THE DIAPASON MARCH 2018

Christ the King Chapel St. John Vianney Theological Seminary Denver, Cover feature on pages 26–27 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

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

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

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

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

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 3, This month’s milestone Whole No. 1300 The issue you are reading now is the 1,300th edition of The MARCH 2018 Diapason, bringing the world news about the organ, church Established in 1909 music, harpsichord, and carillon since December 1909! What Stephen Schnurr ISSN 0012-2378 a historic milestone this represents, certainly more issues than 847/954-7989; [email protected] any other American journal focused on these topics. While www.TheDiapason.com An International Monthly Devoted to the Organ, many processes have changed in the last century in magazine the Harpsichord, Carillon, and Church Music publishing, we still bring the same care and effort to every issue Among our regular columnists, Larry Palmer, in “Harpsi- that has been exemplifi ed in this journal throughout its history. chord Notes,” discusses all things Handel. John Bishop’s “In CONTENTS How can we celebrate this milestone? Tell your friends! the Wind” introduces us to the work of recently retired Ray FEATURES Invite them to subscribe! A sample issue of The Diapason is Cornils with the Kotzschmar Organ at Merrill Auditorium, Hinners & Albertsen on the Mississippi available at our website (www.thediapason.com). Your friends Portland, Maine. In “On Teaching,” Gavin Black ponders the Bluffs, Part 2 can request a free sample copy by contacting me. Or send me question, “What is performance?” by Allison Alcorn 20 your friend’s mailing address, and we will send them a copy. Our cover feature is the new organ for Christ the King Cha- A tribute to Luigi Ferdinando Tagliavini With our new digital edition available alongside our traditional pel, St. John Vianney Theological Seminary, Denver, Colorado, (October 7, 1929–July 11, 2017) by Etienne Darbellay, Bruce Dickey, print edition, you can now experience The Diapason anywhere! crafted by Kegg Builders of Hartville, Ohio. In our Susan Ferré, Margaret Irwin-Brandon, Organ Projects section, the American Organ Institute at the and Marc Vanscheeuwijck 23 In this issue University of , Norman, has restored a 1909 Hinners NEWS & DEPARTMENTS For March, we are pleased to provide the conclusion of Allison organ, which has been relocated to Trinity Lutheran Church, Editor’s Notebook 3 Alcorn’s article on an early Hinners & Albertsen organ in Red Norman, Oklahoma. Here & There 3 Wing, , begun in last month’s issue. Our fi rst install- In Here & There, we always include the latest news available Nunc Dimittis 10 ment presented an encapsulated history of the Hinners fi rm in to us. In “Nunc dimittis,” we share fond farewells to Wilbur Harpsichord Notes by Larry Palmer 12 Pekin, Illinois. This installment focuses on their organ for St. R. Dodge, Mark Coan Jones, Yuko Hayashi, and Pierre Pince- In the wind . . . by John Bishop 16 Peter Norwegian Lutheran Church. Susan Ferré has assembled maille. As many of us are now working hard with the season On Teaching by Gavin Black 18 for us a tribute to the late Luigi Ferdinando Tagliavini (1929– of Lent upon us, be sure to check out our Calendar section REVIEWS 2017), with contributions by students and colleagues—Marc for a much-deserved break attending an organ recital, choral Choral Music 13 Vanscheeuwijck, Bruce Dickey, Etienne Darbellay, Margaret Evensong, or other concert. While you’re at it, be sure to send Book Reviews 13 Irwin-Brandon, and Ferré. This collection paints a picture of an us your calendar events for upcoming months. New Organ Music 13 extraordinary fi gure in the world of the organ and its music, a With all this at your fi ngers right now, why not introduce New Recordings 14 teacher to countless students across the globe. The Diapason to a friend? Q New Handbell Music 15 ORGAN PROJECTS 28 Letters to the Editor CALENDAR 29 ORGAN RECITALS 33 Hinners & Albertsen it in the 1980s, the organist Elizabeth they left it to the women to coerce the CLASSIFIED ADVERTISING 34 I am so excited over Allison Alcorn’s Smith had been there for over 60 years. men into signing on the dotted line. article on the Hinners Organ Company She remembered the organ being I must have played dozens of Hinners THE in the February 2018 issue of The installed in 1910, and took lessons from organs in my time, and fi nd them well built DIAPASON Diapason. The company was prob- the then organist. In 1924 he was sick and beautifully voiced. The only problem MARCH 2018 ably the last in the United States to and she took over “temporarily.” He I have with pretty much all of them is that build tracker organs before the tracker died, and she was still there over 60 the 8′ Open Diapason tends universally to revival after World War II. This makes years later. be too big for the rest of the organ. Later sense because they built organs for Other members of churches who and larger organs tended to have electric country churches, many of which did remembered the installation of Hin- action, and one such is at First United not have electricity before the 1930s, ners organs I have known suggest that Methodist Church, Edmond, Oklahoma, and a handful of which do not even one of the reasons that Hinners repre- where our new editor-at-large, Andrew have electricity now. sentatives were so successful in selling Schaeffer, is organist. When this organ Christ the King Chapel St. John Vianney Theological Seminary Denver, Colorado Cover feature on pages 26–27 One organ I particularly remember is organs was that they understood that was enlarged in 2005, they wisely made the 1910 Hinners organ in St. Stephen’s it was really the women who were in the Great 8′ Open Diapason into the COVER Church, Mount Carmel, Pennsylvania. charge. They approached the women’s Pedal 8′ Octave and provided a new, Kegg Pipe Organ Builders, Hartville, Ohio; I gather, rather sadly, that this instru- auxiliary or the women’s sewing group, somewhat smaller 8′ on the Great. Christ the King Chapel, St. John Vianney ment has not been in regular use since or whatever, and won them over to the John L. Speller Theological Seminary, Denver, Colorado 26 the early 1990s. However, when I knew idea of obtaining a pipe organ. Then Port Huron, Michigan

