTON Recital Hall, Interlochen, MI 4 pm Nashville, TN 3:30 pm •Theresa Bauer, Janet Hamilton, David Vincent Dubois; Independent Presbyterian, Lamb, Gary Pope, John Buckel, Linda Birmingham, AL 4 pm DeRungs, Susan Adams, Judith Miller; St. Choral Evensong; St. James Episcopal John United Presbyterian Church, New Albany, Cathedral, Chicago, IL 4 pm Brian Jones IN 1 pm Aaron David Miller; First Lutheran, Freeport, Francesco Cera; Rammelkamp Chapel, Illi- IL 3 pm Director of Music Emeritus nois College, Jacksonville, IL 7:30 pm TRINITY CHURCH 6 NOVEMBER 29 OCTOBER Richard Hills; Merrill Auditorium, Portland, BOSTON Gerre Hancock; Christ Church Episcopal, ME 7:30 pm Exeter, NH 3 pm Clive Driskill-Smith, workshop; St. John’s Paul Jacobs; Assumption College, Worces- Cathedral (Episcopal), Jacksonville, FL 10 am ter, MA 3 pm DAVID K. LAMB, D.MUS. AVID AMB D.MUS. Paul Bisaccia, piano; East Lyme Library, 7 NOVEMBER DDAVID K.K. LLAMB,, D.MUS. East Lyme, CT 3 pm Paulsson & Canning; St. Simons Presbyter- Director of Music/Organist Director of Music/Organist Grethe Krogh; Dwight Chapel, Yale Universi- ian, St. Simons Island, GA 8 pm Director of Music/Organist ty, New Haven, CT 8 pm Mark Kieffer; Church of St. Louis, King of First United Methodist Church FirstFirst UnitedUnited MethodistMethodist ChurchChurch Bach, Cantata 80; Holy Trinity Lutheran, New France, St. Paul, MN 12:35 pm Columbus, Indiana Columbus,Columbus, IndianaIndiana York, NY 5 pm 812/372-2851 812/372-2851 James Dorroh; St. Thomas Church Fifth 8 NOVEMBER 812/372-2851 Avenue, New York, NY 5:15 pm David Lamb; Trinity Cathedral, Pittsburgh, Justin Hartz; Christ Church, New Brunswick, PA 12:30 pm NJ 6:30 pm, Vespers at 6 pm Chris Urban; First Presbyterian, Arlington Rastrelli Cello Quartet; Shadyside Presbyter- Heights, IL 12:10 pm ian, Pittsburgh, PA 4 pm JAMES R. METZLER The American Boychoir; Grace Episcopal, 9 NOVEMBER The Plains, VA 5 pm Paul Bisaccia, piano; Prosser Library, TRINITY CATHEDRAL Organized Rhythm; First Congregational, Bloomfield, CT 7 pm LITTLE ROCK Sarasota, FL 4 pm Brian Jones; Adolphus Busch Hall, Harvard Vincent Dubois; Hyde Park Community Unit- University, Cambridge, MA 12:15 pm ed Methodist, Cincinnati, OH 4 pm Douglas Bruce; Cathedral of St. Philip, 10 NOVEMBER Atlanta, GA 3:15 pm Stephen Hamilton; Zion Evangelical United Todd Wilson, masterclass; Interlochen Cen- Church of Christ, Indianapolis, IN 8 pm ter for the Arts Recital Hall, Interlochen, MI 3 pm JJAMES R. METZLER The Nathaniel Dett Chorale; Cathedral 11 NOVEMBER Church of St. Paul, Detroit, MI 4 pm Stephen Hamilton, workshop; St. Francis-in- PARKTCRINITYONGREGATIONALCATHEDRALCHURCH David Lamb & John Buckel; First United the-Field, Zionsville, IN 10 am Methodist, Columbus, IN 6:30 pm GRANDLITTLERAPIDSR, OCKMICHIGAN Derek Nickels; Church of the Holy Comforter, 12 NOVEMBER Kenilworth, IL 4 pm David Lamb; St. Mary the Virgin, New York, Cameron Carpenter; First United Methodist, NY 4:40 pm Oak Park, IL 4 pm Bach, Cantata 89; Holy Trinity Lutheran, New York, NY 5 pm 31 OCTOBER Alan Lewis; St. Thomas Church Fifth David Neiweem; Ira Allen Chapel, The Uni- Avenue, New York, NY 5:15 pm versity of Vermont, Burlington, VT 10 pm Marek Kudlicki; St John’s Lutheran, Summit, Mark Steinbach; Sayles Hall, Brown Univer- NJ 7 pm sity, Providence, RI 12 midnight Daniel Sullivan; St. Peter’s Episcopal, Mor- Dennis James; Indiana University Auditori- ristown, NJ 7:30 pm um, Bloomington, IN 8 pm Martin Jean; Gettysburg Seminary Chapel, Gettysburg, PA 4 pm 1 NOVEMBER Mary Mozelle, with narrator; Old Presbyterian Rich Spantikow; First Presbyterian, Arling- Meeting House, Alexandria VA 4 pm ton Heights, IL 12:10 pm Ronald Wise; Boone United Methodist, Boone, NC 4 pm 3 NOVEMBER David Arcus; Chapel, Duke University, Susan Ferré; Old West Organ Society, Old Durham, NC 5 pm West, Boston, MA 8 pm David Higgs; Fairmount Presbyterian, Cleve- Preston Dibble; Church of the Immaculate land Heights, OH 4 pm Conception, Montclair, NJ 7:30 pm Stephanie Liem; Cathedral of St. Philip, Tom Trenney; Lake Erie College, Painesville, Atlanta, GA 3:15 pm OH 7 pm Atlanta Youth Choir; Peachtree Road United Cathedral Church of St. John Barbara MacGregor, with brass; Holy Trinity Methodist, Atlanta, GA 5 pm q q x Lutheran, Akron, OH 8 pm Choral Evensong; Cathedral Church of St. Mary Mozelle Albu uer ue, New Me ico Volodymyr Koshuba, with piano; Elliott Paul, Detroit, MI 4 pm www.stjohnsabq.org Associate Organist 505-247-1581 Chapel, Presbyterian Homes, Evanston, IL 7:15 Paul Jacobs; St. Paul’s United Methodist, pm Rochester, MI 4:30 pm Andrew Peters; Brentwood United The National 4 NOVEMBER Methodist, Brentwood, TN 4 pm Presbyterian Church CONCORA; Cathedral of St. Joseph, Hart- Washington, DC ford, CT 8 pm 13 NOVEMBER David Hurd, workshop; Old Paramus Ken Cowan; Calvary Episcopal, Cincinnati, 703.898.9609 Reformed, Ridgewood, NJ 9:30 am OH 8 pm Alan Morrison, masterclass; Latrobe Presby- www.PipeOrganPro.com terian, Latrobe, PA 10:30 am 14 NOVEMBER Aaron David Miller, workshop; First Luther- Wilma Jensen, masterclass; Curtis Institute “The Sights and Sounds Q x of the Pipe Organ” Iain uinn Ma ine Thevenot an, Freeport, IL 10 am of Music, Philadelphia, PA 11 am Director of Associate Organist- Joel Vander Zee; Park Congregational, Cathedral Music Choir Director 5 NOVEMBER Grand Rapids, MI 12:15 pm Martin Jean; St. Paul’s School Chapel, Con- Michael Barone; Church of St. Louis, King of cord, NH 7:30 pm France, St. Paul, MN 12:35 pm Paul Bisaccia, piano; Wood Memorial Cathedral Church of St. John Library, South Windsor, CT 2 pm 15 NOVEMBER Albuquerque, New MeAxico four-inch Choral Evensong; Trinity Episcopal, Hartford, K. Scott Warren; St. Ignatius Loyola, New www.stjohnsabq.org A two-inch CT 5 pm York, NY 7 pm 505-247-1581Professional Card Choral Evensong: Fauré, Requiem; Grace Choral concert, with orchestra; St. Ignatius Professional Card Church, New York, NY 4 pm Loyola, New York, NY 8 pm in THE DIAPASON Keith Toth & John Herrington; Brick Pres- George Williams; First Presbyterian, Arling- in THE DIAPASON byterian, New York, NY 4 pm ton Heights, IL 12:10 pm Stanley Cox; Cathedral of St. Patrick, New For information on rates and York, NY 4:45 pm 16 NOVEMBER No additional charge forspecifications, photos contact: Bach, Cantata 157; Holy Trinity Lutheran, Brandon Dumas; Church of the Holy Family, New York, NY 5 pm New York, NY 12:45 pm For information on rates and specifications,Jerome Butera contact Grethe Krogh; St. Thomas Church Fifth Choral concert; Mary, Queen of the Universe [email protected] Avenue, New York, NY 5:15 pm Shrine, Orlando, FL 7:30 pm Iain Quinn Jeromex Butera, 847/391-1045 New Jersey Masterworks Chorus; St. Peter’s Ma ine Thevenot 17 NOVEMBER Director of Associate Organist- 847/391-1045 Episcopal, Morristown, NJ 4 pm Cathedral Music [email protected] Director Alan Morrison; Latrobe Presbyterian, Peter Richard Conte; Christ Church, Episco- Latrobe, PA 7:30 pm pal, Cambridge, MA 7:30 pm
34 THE DIAPASON Chandler Noyes, silent film accompani- 29 NOVEMBER ment; Methuen Memorial Music Hall, Methuen, Lessons & Carols; Second Congregational, MA 8 pm Memphis, TN 11 am RICHARD M. PEEK Bradley Hunter Welch; Storrs Congregation- Douglas Williams; First Presbyterian, Arling- al, Storrs, CT 8 pm ton Heights, IL 12:10 pm IN MEMORIAM Peter Dubois; Third Presbyterian, Rochester, NY 8 pm May 17, 1927–November 28, 2005 Judith Hancock; St. Mark’s Episcopal, UNITED STATES Philadelphia, PA 7:30 pm West of the Mississippi Todd Wilson; Wertheim Performing Arts Center, Miami, FL 8 pm 15 OCTOBER Birmingham-First Chamber Choir; First Pres- The American Boychoir; Westminster Presby- byterian, Birmingham, MI 7:30 pm terian, Dubuque, IA 7:30 pm Cameron Carpenter; First United Methodist, 18 NOVEMBER Shreveport, LA 2:30 pm Kevin Clemens; Church of St. John the Gerre Hancock, conducting Festival Service; Evangelist, Severna Park, MD 7 pm Christ Church Cathedral, Houston, TX 7 pm Andrew Peters, with trumpet and flute; Bald- Bach Choir and Orchestra; Christ the King win-Wallace College, Berea, OH 8 pm Lutheran, Houston, TX 5 pm Anthony & Beard; Chapelwood United 19 NOVEMBER Methodist, Houston, TX 7 pm Hans-Ola Ericsson; Woolsey Hall, Yale Uni- Paul Tegels; Pacific Lutheran University, versity, New Haven, CT 8 pm Tacoma, WA 3 pm Joe Utterback Stephen Hamilton; Church of the Holy Trini- Gillian Weir; Sunnyside Seventh-day Adven- ty (Episcopal), New York, NY 4 pm tist, Portland, OR 8 pm COMMISSIONS & CONCERTS Terence Flanagan; Cathedral of St. Patrick, Alan Blasdale; Cathedral of St. Mary of the New York, NY 4:45 pm Assumption, San Francisco, CA 3:30 pm 732 . 747 . 