Editorial Director STEPHEN SCHNURR Here & There and Publisher [email protected] 847/954-7989

President RICK SCHWER Events [email protected] TENET continues its concert series at 847/391-1048 locations in New York, New York, except where noted: March 2, Johann Heinrich Editor-at-Large ANDREW SCHAEFFER [email protected] Schmelzer, Le Memorie Dolorose at St. Luke in the Fields Church; March 24, Sales Director JEROME BUTERA TENEbrae: Pathway to Light with the [email protected] 608/634-6253 Sebastians at St. Vincent Ferrer Church; Circulation/ April 21, Charpentier, Les plaisirs de Subscriptions EBONY FENDLEY Versailles with Metropolis Ensemble at [email protected] 847/391-1028 the Metropolitan Museum of Art; May 11–12, The Sounds of Time: Songs of the Designer KIMBERLY PELLIKAN Trouveres at Flushing Town Hall Gallery Longwood Gardens Aeolian organ [email protected] in Queens. For information: Madison Avenue Presbyterian Church, console (photo credit: Duane Erdmann) 847/391-1024 www.tenet.nyc. New York, New York (photo credit: Lee Ryder) Contributing Editors LARRY PALMER Longwood Gardens, Kennett Harpsichord Madison Avenue Presbyterian April 13, 7:30 p.m., Manhattan School Square, Pennsylvania, continues its BRIAN SWAGER Church, New York, New York, con- of Music organ department recital; 4/22, events featuring the 1930 Aeolian pipe Carillon tinues its music series, Sundays at 3:00 Nadejda Vlaeva, pianist; 4/29, Memo- organ of four manuals, 146 ranks, in p.m., except where noted: March 4, ries, Dreams, Refl ections, with Trio the ballroom: March 4, Bryan Holten; JOHN BISHOP Weather Reports, with the Amuse Sing- Appassionata; May 6, New York, New 3/18, Neil Harmon; April 7, spring open In the wind . . . ers; 3/18, Margaret Mills, pianist; 3/25, York!, with the New York City Children’s console day; 4/21, Alan Morrison. For GAVIN BLACK Bach, St. Matthew Passion, with the St. Chorus. For information: information: www.longwoodgardens.org. On Teaching Andrew Chorale and Orchestra; Friday, www.mapc.com/music/sams. ³ page 4 Reviewers Leon Nelson

Joyce Robinson THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Jeffrey Schleff Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Jay Zoller Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Copyright ©2018. Printed in the U.S.A. John L. Speller Possessions). Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; No portion of the contents of this issue may be reproduced in any form without the 3 yr. $100 + $18 shipping. Other foreign subscriptions: 1 yr. $42 + 30 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 2 yr. $75 + $40 shipping; 3 yr. $100 + $48 shipping. Single copies $6 (U.S.A.); photocopies of the material contained herein for the purpose of course reserve reading $8 (foreign). Digital subscription (no printed copy): 1 yr. $35. Student (digital only): $20. at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 3 Here & There

³ page 3 The Cathedral of St. Philip, Atlanta, Georgia, continues Sunday concerts at 3:15 p.m. followed by Choral Evensong at 4:00 p.m.: March 4, Mark Pacoe; 3/11, Jeremy McElroy and Clinton Miller. April 8, Bryan Dunnewald; 4/15, Jason Roberts; 4/22, Stefan Kagl; 4/29, David Henning. May 6, Georgia Boy Choir; 5/13, Caro- St. Mary’s Cathedral, Ruffatti organ line Robinson; 5/20, Bruce Neswick. For information: The Cathedral of St. Mary of the www.stphilipscathedral.org. Assumption, , California, continues recitals and choral programs, Sundays at 4:00 p.m. (except where noted): March 4, Jillian Gardner; 3/11, Holes in the Floor Cello Quartet; 3/18, Angela Kraft Cross, celebrating Bach’s 333rd birthday; 3/25, Philip Manwell. April 1, Joel Mahan, classical guitar; 4/8 (7:00 p.m.), Temple Hill Choir & Orches- tra, Rob Gardner, Lamb of God; 4/15, Alexander Ffi nch; 4/22, St. Mary’s Cathe- dral Choir; 4/29, Diana Stork & Portia Christ Church, Bradenton, Florida, Diwa, harp, “Music from the Labyrinth.” Létourneau organ St. Mary’s Cathedral houses a 1971 Fratelli Ruffatti organ of four manuals, Reuter Opus 2184 is blessed for service at St. Robert’s Catholic Church, San Bruno, Christ Church, Bradenton, Florida, 89 ranks. For information: California continues its Sacred Music in a Sacred www.stmarycathedralsf.org. Space series: March 4, Ahreum Han; On November 5, 2017, four organs built and installed by the Reuter Organ Com- 3/18, Craig Cramer; May 12, Jakob Ham- Musica Sacra of New York City con- pany, Lawrence, Kansas, were dedicated. James Welch played a recital at St. Rob- ilton. A Lenten recital series is offered tinues its concert season: March 6, Light ert’s Catholic Church, San Bruno, California, the new home of the renovated and Thursdays at 12:15 p.m.: March 1, James of Light: Music of Lassus, Lauridsen, and redesigned Opus 2184. Meanwhile, faculty, instrumentalists, and choirs of St. Mary’s Culver; 3/8, Glen Olsen; 3/15, Nancy Leonin, with Gregorian chant, Cathedral University, Bismarck, , participated in a blessing and rededication ser- Siebecker; 3/22, James Walton. For of St. John the Divine. For information: vice for Opus 1431, after a comprehensive refurbishing of the console, re-leathering, information: www.christchurchswfl a.org. www.musicasacrany.com. and a signifi cantly enhanced tonal scheme. Whitnall Park Lutheran Church, Hales Corners, Wisconsin, was the site of a program celebrating the renewal of their Opus The Church of St. Luke’s in the 2077, with new solid-state components and a signifi cant tonal transformation from Fields, New York, New York, continues seven to 12 ranks of pipes. Last but not least, Nathan Laube performed on Reuter’s its concert season, Thursdays at 8:00 newest installation at St. John’s United Church of Christ, Lansdale, Pennsylva- p.m.: March 8, The Birth of the Ora- nia, an instrument of three manuals, 40 ranks. The Lansdale organ was featured in torio; May 3, The Glorious Mysteries: Reuter’s cover feature article in the October 2017 issue. Music of Biber and Lassus. For infor- For information: http://reuterorgan.com. mation: www.stlukeinthefi elds.org.