5227 Bach, Cantata 139; Holy Trinity Lutheran, Robert Bates; St. John’s Presbyterian, New York, NY 5 pm Berkeley, CA 4 pm Stephen Main; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 16 OCTOBER Ken Cowan; Calvary Episcopal, Pittsburgh, Robert Bates; All Soul’s Episcopal, San PA 4 pm Diego, CA 7:30 pm Choral Evensong; St. John’s Episcopal, Hagerstown, MD 5:30 pm 17 OCTOBER Karel Paukert; St. Paul’s Episcopal, Cleve- Maxine Thevenot; St. Paul’s Episcopal land Heights, OH 4 pm Cathedral, Oklahoma City, OK 8 pm Atlanta Baroque Orchestra; Peachtree Road United Methodist, Atlanta, GA 3 pm 18 OCTOBER Glen Ellyn Children’s Chorus; First Presbyter- The American Boychoir; Shattuck-St. Mary's ian, Arlington Heights, IL 4 pm School, Faribault, MN 7:30 pm Stephen Betancourt; St. Josaphat Roman Arlene Ward; Cathedral Church of St. John, Catholic, Chicago, IL 3 pm Albuquerque, NM 12:30 pm DONALD W. WILLIAMS Louise Bass, with brass; St. James Episco- pal Cathedral, Chicago, IL 4 pm 19 OCTOBER IN MEMORIAM Michael Shawgo; First United Methodist, George Mims & David Henning, with Oak Park, IL 4 pm orchestra; St. Martin’s Episcopal, Houston, TX August 5, 1939–September 22, 2005 7:30 pm 21 NOVEMBER Onyx Brass; The University of Idaho, Ryan Hulshizer; Church of St. Louis, King of Moscow, ID 7:30 pm France, St. Paul, MN 12:35 pm 20 OCTOBER 22 NOVEMBER Westminster Cathedral Choir London; St. Davis Wortman RONALD WYATT Lee Nelson; First Presbyterian, Arlington Louis Cathedral, St. Louis, MO 8 pm Heights, IL 12:10 pm Ensemble Amarcord; Glaser Center, Santa St. James’ Church Trinity Church Rosa, CA 8 pm 26 NOVEMBER New York Galveston Bach, Cantata 26; Holy Trinity Lutheran, New 21 OCTOBER York, NY 5 pm Carol Williams; Cathedral of Our Lady of the Anna Myeong; St. Thomas Church Fifth Angels, Los Angeles, CA 7:30 pm Avenue, New York, NY 5:15 pm Ben Woodward; Cathedral of St. Philip, 22 OCTOBER Atlanta, GA 3:15 pm Gregory Peterson; Luther College, Decorah, IA 4 pm Marcia van Oyen mvanoyen..com 27 NOVEMBER Carlene Neihart; Beautiful Saviour Lutheran, Saint-Saëns, Christmas Oratorio; Trinity Unit- Lee’s Summit, MO 3 pm ed Methodist, New Albany, IN 7:30 pm Westminster Cathedral Choir, London; Visita- Plymouth First United Methodist Church,,Plymouth,,Michigan Andrew Peters, with trumpet and flute; tion Catholic Church, Kansas City, MO 7 pm Belmont Heights Baptist, Nashville, TN 7:30 Joan Lippincott; Cathedral of the Madeleine, pm Salt Lake City, UT 8 pm Katie Ann McCarty; Elliott Chapel, Presby- Choral concert; Cathedral Church of St. John, terian Homes, Evanston, IL 1:30 pm Albuquerque, NM 4 pm Leslie Martin, with baroque violin; St. Mark’s 28 NOVEMBER Cathedral, Seattle, WA 2 pm Laura Edman; Church of St. Louis, King of Susanna Veerman; Cathedral of St. Mary of France, St. Paul, MN 12:35 pm the Assumption, San Francisco, CA 3:30 pm
Cathedral Church of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581
O Old Bach in the New World - #0640. . . without traveling abroad, we can learn C about this repertoire by playing it on American instruments attuned to Bach's T ideals. O Scandinavian Surprises - #0641. . . organs and their music continue as an integral B element in the artistic life of Nordic countries. Iain Quinn Maxine Thevenot Director of Associate Organist- E Cathedral Music Choir Director Fine Fisk for Furman - #0642. . . with campus colleagues, faculty soloist Charles R Tompkins celebrates the inauguration of the Hartness Organ (C.B. Fisk Opus 121) at Furman University in Greenville, SC. 2 Walker on the Wild Side - #0643 0 . . . popular and unflappable church musician John Walker shares insights on his world and Lou Harrison’s extraordinary Carol Williams 0 Concerto for Organ & Percussion, which John champions. 6 A Lively Tradition - #0644. . . a collection of scores, some new, some newer, all by American composers. San Diego Civic Organist
Website: www.melcot.com E-mail: [email protected]