Hyde Park Community United Methodist Church, Cincinnati, Ohio (photo credit: Neal Hamlin and William T. Van Pelt)

Hyde Park Community United Methodist Church, Cincinnati, Ohio, continues organ recitals, Sundays at 4:00 p.m.: March 4, Brenda Portman; April 15, Renée Anne Louprette. For informa- tion: http://hydeparkchurch.org.

Christ Church, Grosse Pointe Farms, Michigan, continues its musical events: Shadyside Presbyterian Church April 15, Easter Lessons & Carols. Choral Evensong, Sundays at 4:30 p.m.: March 4, The Organ Artists Series of Pitts- 3/11, 3/18, April 22, 4/29, May 13, 5/20. burgh, Pennsylvania, continues its series Concerts include: March 25, Bach, St. of recitals: March 9, Benjamin Sheen, John Passion; May 6, Bach, Easter and Calvary Episcopal Church; April 15, Ascension Oratorios; July 18, Farewell Katelyn Emerson, Shadyside Presbyte- Concert for the choir’s residency at Dur- rian Church. For information: ham Cathedral, UK. For information: http://organseries.com/. www.christchurchgp.org. ³ page 6 Ray Cornils with friends on stage (photo credit: Russ Burleigh)

Ray Cornils performed “Kotzschmar Christmas with Cornils,” his fi nal concert in his 27-year tenure as Portland, Maine, municipal organist, to a crowd of over 1,600 people on December 19, 2017. At intermission Cornils was given a Key to the City of Portland by Mayor Ethan Strimling. At the end of the concert, James Kennerley, Portland’s new municipal organist, joined Cornils and his many musical guests on stage for fi nal bows. Additionally, in December Ray Cornils was a featured soloist on the Kotzschmar Organ in twelve performances of the Portland Symphony Orchestra’s Christmas con- certs under the direction of Robert Moody. James Kennerley’s fi rst performance as Portland’s 11th Municipal Organist will be on April 18. For information: www.foko.org. Read more about Ray Cornils in John Bishop’s “In the Wind . . . .,” pages 16–17.

WEEKEND ORGAN MEDITATIONS AUSTINORGANS.COM t8PPEMBOE4U)BSUGPSE$5 Grace Church in New York www.gracechurchnyc.org

4 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

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

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

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

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

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

³ page 4 Lords; May 20, Wes Lockfaw with the St. John’s Episcopal Church, West Christ Church Brass. For information: Hartford, Connecticut, continues its www.christchurcheaston.org. Music at the Red Door events: March 11, Fauré, Requiem, with the choirs of St. Paul’s Episcopal Church, St. John’s Church and St. Paul’s on-the- Delray Beach, Florida, continues its Green Episcopal Church, Norwalk; April musical events, Sundays at 3:00 p.m.: 22, Fa-Re-La Duo, piano and cello; May March 18, Bach’s Art of the Fugue with 4, The Yale Whiffenpoofs. harpsichordists Michael Bahmann and Choral Evensong is offered on Sundays Paul Cienniwa; April 15, Amernet String at 5:00 p.m. with the parish Adult Choir Quartet; May 20, Bach arias with Cam- Diane Bish (photo credit: John Sigh) unless otherwise noted: March 25, and erata del Ré; June 10, Palm Piano Trio. April 29 (Youth and Adult Choirs). St. For information: The American Organ Institute of John’s Pipes Alive! organ recital series is www.music.stpaulsdelray.org. the University of Oklahoma, Norman, presented Sundays at 12:30 p.m.: March Oklahoma, will host a weekend to honor 4, Jacob Street; May 6, Ezequiel Menen- the university’s alumna, Diane Bish. dez; June 3, Susan Carroll. For informa- Events include a gala dinner on Saturday tion: www.reddoormusic.org. Presbyterian Homes, Evanston, Illinois, evening, April 7, in the Fred James, Jr., Dobson organ Museum of Art, and a recital by Miss The Dessoff Choirs, Malcolm J. Bish with choir and brass instruments on Merriweather, music director/conductor, Vander Weele; June 25, Brian Schoet- Sunday, April 8, in Gothic Hall. A schol- continues its concert season in New York tler. For further information: arship has been created in her name, and City: March 11, The Little Match Girl www.presbyterianhomes.org. contributions are being accepted. For Passion, at the Basilica of St. Patrick’s information: www.aoi.ou.edu. Old Cathedral; April 28, Freedom Con- Early Music Vancouver, Vancouver, cert, at the Church of St. Paul and St. Madonna della Strada Chapel, Goulding British Columbia, Canada, continues Andrew. For information: & Wood organ its Cathedral Series, with events taking www.dessoff.org. place in Christ Church Cathedral: March Loyola University, , Illinois, 23, A Telemann Celebration, Ensemble continues its monthly organ recital series, Le Rêveuse; April 28, Ovid: Myth and held on Sundays at 3:00 p.m. in Madonna Music, Pacifi c Baroque Orchestra and della Strada Chapel and featuring the Charles Daniels, tenor. For information: three-manual Goulding & Wood organ, http://earlymusic.bc.ca. Opus 47: March 18, Jonathan Oblander; April 15, Grant Nill; May 20, Christine CONCORA (Connecticut Choral Kraemer. For information: www.luc.edu/ Artists), Chris Shepard, artistic director, campusministry/sacramental_life/organ/. continues its 44th season: March 25, Bach, St. Matthew Passion, Immanuel Congregational Church, Hartford; April 29, Mozart, Requiem, St. John’s Episcopal Church, West Hartford. For information: www.concora.org.

Zion Lutheran Church, Wausau, Wiscon- Cathedral Church of St. Paul, Detroit, sin, Kegg organ Michigan, Pilzecker organ (photo credit: Music Institute of Chicago Chorale Christian Hooker) (photo credit: Elliot Mandel) Zion Lutheran Church, Wausau, Wisconsin, announces organ recitals, The Cathedral Church of St. Paul, The Music Institute of Chicago Sundays at 3:00 p.m.: April 15, Bálint Detroit, Michigan, continues choral Chorale continues its 31st concert Karosi; October 7, Kiyo and Chiemi Evensong services, Sundays at 4:00 p.m.: season: March 18, Mozart, Mass in C Watanabe. For information: March 11, 3/25 (Passiontide Concert), Minor, with orchestra, Nichols Concert https://zionlutheranwausau.com. May 10 (Evensong for Ascension). For Hall, Evanston; June 10, a program of information: www.detroitcathedral.org. works by Chicago composers, Nichols Concert Hall. For information: Trinity Lutheran Church, Cleveland, People Emmanuel Episcopal Church, www.musicinst.org/chorale. Ohio, Beckerath organ Chester Parish, Chestertown, Maryland, announces organ recitals: March 16, Max- Presbyterian Homes, Evanston, Trinity Lutheran Church, Cleve- ine Thévenot; April 13, Parker Ramsey; Illinois, continues its monthly series of land, Ohio, will begin its 25th year of May 4, Ken Cowan. For information: organ recitals, Mondays at 1:30 p.m. in free concerts, April 4, 12:15 p.m., featur- www.emmanuelchesterparish.org. Elliott Chapel, featuring its 1994 Dob- ing Rudolph von Beckerath’s fi rst pipe son Pipe Organ Builders, Ltd., Opus organ installed in North America, com- Christ Church, Easton, Maryland, 64 of two manuals, 25 ranks, mechani- pleted in 1956. “Music Near the Market” continues its concert series: March 18, cal action: March 19, David Schrader; has taken place nearly every Wednesday Trio Galilei; April 22, Suspicious Cheese April 23, Jackson Borges; May 21, Paul since the founding of the series. Even during the organ’s restoration project between 2007 and 2012, the organ was Gail Archer (photo credit: Stephanie Berger) played, except for 11 weeks while the Saving organs throughout console was under restoration, during Gail Archer continues her organ which period other instruments were recitals and other musical events for America....affordably! featured in the weekly programs. 2018: March 4, St. Anthony of Padua Most programs are presented by Catholic Church, New Bedford, Rhode Robert J. Meyer, Trinity’s director of Island; 3/11, Anchorage Lutheran traditional music and organist since Church, Anchorage, Alaska; 3/18, Inter- 1973, and Florence Mustric, artist national Organ Festival, Basilica of Santa in residence. With the series’s long- Maria, Igualada, Spain. standing association with Oberlin Col- April 11, University of Alberta, lege Conservatory of Music, the school Edmonton, Alberta, Canada; 4/13, Holy sends numerous students to perform. Rosary Cathedral, Regina, Saskatch- Upcoming series events include: March ewan, Canada; 4/15, United Church of 14, Noel Warford; April 4 and 11, Flor- Canandaigua, Canandaigua, New York; ence Mustric; 4/25, St. Ignatius High 4/22, St. Mark’s Episcopal Church, School Chorus; May 3 and 10, Flor- Glen Ellyn, Illinois; 4/27, Barnard- ence Mustric; 5/16, Tigran Buniatyan; Columbia Chorus with the Choir of 1-800-621-2624 July 18, Brian Wentzel; 7/25, Brittany the University of Bolzano, Italy, Verdi, Kubiak, violin; August 1 and 8, Matt Messa da Requiem, Church of the foleybaker.com Wirfel, trumpet. For information: Ascension, New York, New York; 4/29, www.trinitycleveland.com. ³ page 8

6 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Only an experienced craftsman knows the true meaning of excellence.

We have a heart that beats for the pure love of the craft. Our experienced craftsmen work with immense passion to create unique, custom-designed organs for every church. You’ll not only hear that passion in the arrangement of the stops, you’ll see it in the details of the cabinet built around it.

Our professional designers can translate the wishes of our clients into a distinctive console that looks as excellent as it sounds.

Monarke III

Johannus US has dealers throughout the United States. Visit johannus-us.com to find a dealer near you. If you have any questions or would like more information about any of our organs, you can contact a US representative at [email protected]. Here & There

³ page 6 Palmyra Church of the Brethren, Pal- myra, Pennsylvania. May 13, Our Lady of Fatima Catholic Church, Lafayette, Louisiana; 5/21–26, Barnard-Columbia Chorus exchange with the University of Bolzano, Italy; 5/27, Cathedral of the Immaculate Con- ception, Denver, Colorado. For informa- tion: gailarcher.com.