OCTOBER, 2006 35 Ensemble Amarcord; Episcopal Church of St. Choral Evensong; All Saints’ Episcopal, Bev- 15 NOVEMBER 28 OCTOBER John the Baptist, Lodi, CA 3 pm erly Hills, CA 7:30 pm Steve Gentile & Frances Nobert; Cathedral Eric Mairlot; SS-Jean et Etienne aux Min- Johannes Unger; First Congregational, Los of Our Lady of the Angels, Los Angeles, CA imes, Brussels, Belgium 10:30 am Angeles, CA 4 pm 4 NOVEMBER 12:45 pm Maurice Clement; Church of Notre-Dame de Carlene Neihart; Kingswood Manor, Kansas la Chapelle, Brussels, Belgium 11:30 am 23 OCTOBER City, MO 4 pm 17 NOVEMBER Edward De Geest; Church of Notre-Dame Ensemble Amarcord; St. Edward Catholic Dana Robinson & Paul Tegels; St. Mark’s Immaculée, Brussels, Belgium 12:30 pm Church, Newark, CA 7:30 pm 5 NOVEMBER Cathedral, Seattle WA 7:30 pm Susan Woodson; Church of Finistère, Brus- Bradley Hunter Welch; St. Andrew’s Episco- sels, Belgium 3 pm 24 OCTOBER pal, Amarillo, TX 7 pm 18 NOVEMBER Marcel Verheggen; Protestant Church, Brus- Scott Montgomery; St. Peter’s Episcopal, St. Choral Evensong; Cathedral Church of St. Paul Jacobs; Mount Olive Lutheran, Min- sels, Belgium 4 pm Louis, MO 7:30 pm John, Albuquerque, NM 4 pm neapolis, MN 4 pm Gillian Weir; St. Michael’s, Croydon, Surrey, Wilma Jensen; St. Basil Chapel, The Univer- Christoph Tietze; Cathedral of St. Mary of UK 12 noon sity of St. Thomas, Houston, TX 7:30 pm the Assumption, San Francisco, CA 3:30 pm 19 NOVEMBER Ensemble Amarcord; California Lutheran Uni- Marilyn Keiser; Bates Recital Hall, University 29 OCTOBER versity, Thousand Oaks, CA 8 pm 7 NOVEMBER of Texas, Austin, TX 3 pm Gillian Weir; Cathedral of SS. Michael and Vincent Dubois; Wiedemann Recital Hall, La Follia; Christ the King Lutheran, Houston, Gudula, Brussels, Belgium 4 pm 25 OCTOBER Wichita State University, Wichita, KS 7:30 pm TX 5 pm David Hill; Albert Hall, Nottingham, UK 2:45 pm Maxine Thevenot; Cathedral Church of St. Steinbach & Helvey Piano Duo; Bishop Union Choral concert; St. Stephen’s Presbyterian, Johannes Unger; Westminster United John, Albuquerque, NM 12:30 pm High School, Bishop, CA 7:30 pm Fort Worth, TX 7:30 pm Church, Winnipeg, MB, Canada 8 pm Maxine Thevenot & Iain Quinn; Cathedral 27 OCTOBER 8 NOVEMBER Church of St. John, Albuquerque, NM 4 pm 2 NOVEMBER Clive Driskill-Smith; Westlake Hills Presby- James Welch; Stanford Memorial Church, Choral concert; Cathedral of the Madeleine, Carol Williams; Reading Town Hall, Read- terian, Austin, TX 7:30 pm Stanford University, Stanford, CA 8 pm Salt Lake City, UT 8 pm ing, UK 7:30 pm James O’Donnell; Trinity Cathedral, Port- Angela Kraft Cross; Cathedral of St. Mary of land, OR 5 pm 9 NOVEMBER the Assumption, San Francisco, CA 3:30 pm 4 NOVEMBER Vienna Choir Boys; Cathedral Basilica of St. Steve Gentile & Frances Nobert; Trinity Carol Williams; Canterbury Cathedral, Can- 28 OCTOBER Louis, St. Louis, MO 2:30 pm Lutheran, Manhattan Beach, CA 4 pm terbury, UK 7:30 pm Welch-Hancock Duo; St. Mark’s Episcopal, Mary Preston; St. Barnabas Episcopal, Bain- Colin Walsh; Victoria Hall, Hanley, Stoke-on- Palo Alto, CA 8 pm bridge Island, WA 7:30 pm 25 NOVEMBER Trent, UK 12 noon Paul Jacobs; First Presbyterian, Livermore, Gillian Weir; St. Peter’s Church, Roath, 29 OCTOBER 10 NOVEMBER CA 8 pm Cardiff, Wales, UK VocalEssence; Orchestra Hall, Minneapolis, Vienna Choir Boys; Cathedral Basilica of St. Louis, St. Louis, MO 8 pm MN 4 pm 26 NOVEMBER 5 NOVEMBER Richard Elliott; Richfield LDS Tabernacle, Stephen Hamilton; First United Methodist, Mark Bruce; Cathedral of St. Mary of the Olivier Latry; St. Joseph, Bonn-Beuel, Ger- Richfield, UT 7 pm Clear Lake, IA 4 pm Assumption, San Francisco, CA 3:30 pm many 7 pm Mary Preston; St. Barnabas Episcopal, Bain- Jane Parker-Smith; Walt Disney Concert James O’Donnell; Mount Angel Abbey, St. bridge Island, WA 7:30 pm Benedict, OR 3 pm Hall, Los Angeles, CA 7:30 pm 7 NOVEMBER Ken Cowan; First Presbyterian, Salem, OR 7 pm 11 NOVEMBER Willy Egmose; St. Andreas Kirke, Gothers- John Hirten; Cathedral of St. Mary of the gade, Copenhagen, Denmark 7 pm Peter Richard Conte, masterclass; Church INTERNATIONAL Assumption, San Francisco, CA 3:30 pm of St. John the Divine, Houston, TX 10 am Thomas Foster; Grace Cathedral, San Fran- 8 NOVEMBER 15 OCTOBER cisco, CA 4 pm Gillian Weir; The Cathedral, Aarhus, Den- 12 NOVEMBER Ashley Grote; Westminster Abbey, London, mark 7 pm Peter Richard Conte; Church of St. John the UK 5:45 pm 30 OCTOBER Craig Humber; Kathedrale, Dresden, Ger- Divine, Houston, TX 7 pm Olivier Latry; Paroisse des Saints-Anges John Scott; All Saints Episcopal, Fort Worth, many 8 pm Nancy & Timothy Leroi-Nickel; Pacific Gardiens, Lachine, QC, Canada 3 pm TX 7:30 pm Carol Williams; Collegiate Church of the Lutheran University, Tacoma, WA 3 pm Haig Mardirosian; Francis Winspear Centre Holy Cross, Crediton, Devon, UK 7:30 pm David Hatt; Cathedral of St. Mary of the for Music, Edmonton, AB, Canada 3 pm 2 NOVEMBER Assumption, San Francisco, CA 3:30 pm Vincent Dubois; Tarrytown United Gerre Hancock; St. James Episcopal, Los 9 NOVEMBER 16 OCTOBER Methodist, Austin, TX 7:30 pm Angeles, CA 5:50 pm Olivier Latry; Notre-Dame Cathedral-Basili- Gillian Weir, masterclass; Vor Frue Kirke, ca, Ottawa, ON, Canada 8 pm Aarhus, Denmark 10 am 3 NOVEMBER 14 NOVEMBER Andrew Peters, silent film accompaniment; Paul Jacobs; Shove Memorial Chapel, Col- 21 OCTOBER 11 NOVEMBER Plymouth Congregational, Seattle, WA 8 pm orado Springs, CO 7:30 pm +Gillian Weir; Høj e Kolstrup Kirke, Aaben- Carol Williams; United Reformed Church, raa, Denmark 8 pm Gainsborough, Lincs, UK 7:30 pm Ian Tracey; Liverpool Cathedral, Liverpool, UK 3 pm 13 NOVEMBER Gillian Weir, masterclass; Royal College of 22 OCTOBER Music, London, UK 10 am Josef Sluys; Cathedral of SS. Michael and Gerard Brooks, with orchestra; All Souls, Gudula, Brussels, Belgium 4 pm Langham Place, London, UK 7:30 pm Katrin & Ralf Bibiella; St. Katharinen, Oppenheim, Germany 5 pm 17 NOVEMBER Bernhard Haas; St. Nikolaus, Bensberg, Gordon Atkinson; St Andrew’s Cathedral, Germany 8:30 pm Sydney, Australia 1 pm Michel Bourcier, with brass; St. Sulpice, Paris, France 4 pm 19 NOVEMBER Mozart, Requiem; St. Katharinen, Oppen- 23 OCTOBER heim, Germany 6 pm Olivier Vernet; Cathedral of SS. Michael and Eric Lebrun; St. Joseph, Bonn-Beuel, Ger- Gudula, Brussels, Belgium 8 pm many 7 pm Bernhard Foccroulle; St. Nikolaus, Bens- 24 OCTOBER berg, Germany 8:30 pm Ton Van Eck, with piano; Sainte-Agathe, Brussels, Belgium 8 pm 20 NOVEMBER Ton Koopman, organ and harpsichord; Salle 25 OCTOBER Métropole, Lausanne, Switzerland 8:30 pm Hansjürgen Scholze & Holger Gehring; Kreuzkirche, Dresden, Germany 8 pm 21 NOVEMBER Klemens Schnorr; Cathedral of SS. Michael Ton Koopman, organ and harpsichord; Salle and Gudula, Brussels, Belgium 8 pm Métropole, Lausanne, Switzerland 8 pm
28 OCTOBER 22 NOVEMBER Gillian Weir; St. Michael’s, Croydon, Surrey, Samuel Kummer; Frauenkirche, Dresden, UK 12 noon Germany 8 pm
26 OCTOBER 26 NOVEMBER Rotislaw Wygranienko; Church of the Douglas Cleveland; Rozsa Centre, The Uni- Carmelites, Brussels, Belgium 8 pm versity of Calgary, Calgary, AB, Canada 3 pm
27 OCTOBER 29 NOVEMBER Guy Van Waas, with violin and bass; Protes- Samuel Kummer; Kathedrale, Dresden, Ger- tant Church, Brussels, Belgium 12:30 pm many 8 pm
36 THE DIAPASON modo, Kyrie, alio modo (Messa della Domini- lude and Fugue in a, BWV 543, Bach; ANDREW TESSMAN, Church of St. ca), Recercar dopo il Credo, Frescobaldi; Berceuse, Vierne; Variations on America, Helena, Minneapolis, MN, May 21: Trumpet Organ Recitals Balletto del Granduca, Sweelinck; Voluntary Ives; Allegro Vivace (Symphony No. 5 in f), Tune in B-flat, McCabe; Six Chorale Pre- in C, Boyce; Voluntary in a, Anonymous Widor; Sicilienne, Toccata (Suite, op. 5), ludes on When Jesus on the Cross Was GAIL ARCHER, Cathedral of St. John (18th century); Toccata per l’Elevatione Duruflé. Bound, Scheidt; Prelude and Fugue in D, the Baptist, Charleston, SC, May 31: Prae- (Messa degli Apostoli), Frescobaldi; Toccata BWV 532, Bach; The God of Abraham ludium in g, BuxWV 149, Buxtehude; Kyrie, prima del 5° tono (Toccate Libro II), Meru- MARK KING, Trinity Cathedral, Pitts- Praise, Proulx; Blessed Jesu, We Are Here, Heiliger Geist, Bach; Con moto maestoso, lo; Was Gott tut, das ist wohlgetan, Fugue, burgh, PA, May 10: Trumpet Tune, Carter; Manz; How Brightly Shines the Morning Andante tranquillo (Sonata III), Pachelbel; More palatino, Sweelinck. Wo soll ich fliehen hin, BWV 646, Toccata et Star, Tessman; Toccata in Seven, Rutter; Mendelssohn; Joie et Clarté des Corps Glo- Fuga in d, BWV 538, Bach; Le Jardin sus- Suite Gothique, Boëllmann; Pastorale, rieux, Le Mystère de la Sainte Trinité (Les RODNEY GEHRKE, Stanford Memorial pendu, Alain; Improvisation in a, Op. 150, Franck; Sortie in E-flat, Lefébure-Wély. Corps Glorieux), Messiaen; Chorale in E, Church, Stanford, CA, April 19: Fantasy in g, no. 7, Saint-Saëns. Franck. BWV 542a, Sei gegrüsset, Jesu gütig, BWV JAMES WELCH, St. Mark’s Episcopal 768, Sonata I: Movement I, BWV 525, Fugue BRUCE NESWICK, Trinity Lutheran Church, Palo Alto, CA, May 19: Prelude and Fugue in f-sharp, Buxtehude; Mein junges SCOTT BENNETT, Grace Episcopal in g, BWV 542b, Prelude in E-flat, BWV Church, Lynnwood, WA, April 23: Improvi- 552a, Kyrie, Gott Vater in Ewigkeit, BWV sation on a submitted theme; Praeludium in Leben hat ein End, Sweelinck; Prelude and Church, Charleston, SC, May 