Karen Beaumont has completed a recording of selections from the Premier Livre de Pièces d’Orgue of Jean François Dandrieu, recorded on the Holtkamp organ built in 2010 for St. Hedwig Cath- Paul Jacobs and Yannick Nezet-Seguin olic Church, Milwaukee, Wisconsin. For information: Philadelphia Orchestra, conducted by [email protected]. music director Yannick Nezet-Seguin, David Bednall (photo credit: J. Butson) and Sarah Quartel (photo credit: Sandra Dufton January 11–13. The program marked the Photography) second performance of this work in the United States since its premiere in 2004, announces that David Bednall and Sarah Quartel when it was originally co-commissioned have signed long-term agreements with Oxford for their choral compositions. Bed- by the Los Angeles Philharmonic and the nall is organist of the University of Bristol, sub-organist at the Bristol Cathedral, and BBC Philharmonic. A Scotch Bestiary is conducts the University Singers. Quartel composes extensively for youth and treble a 35-minute work in two movements, choirs and lives in Ontario and Hawaii. For information: www.davidbednall.com and inspired by human archetypes and per- www.sarahquartel.com. sonalities encountered in the composer’s life in Scotland. For information: www.pauljacobsorgan.com century French music with Eric Lebrun, and on French/Italian/Spanish Baroque organ music with Guy Bovet. For infor- mation: www.jehanalain.ch.

Jonathan Dimmock

Jonathan Dimmock returned to Europe for his concert tour last sum- mer, with 19 performances in , James Welch France, and Germany. He has also been giving annual December performances James Welch performed a recital of Messiaen’s La Nativité du Seigneur, December 31, 2017, in celebration of his and his latest, on the Létourneau at the 25 years as organist of St. Mark’s Epis- Cathedral of Christ the Light in Oakland, Nicholas Schmelter and Philip Rice copal Church, Palo Alto, California, and California, is available on YouTube. Dim- as music faculty member at Santa Clara mock is principal organist at the Palace Nicholas Schmelter, director of wor- University. At St. Mark’s he has worked of the Legion of Honor, San Francisco, ship, First Presbyterian Church, Caro, with Rebecca Maggi, director of music, Auer Hall, Jacobs School of Music, Indi- organist with the San Francisco Sym- Michigan, performed the premiere of and has managed an active concert series ana University, Bloomington, Fisk organ phony, instructor at Sonoma State Uni- In Dulci Jubilo, by Philip Rice, on the of organ, choral, and chamber concerts. versity, director of music at Congregation church’s Aeolian-Skinner instrument The recital featured works by Bach and The Jacobs School of Music, Indi- Sherith Israel, and organ conservator of on January 5. Rice is a Michigan-based Vierne, as well as pieces by his Stanford ana University, Bloomington, Indiana, Rosales Opus 16 at First Presbyterian composer specializing in sacred music professor, Herbert Nanney; works writ- announces its fourth annual Sacred Church in Oakland. He is also active and artsong. In 2015 he was a winner in ten and dedicated to him by Emma Lou Music Intensive Course, June 4–8. The with his new nonprofi t, The Resonance the American Prize for orchestral com- Diemer, Rulon Christiansen, and Dale course supplies continuing education Project, which uses music in international position and an ASCAP Morton Gould Wood; and by organists he has written enrichment to church musicians. Attend- confl ict resolution. For information: Award fi nalist. He currently serves as about, including Richard Purvis, Porter ees will have the option to tailor their www.jonathandimmock.com and program director for the Mackinac Heaps, and Ramón Noble. Joining him course of study from a variety of offer- www.music-resonance.org. (Michigan) Arts Council. Schmelter has on the program in a four-hand duet, ings for organists, choral conductors, and commissioned and premiered new music Variations on the C Major Scale, by Carl vocalists. Faculty includes Christopher Paul Jacobs gave the East Coast pre- by Moonyeen Albrecht, Robert Powell, Reinecke, was his son Jameson Welch. Young, Marilyn Keiser, Vincent Carr, miere of James MacMillan’s A Scotch Philip Rice, Bernard Wayne Sanders, Janette Fishell, Patrick Fischer, and Bestiary for organ and orchestra with the and others. Walter Huff. For information: Continuing education music.indiana.edu/precollege/adult/ The International Organ Course sacred-music. in Romainmôtier, Switzerland, announces its 2018 course offerings. This village offers three remarkable organs: the Alain residence organ, the residence organ of the late Luigi Tagliavini, and the Lhôte organ in the abbey church. The fi rst week, July 15–22, will be devoted to improvisation, taught by Emmanuel Le Divellec and Tobias Willi, open for Church of Saint Jude the Apostle all levels of students. The second week, Wauwatosa, Wisconsin July 22–29, will focus on the organ music Three manuals – forty ranks of Jehan Alain, with masterclasses on J. S. Bach and German Romanticism A RTISTRY – R ELIABILITY – A DAPTABILITY with Ludger Lohmann, on 19th and 20th Craighead-Saunders Organ, Christ Church, Rochester, New York

Eastman School of Music, Roch- JL Weiler , Inc. ester, New York, announces its fi ve-day intensive workshop for high school stu- Museum-Quality Restoration dents, July 23–27. Each day will include of Historic Pipe Organs jlweiler.com ³ page 11