29: Alléluias Fugue in E-flat, BWV 552, Bach; Chorale in sereins, Transports de joie (L’Ascension), 669, Christe, aller Welt Trost, BWV 670, E, BuxWV 141, Buxtehude; Four Verses on Kyrie, Gott heiliger Geist, BWV 671, Dies the Magnificat in the First Tone, Scheide- b, Franck; Mässig schnell (Sonata I), Hin- Messiaen; Nimrod (Variations on an Origi- demith; Prélude (Suite Médiévale), Langlais; nal Theme for Orchestra, op. 36), Elgar; sind die heilgen zehen Gebot, BWV 678, Aus mann; Praeludium und Fuge in E-moll, BWV tiefer Not schrei ich zu dir, BWV 686, Christ Andante sostenuto (Symphonie Gothique), Variationen und Fuge über ein Originalthe- 548, Bach; Fantasia, Byrd; O Welt, ich muss Widor; Alleluyas, Preston; Adagio (Sonata in ma in fis-Moll, Op. 73, Reger. unser Herr zum Jordan kam, BWV 684, dich lassen (Eleven Chorale Preludes, op. Fugue in E-flat, BWV 552b, Bach. e minor), Nanney; Finale (Symphonie I), 122), Brahms; Te Deum Laudamus, Hurd; Vierne. JAMES & MARILYN BIERY, Cathedral improvisation on a submitted theme. of St. John the Evangelist, Milwaukee, WI, GEORGE HUBBARD, Bethel United CATHRYN WILKINSON, The Presby- May 23: Sonata for two organs, Cherubini; Methodist Church, Charleston, SC, June 5: FRANCES NOBERT, Church of St. terian Homes, Evanston, IL, May 22: Come, Preludes on Welsh Tunes, Thomas; Introduc- Comes Autumn Time, Arioso, Carillon, Land Helena, Minneapolis, MN, May 1: The Holy Ghost, Fill Us with Grace, BWV 651, tion, Passacaglia and Fugue, Wright; Dia- of Rest, Were You There?, Deus Tuorum Mil- Trumpet, Jacquet de la Guerre; Prelude, Bach; Andantino amabile, Adagio non trop- logue Monastique, Purvis; Elegy, Biery; At itum, Sowerby. Fugue and Variation, Franck; Finale (Organ po, Alla breve (Trios for the Organ, op. 49), Evening, Quick Dance (Mountain Music), Symphony No. 1 in b), Andrée; Chorale, Rheinberger; Sonata in One Movement on Stover; Psalm Variations for organ duet, TIMOTHY HUTH, with Ryan Dettbarn, Variations, Finale (Sonata No. 6), Kalenda Maya, Larsen; Ev’ry Time I Feel the Hopkins. flute, Vivian Dettbarn, piano, St. Catherine Mendelssohn; Partita über Lobe den Herren, Spirit, op. 14, Dinda; Bewitching attire of the Chapel, Adrian Dominican Sisters, Adrian, Ahrens; Prelude, BWW 545, Largo, BWW most charming simplicity, No darkness at all PETER RICHARD CONTE, St. Mary’s MI, April 30: My Heart Overflows, 529, Fugue, BWW 545, Bach; Rorate Caeli (A Quaker Reader), Rorem; Praeludium in e, Cathedral, Peoria, IL, May 23: Overture to Clothe Me with Yourself, Eternal Truth, (Twelve Chorale Preludes on Gregorian Bruhns. Candide, Bernstein, transcr. Conte; Varia- Ezoe; Schmücke dich, o liebe Seele, Chant Themes, op. 8), Demessieux; Trans- tions on a Theme of Arcangelo Corelli, Herzlich tut mich erfreuen (Eleven Chorale plant, Shapiro; Nocturne, Tailleferre; Tango CAROL WILLIAMS, Salisbury Cathe- Kreisler, transcr. Conte; Scherzo (Sonata Preludes, op. 122), Brahms; Prelude and Toccata on a Theme of Melchior Vulpius, dral, Salisbury, UK, May 24: Fanfare for the VIII), Guilmant; Fantasy on Nursery Tunes, Fugue in a, BWV 543, Bach; Cantabile et Decker. Common Man, Copland, arr. Williams; Fuga Sopra il Magnificat Elmore; Cortège et Litanie, Dupré, transcr. Presto, Enesco; Mein junges Leben hat ein , BWV 733, Bach; End, Sweelinck; Postlude pour l’Office de Morceau de Flutes, Lasceux; Va, pensiero, Conte; Variations on a Theme of Joseph SYLVIE POIRIER, Eglise des Saints- sull’ ali dorate (Nabucco), Verdi, arr. Haydn, Brahms, transcr. Conte; Fountain Complies, Alain. Anges, Lachine, QC, Canada, May 28: Le Williams; Overture to Egmont, Beethoven, Reverie, Fletcher; Final, Franck. Labyrinthe du Monde et le Paradis du Coeur, arr. Stewart; Fantaisie et Fugue B.A.C.H., PAUL JACOBS, U.S. Military Academy, Eben. Liszt, arr. Guillou; Processional March, PETER DU BOIS, Memorial Art Gallery, West Point, NY, May 7: Sinfonia from Can- Stewart; Amazing Grace! How Sweet the Rochester, NY, May 21: Toccata in C, tata No. 29, Bach; O wie selig seid ihr doch, DANIEL SULLIVAN, St. Michael’s Epis- Sound, Shearing; Flapperette, Greer, arr. Pachelbel; Toccata del Secondo Tuono, ihr Frommen, Est ist ein Ros’ entsprungen copal Church, Charleston, SC, May 30: Williams; Toccata, Jongen; Trumpeting Gabrieli; Kyrie, Kyrie, Christe, Kyrie, alio (Chorale Preludes, op. 122), Brahms; Pre- “Goldberg” Variations, BWV 988, Bach. Organ Morgan, Jenkins.
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OCTOBER, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS POSITIONS HARPSICHORDS/ PIPE ORGANS AVAILABLE AVAILABLE CLAVICHORDS FOR SALE
Berghaus Organ Company has an immediate Reed Voicer Wanted: Organ Supply Industries, 2003 built by Yves Beaupre/Flemish muselar 1925 Moller 2/10, $8,000—still in place, buyer opening for an experienced Technical Designer. North America’s leading full-service provider of after Couchet. 47 notes C/E–c''' with split keys to remove; 195? Reuter 2/9, $7,200—still in The successful applicant will be proficient in CAD pipe organ components, is seeking an experi- for the short octave and arpicordum. Keyboard: place, buyer to remove; 1976 Berghaus 2/11, applications and possess the ability to interact enced reed pipe voicer. Qualifications include Bone natural, ebony sharps. Pear wood jacks. $8,800—still in place, buyer to remove; 1962 comfortably with members of the artistic and pro- previous general organ building or service expe- Case in poplar. Stand: 4 turned legs in Flemish Schantz 3/33, $26,400—still in place, buyer to duction departments. Experience with rience with an emphasis on reed voicing and fin- style. Soundboard painting, case painting and remove; 1969 Moller 2/3, $4000—Finished console/façade design a plus. This is a key posi- ishing. Skills in flue voicing a plus. Will consider Flemish papers in the style of Couchet. Price Moller Artiste in climate controlled storage. Part- tion that provides a significant opportunity for an apprentice with previous pipe organ construc- $16,000. [email protected]. ed out: 1966 Moller 2/10—some pipework still advancement. Berghaus offers an excellent com- tion or maintenance experience. Organ Supply available, contact for details; Sold! 1949 Moller pensation package including full benefits and Industries, Inc. is an employee-owned company Harpsichords from the workshop of Knight 3/30; Sold! 1962 Wicks 2/4; Just reduced! 1964 matching 401K program. Send résumés in care located in Erie, PA. We offer an excellent com- Vernon. Authentic replicas of historic instru- Wicks 2/6, all new Peterson relay, new DC of: Brian Berghaus, Berghaus Organ Company, pensation package, including medical insurance, ments carefully made and elegantly decorated. wiring, ready to ship now! $20,000! Fabry, Inc. 2151 Madison Street, Bellwood, IL 60104-1943. paid vacation, life insurance and participation in 8201 Keystone, Skokie, IL 60076. Telephone offers removal services and shipping F.O.B. Office telephone: 708/544-4052; office fax: our employee stock ownership plan. For addi- 847/679-2809. Web site: Antioch, IL. Large used pipe inventory available 708/544-4058. tional information about our company or to apply www.vernonharpsichords.mykeyboard.com. and ready for use. Contact for available ranks for this position, please visit our web site at and specifications. Fabry, Inc. 974 Autumn www.organsupply.com and download our appli- The Episcopal Parish of Saint Barnabas on the ATTENTION ORGANISTS! Do you long for Drive, Antioch, IL 60002, tel: 847/395-1919, fax: cation. Applications and résumés may be e- 847/395-1991, e-mail: [email protected]. Desert, 6715 N. Mockingbird Lane, Scottsdale, the thunder that only full-length 32v bom- AZ 85253-4344. Full-time Choirmaster and mailed to [email protected], faxed or mailed to the address below. No phone calls barde resonators can unleash? Your cur- Organist (separate positions also considered) for rent, wimpy half-length 32v simply can’t 2002 portativ/Dutch builder. Compass: C–f'''. 2000-member church. Two Sunday services plus please. Organ Supply industries, 2320 West 50th Street, Erie, PA 16506. Fax: 814/838-0349. deliver that firepower you need when play- Transposable keyboard: A=415/440/465 Hz. special services and weddings and funerals. Thir- ing Widor, Vierne, or simply when you Case in Cherry-wood, dimensions: 113x84x57 ty-five member volunteer adult choir with addi- want to blow away the congo with merci- cm. Fundamental keys: Ebony. Accidentals: tional 11 paid soloists. Adult handbell choir with PUBLICATIONS/ less thunder. Prohibitive costs, inade- Plum-wood. Disposition: Flute 8v, Regal 16v, director and youth/children’s choir with director quate space, a vestry that simply cannot Regal 8v, Regal 4v. All stops split in Bass/Treble. and other ensembles to be under the supervision RECORDINGS understand have stood in your way—until Each reed-stop their own character. Sale at of the Choirmaster/Organist. Three-manual now. Introducing the TROMBARDE—a 2002 price $28,000. [email protected]. Casavant organ. Candidates will show expertise Experience a Victorian Christmas—American resonator of musical mass destruction in all styles of church music. Familiarity with Epis- (RMMD) that brings you up to par instant- copal liturgy preferred. Salary and benefits style! “The Holy Night” includes the popular Beautiful 6-rank neo-baroque tracker organ carols Silent Night and Adeste Fideles, com- ly with the big boys. TROMBARDE is a beyond AGO guidelines, commensurate with telescopic resonator that adjusts to the built in 1972. Perfect for home or small chapel. experience and accomplishment. Graduate posed by America's premier 19th century correct speaking length throughout the Pipework is mostly open-toe voicing with no degree or equivalent with emphasis on church composer, Dudley Buck. Christmas CDs entire 32-note compass instantly and pre- nicking on about 2w wind pressure. Currently music preferred. Applications will be received available. www.michaelsmusicservice.com; cisely via Insanely Quick© Ultra-pneumat- playable in St. Cloud, MN. $16,000. Contact until November 1st and sent to Music Search 704/567-1066. ic Technology (IQ Technology). No need David Geslin, 612/868-7827, or Committee at above address. Position descrip- for extra space—Trombarde can be quick- [email protected]. tion and further information available at ly mounted vertically, diagonally, or even www.saintbarnabas.org, or at 480/948-5560. THE DIAPASON has moved! en chamade. Ultra high-tech black box Two-manual, 20-rank, 1963 Wicks Pipe Our new address is: technology insures precise lengths each Organ, currently installed in San Francisco. time, every time (programmable for differ- Specifications available upon request. Offered To advertise in THE DIAPASON 3030 W. Salt Creek Lane, Suite 201 ent temperaments, too!). Installs easily in at $25,000. Contact [email protected]. Arlington Heights, IL 60005 an afternoon with pre- or post-Vatican II 2007 Resource Directory, con- sacristy tools. Give yourself or someone tact Jerome Butera, 847/391- Phone and fax numbers, e-mail, you love the gift that keeps on giving. Flentrop two-manual and pedal three-rank 1045,
Attention Organbuilders For information on sponsoring a color cover for THE DIAPASON, contact editor Jerome Butera, 847/391-1045 [email protected]