8 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM

Here & There

Nunc Dimittis teachers were George Faxon, Donald Willing, Anton Heiller, and Gustav Leon- Wilbur R. Dodge, 83, died November 20, hardt (harpsichord). 2017, in Binghamton, New York, an engineer, Her frequent travels to Europe began in 1966 when she went to the Haarlem physicist, professional photographer, English Organ Academy in the Netherlands and began life-long associations with Anton country dancer, organist, organbuilder, and Heiller, Luigi Tagliavini, and Marie-Claire Alain. In 1971, she studied with organ technician. He graduated from Clarkson Michel Chapuis in France and was introduced to many historic organs in North University and Harpur College (now Bing- Germany and Holland by Harald Vogel and Klaas Bolt. This was the beginning hamton University) with degrees in electrical of many exchanges of concerts and masterclasses across the Atlantic Ocean engineering and physics and followed in his between Boston and Europe. It was during this time that Hayashi became father’s footsteps working at Ansco Film Com- organist of Old West Church in Boston, performing on a new mechanical-action pany. With Norman Smith, he started their organ built by Charles B. Fisk. She served as organist there for nearly 40 years company, R D & D before he moved on to and was the founder and executive director of the Old West Organ Society until Link Aviation where he worked on simulators her retirement in 2010. for the Gemini and Apollo missions. Beginning in 1970, Hayashi crossed the Pacifi c Ocean yearly to give recitals and Dodge was a member of the choir and guest masterclasses in Japan. With Italian organist Umberto Pineschi and the assistance organist for various churches in the commu- of Japanese organ builder Hiroshi Tsuji and his wife Toshiko Tsuji, she founded Wilbur R. Dodge nity including Trinity Memorial and Christ the Italian Organ Academy in Shirakawa. She was infl uential in persuading organ Churches. He also maintained and tuned pipe committees from universities, churches, and concert halls to commission mechan- organs in churches throughout the region. He was dean of the Binghamton Chap- ical-action organs from organbuilders from around the world. Most noteworthy ter of the American Guild of Organists, 1999–2001. are the instruments for International Christian University (Rieger), Toyota City Wilbur R. Dodge is survived by his partner, Anneliese Heurich; children: Glenn Concert Hall (Brombaugh), Minato Mirai Concert Hall, Yokohama (C. B. Fisk, Burch (Bellefonte, Pennsylvania), Michael and Tammy Burch (Deland, Florida), Inc.), and Ferris University, Yokohama (Taylor & Boody, Noack Organ Company, Barbara Burch (Paisley, Florida), and Laura Appleton (Binghamton); several and J. F. Nordlie Pipe Organ Company organs). grandchildren and great-grandchildren. A memorial service was held at Christ In 1989, Yuko Hayashi took a leave of absence from the New England Conser- Episcopal Church in Binghamton on January 20. vatory to accept a position as professor of organ at Ferris University, Yokohama. She taught there for six years before returning to Boston. She also became titular Mark Coan Jones died December 24, organist at St. Luke’s International Hospital Chapel, which houses an organ built 2017. Born February 25, 1957, in Ashe- by Marc Garnier of France. She was responsible for relocating a historic 1889 ville, North Carolina, he studied organ with organ built by Hook & Hastings to St. Andrew’s Episcopal Cathedral in Yokohama Marilyn Keiser and with Donna Robertson where her father served as priest for many years. at nearby Mars Hill College. For the past 22 Yuko Hayashi is survived by two brothers, Makoto Hayashi and Satoru Hayashi, years, Jones was director of music and organ- and several nieces and nephews, all residing in Japan. A memorial service for ist for The Pink Church (First Presbyterian Yuko Hayashi will be held at Christ Church, Andover, Massachusetts, April 28, at Church), Pompano Beach, Florida. He previ- 11:00 a.m. Memorial contributions may be directed to: Old West Organ Society, ously served St. Nicholas Episcopal Church, c/o Jeffrey Mead, Treasurer, 72 Trenton Street, Melrose, Massachusetts 02176; Pompano Beach; First Presbyterian Church, St. Andrew’s Cathedral, 14-57 Mitsuzawa-shimo-cho, Kanagawa-ku, Yokohama Newton, North Carolina; and Trinity Episco- City, Kanagawa, 221-0852, Japan; or St. Luke’s International Hospital Chapel, c/o pal Church, Asheville. Organ Committee, 9-1 Akashi-cho, Chuo-ku, Tokyo, 140-8560, Japan. Jones appeared with the Florida Philhar- monic, New World Symphony, Lynn Univer- Pierre Pincemaille, 61, died, January Mark Coan Jones (photo credit: sity Conservatory Orchestra, Young Artists 12, an international concert organist, church Barbara McCormick) Chamber Orchestra, Palm Beach Atlantic organist, music professor, and composer. Symphony, and Miami Bach Society, and in Born in Paris, France, December 8, 1956, collaborations with chamber groups and area choruses, including the Nova Sing- Pincemaille was awarded fi ve fi rst prizes at ers, Florida Philharmonic Chorus, Master Chorale of South Florida, Masterworks the Conservatoire National Supérieur de Chorus of the Palm Beaches, Fort Lauderdale Christian Chorale, and Gay Men’s Musique de Paris (harmony, counterpoint, Chorus of South Florida. He arranged music for organ and brass and performed fugue, organ interpretation, and organ with the Dallas Brass, Avatar Brass, Empire Brass, Lynn Conservatory Brass, and improvisation) and won fi ve international Eastman Brass. He performed extensively across Europe, Scandinavia, and Rus- improvisation competitions: Lyon (1978), sia, in collaborations and solo recitals. Beauvais (1987), Strasbourg (1989), Mont- Jones’s organ compositions have been performed in venues across the United brison (1989), and Chartres (1990). States and in Europe, and have been broadcast nationally. His Three Lenten Hymn In 1987, Pierre Pincemaille was appointed Meditations, Trumpet Tune in D, and Lenten Hymntunes have been recorded and titular organist of the prestigious 1841 performed by various organists. Cavaillé-Coll at the Gothic Saint-Denis From 2006 through 2014, Mark was principal accompanist for the von Trapp Pierre Pincemaille Cathedral-Basilica. He loved accompanying Children, the great-grandchildren of the singing family made famous by the Rodg- beautiful liturgy there, amidst the tombs of ers & Hammerstein movie The Sound of Music. His solo appearances and concerts the Kings of France. Highly inspired by Pierre Cochereau, Pincemaille founded with the von Trapps included performances around the world. a concert series there, from 1989 to 1994. For his 30th anniversary there, he Mark Coan Jones is survived by his parents Hubert Mack and Shirley Williams performed his last concert on November 5, 2017, programming choral works he Jones of Asheville, his sister Suzanne Jones Hamel and husband Richard Anson cherished, conducted by Pierre Calmelet: Louis Vierne’s Messe Solennelle and Hamel of Covington, Kentucky, and his partner Hilarion (Kiko) Suarez Moreno of three of his own recently composed vocal motets (to be published), as well as J. S. Deerfi eld Beach, Florida. Bach’s Pièce d’Orgue, BWV 572, symbolizing for him the three periods of life. Pierre Pincemaille also performed with orchestras under the direction of con- Yuko Hayashi died January 7 in Salem, New ductors such as Mstislav Rostropovitch, Myung-Whun Chung, Riccardo Muti, Hampshire, at the age of 88. She was born in Charles Dutoit, and John Nelson. His recordings include the complete organ Hiratsuka, Japan, on November 2, 1929. For works of Maurice Durufl é and César Franck, Charles-Marie Widor’s ten sym- more than 40 years she was professor of organ phonies, selected pieces by Jehan Alain, Pierre Cochereau, Olivier Messiaen, at the New England Conservatory and depart- and Louis Vierne, his own improvisations and transcriptions of Stravinsky’s The ment chair for 30 years. As a performer, she con- Firebird and Petrushka, as well as works with orchestra by Camille Saint-Saëns, certized extensively on three continents—Asia, Hector Berlioz, Joseph Jongen, and Aaron Copland. Several of Pierre Pince- North America, and Europe—giving recitals maille’s compositions were published: Prologue et Noël varié [Prologue and and masterclasses in Japan, South Korea, the Variations on a Noel] (Sampzon, Delatour France, 2007), a 4-voice a cappella United States, Holland, Germany, Belgium, Ave Maria (Lyon, À Coeur Joie, 2013), and En Louisiane for trombone and Austria, Switzerland, Denmark, Italy, Spain, piano (Delatour France, 2017). and Portugal. She was the recipient of the cov- Recently, Pierre Pincemaille taught counterpoint at the Conservatoire National eted Arion Award from the Cambridge Society Supérieur de Musique de Paris, harmony at the Conservatory in Saint-Germain- for Early Music as an “outstanding performer en-Laye, and organ improvisation at the Conservatory in Saint-Maur-des-Fossés and master teacher of the historical organ.” She for the past 17 years. For the past 14 years, he formed a generation of French Yuko Hayashi was also awarded the Distinguished Alumni and foreign organ improvisers, many who have won prizes in international com- Award from the New England Conservatory. petitions: among them, six Parisian organists: David Cassan (at the Oratoire du Hayashi graduated with a degree in organ performance from Tokyo University Louvre), Thomas Lacôte (La Trinité), Samuel Liégeon (St.-Pierre-du-Chaillot), of the Arts in 1948 and for fi ve years was organist for the symphony orchestra Hampus Lindwall (St.-Esprit), Baptiste-Florian Marle-Ouvrard (St.-Eustache), of NHK, the Japanese national broadcasting company. She came to the United and Olivier Périn (St.-Paul-St.-Louis). States in 1953 on scholarship, sponsored by Philanthropic Educational Organiza- Among his honors and distinctions, Pierre Pincemaille was a Knight in the tion and studied for one year at Cottey College in Nevada, Missouri. She then following three orders: the Academic Palms, Arts and Letters, and St. Gregory transferred to the New England Conservatory in Boston where she was awarded the Great. three degrees in organ performance: Bachelor of Music, Master of Music, and Pierre Pincemaille is survived by his wife, Anne-France, and their three chil- Artist Diploma. In 1960 she began teaching at the conservatory and was appointed dren, Claire, Marc, and Éric. chair of the department in 1969 by then president Gunther Schuller. Her primary —Carolyn Shuster Fournier, Paris, France Q