3030 W. Salt Creek Lane ph 847/391-1045 Suite 201 fax 847/390-0408 THE DIAPASON e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Two-manual, 7-rank freestanding classic- 1991 Peterson 40-ohm relay, 3 units, 73, 61, Highest quality organ control systems since Top Quality Releathering. Pouch rails, pri- style organ unified to 24 stops. Excellent con- 61, built-in key inverter, $300. Compact Klann 1989. Whether just a pipe relay, combination maries, reservoirs and any other pneumatic dition. Chicago area, buyer to remove. For pedal relay, 4 units, 16, 10-2/3, 8, 4 & 2—16 & action or complete control system, all parts are action. Removal and installation service avail- details please contact John Hoverland, 710 8—8, 4 & 2—16 & 4, $150. Reisner C5 relays in compatible. Intelligent design, competitive pric- able. Full warranty. Skinner, Casavant and Waukegan Rd., Apt. 2, Glenview, IL 60025. pristine condition, in original cabinets with origi- ing, custom software to meet all of your require- Kimball specialty. Spencer Organ Company, 847/724-5237. nal shop specifications: Gt 61, 85, 73, 61, 73, 25, ments. For more information call Westacott Inc. Call, Fax or visit our website for quotation Ped 56, 68, 32, 56, 44, Sw 61, 61, 61, 80, 70, Organ Systems, 215/353-0286, or e-mail and information. 781/893-7624 Voice/Fax, $200. Inquiries: e-mail [email protected] [email protected]. www.spencerorgan.com. 1937 Aeolian-Skinner 3-rank unit organ, opus (not comcast) phone 215/353-0286 or 3007. Two manuals and pedal. 19 stops from 215/788-3423. Diapason, Viola, Gedackt. All enclosed in free- Consoles elegantly and reliably built and RELEATHERING: also Pipe Organ Rebuild- standing swell box. Walnut console attached. rebuilt. Newly designed by a degreed architect ing, Repair and Maintenance Service in New May be seen and played. $13,500. Atlantic City Pipe Organ—Tellers 5-rank unit England area. Years of experience, fine work- chest, regulator, $900 or best offer; C.S. and organist, or expertly refurbished and retro- 713/723-3664; [email protected]. fitted using reliable technology from established manship. Reading Organ Works, A. Richard Haskell—4-rank slider chest with 16v Bourdon, Hunter, P.O. Box 267, 1324 Vermont Route 16v Lieblich, 10-2/3v Quint, 5-1/3v Quint (pre- suppliers. Prestigious references. Available nationwide. Glück New York. Telephone 106, Reading, VT 05062. 802/484-1275. AEolian-Skinner Opus 1211, 1955, G. D. pared), $1,200 or best offer. Moller 3-rank unit E-mail [email protected]. Harrison. Completely restored two-manual, 16 “Sputnik”: direct electric action, principal, rohr 212/608-5651 (office) or 917/903-8281 (general ranks, with preparations for additional ranks. flute, larigot, detached console, very good condi- manager). Drawknob console with new Harris equipment, tion. Harp, capped oboes, more. Visit Austin actions recovered. Over 30 years solid state relay, multiple memories and play- http://mywebpages.comcast.net/acorgan. E-mail: experience. Units thoroughly tested and fully back. Instrument is available for inspection and [email protected]. Phone 609/641-9422. Columbia Organ Leathers sells the finest guaranteed. Please call or e-mail for quotes. will be set up and playing. Details: leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, 603/529-0870 or 423/282-4473. punched pouches and pre-assembled pouches, Inc., 42 N. River Road, Tolland, CT 06084. SERVICES/ and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. vices. Call today for a catalogue. 800/423-7003 [email protected]. 1876 13-rank George Stevens tracker organ. SUPPLIES or e-mail: [email protected]. Interesting tonal design. Pipework original. Excellent worship instrument for congregation The Whistle Shop repairs and rebuilds pipe Need help with your re-leathering with sanctuary 200-250 seating capacity. organs. Southwestern U.S. Also, maintenance Flue pipes in metal and wood–Mixtures and tonal work. Finest materials, expert work- project? All pneumatics including Repairable heat/water damage. Purchaser Austin. Over 45 years experience and upperwork are available from stock or restore, or contract Levsen Organ Company to manship. K.E.M. Pipe Organ Builders, Austin, specify custom orders to meet your exact TX. 512/252-2212. (on the job assistance available). move, restore, install. Make offer. Owner 615/274-6400. requirements. Tuning Sleeves with reserves right to reject any and all bids. Infor- flare–Order complete sets ready to install mation, details, contact Levsen Organ Compa- Pneumatic restoration available through our or bulk quantities in each diameter. These ny. 800/397-1242; e-mail [email protected]. full-service releathering and conservation sleeves are guaranteed to fit and will not Stoplist details: www.LevsenOrg.com. department. Meticulous work, quality hides, tarnish or corrode. For excellent quality, parts duplication, spring replication, special ser- ALL REPLIES great pricing and timely delivery contact: vices. Removal and reinstallation anywhere in International Organ Supply, P.O. Box 401, 1860 Wm. A. Johnson 1/8, including 12-note the nation. Glück New York. Telephone TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX 16v Subbass. Meticulously restored, $39,500; 212/608-5651 (office) or 917/903-8281 (general that appear 708/447-0702. Pedal extension optional. Details: Andrew Smith manager). Pipe Organs, 522 East Rd., Cornish, NH 03745. without an address 603/542-8316; [email protected]. Organ windchest for sale by Herb Huestis, should be sent to: Postal regulations require that mail #1502—1574 Gulf Road, Point Roberts, WA to THE DIAPASON include a suite num- MISCELLANEOUS 98281, phone 604/946-3952, e-mail: THE DIAPASON ber to assure delivery. Please send [email protected]. Shipping extra to U.S. or 3030 W. Salt Creek Lane, Suite 201 FOR SALE Canada—no overseas. Casavant offset pedal all correspondence to: THE DIAPA- chest 48w x 9.5w x 9w, 8 notes only, no rack- Arlington Heights, IL 60005 SON, 3030 W. Salt Creek Lane, Suite 20 E.M. Skinner ivory stop knobs, $400 the board. 6-1/2w spacing for 16v pedal reed. Price 201, Arlington Heights, IL 60005. lot. Not sold separately. [email protected]. $275, includes shipping.
OCTOBER, 2006 39 KKararenen McFMcFarlanearlane ArArtististsts 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels Thierry Escaich* László Fassang* David Goode* Gerre Hancock
CHOIRS AVAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 2006 SOLD OUT
Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Olivier Latry* The Choir of Saint Thomas Church, NYC John Scott, Director Spring 2007 SOLD OUT
The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of St. John’s College Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Cambridge, UK David Hill, Director West Coast USA Tour Spring 2009
*=European artists available 2006-2007
Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter*
WEB SITE: www.concertorganists.com.concertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young