10 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Here & There

³ page 8 Recordings private and group instruction as well as access to a wide variety of instruments. Participants will have the opportunity to perform in masterclasses focusing on repertoire, sacred music skills, impro- visation, and technique. The program includes social activities, excursions, and a fi nal student performance open to the public. Faculty includes David Higgs, Nathan Laube, Edoardo Bellotti, William Porter, and Stephen Kennedy. Applica- tion deadline is May 1. For information: www.esm.rochester.edu/organ.

Westminster Choir College, Princ- eton, New Jersey, announces its summer The Complete Organ Works of Georg High School Organ Institute, July 1–14. Böhm Program includes private lessons, mas- terclasses, organ crawls to Philadelphia Gothic announces release of a new Painting of the home of Leo Schoen- and Ocean Grove, New Jersey, as well CD, The Complete Organ Works of stein, fi rst Schoenstein organbuilder as fi nal performances. Faculty includes Georg Böhm, featuring Hans Davids- near the Benedictine Church (Archdiocese of Freiburg) Matthew Lewis and Eric Plutz. For son. This fi rst recording of Böhm’s Berghaus organ, First United Methodist information: www.rider.edu/summerarts. complete organ works is performed on Church, La Grange, Illinois the four-manual organ created by GOArt Baden-Baden, in the Black Forest. It The National Association of Pas- of Gothenburg, Sweden, to replicate a information on this congregation and its was there that Felix Schoenstein was toral Musicians (NPM) announces North German Baroque organ, placed in organs, see the June 2016 issue, pages educated in organbuilding before emi- academic scholarships to assist with the Örgryte New Church. For information: 20–21.) Berghaus restored all existing grating to the United States and starting cost of education for pastoral musicians. www.gothic-catalog.com. pneumatic windchests and added new his own fi rm. Mr. and Mrs. Schoenstein Applicants must be NPM members with custom-built, electro-mechanical wind- visited Villingen to meet remaining fam- demonstrated fi nancial need, enrolled chests for new ranks in the Swell and ily members and conduct research in full-time or part-time in an undergradu- Radio broadcasts Pedal divisions. village records. ate or graduate degree program related The Organist Entertains, a BBC The Great division contains ranks The Uberburgermeister of Villingen, to the fi eld of pastoral music during the Radio 2 broadcast for nearly 49 years in that are either unenclosed (situated Rupert Kubon, received them at the 2018–2019 academic year. Scholarship the UK, will end in mid-May. The half- behind the new 8′ 1st Open Diapason) Rathaus on September 22. The Schoen- awards are made in amounts between hour program showcasing recordings and or enclosed with the Choir. Independent steins presented the mayor a letter from $1,000 and $3,000. Application deadline live performances of a variety of organs principal and fl ute ranks were installed Schoenstein company president Jack is April 27. currently airs at 11:00 p.m. on Tuesdays. in the Swell and comprise both original Bethards stating in part, “We owe our NPM is also making available pro- has been the broadcast and new pipework. Nine new stops founding and our success to the brilliance gram scholarships, designed to assist host for the past 38 years. Robin Rich- (including two mixtures) were added to of German craftsmanship. In fact, the pastoral musicians with limited fi nancial mond was the founding host, serving the organ to augment the upperwork whole organ business in America owes resources to attend NPM conventions, from 1969 until 1980. Other arts shows and eliminate some of the unifi cation much to the many German craftsmen institutes, and academies. For informa- are also being cut from Radio 2. BBC of the original instrument. The Möller who came here to establish tion: www.npm.org. Radio 3 will continue to broadcast organ three-manual console was extensively in the new world . . . . Still today we main- and brass music, including its Choir and refurbished and outfi tted with a solid- tain close relationships with our German Organ broadcast, Sundays at 4:00 p.m. state control system. organ building colleagues as members of Publishers For information: www.bbc.co.uk/radio. The organ was dedicated in service on the International Society of Organbuild- A-R Editions announces a new pub- October 22, 2017, followed by an after- ers. Many of the parts used in our organs lication: Requiem, by Antonio Salieri, noon recital performed by Christopher are made by German suppliers.” edited by Jane Schatkin Hettrick (C108, Organbuilders Houlihan. For information: The Schoensteins arranged the dona- $360 full score). Salieri composed his Berghaus Pipe Organ Builders www.berghausorgan.com. tion of a portrait of Karl Schoenstein, Requiem in 1804 for his own obsequies. of Bellwood, Illinois, has completed Felix’s brother, to the Franciskaner Included in the edition are two motets of rebuilding the organ of First United Descendents of Felix F. Schoenstein, Museum. They also visited the Villingen Salieri, also intended for his funeral. For Methodist Church, La Grange, Illinois. founder of Schoenstein & Co., Beni- city archives to see an offi cial document information: www.areditions.com. The three-manual, 55-stop, 41-rank cia, California, visited their ancestral dated 1557 with the seal of Johannes organ uses resources from the church’s home in Germany in September 2017. Schoenstein, fi rst documented member Michael’s Music Service announces former M. P. Möller Opus 8261, built in Ed Schoenstein and his wife Patricia of the family. For information: sheet music restorations: Noël with 1956 with additions in 1963. (For further visited the village of Villingen, near www.schoenstein.com. Q Variations, by Robert Leech Bedell, believed to be an original Noël melody for this setting, with three movements, suitable for recital performance; To Martin Luther’s Christmas Carol, by URAWA GIRLS’ JUNIOR & SENIOR HIGH SCHOOL Harvey Gaul, a dramatic setting of “Away Urawa Akenohoshi Girls’ Junior and Senior High School educates girls from a young in a Manger,” a tune composed as “Flow Gently, Sweet Afton” in 1837; Pièces age to high school graduation. The school’s auditorium was built without provision pour orgue, op. 28, by Joseph Callaerts, for an organ. The school employed an architect to find a means of accommodating an contains three pieces for service or organ for which an elegant solution was found. We proposed an asymmetrical design recital use; Ballet Egyptien, by Alexan- to complement the interior design of the auditorium. The organ has two manuals dre Luigini, arranged by Fred Feibel, is with 21 stops, employing mechanical key action and electric stop action. The Great a four-movement suite. For information: Trumpet and part of the Great Open Diapason stops are borrowed mechanically to www.michaelsmusicservice.com. the Pedal Organ. Oxford University Press announces GREAT ORGAN SWELL ORGAN PEDAL ORGAN new choral publications: How excellent, Open Diapason 8 Chimney Flute 8 Bourdon 16 by Bruce Greer, for SATB and organ or Stopped Diapason 8 Salicional TC 8 Principal 8 piano (ISBN 978-0-19-352179-7); As the Principal 4 Celeste TC 8 Trombone 16 bridegroom to his chosen, by Alan Bul- Nason Flute 4 Principal 4 Trumpet 8 Fifteenth 2 Open Flute 4 lard, for SATB and organ or piano (ISBN 1 2 Fourniture IV 1 /3 Nazard 2 /3 978-0-19-352255-8); We bless thee for Trumpet 8 Fifteenth 2 3 our creation, by Bob Chilcott, for SATB Tierce 1 /5 1 double choir, unaccompanied (ISBN Mixture III 1 /3 978-0-19-351219-1); and Ne adversis Haubois 8 mihi, by Howard Helvey, for SATB unac- companied (ISBN 978-0-19-351796-7). ³ St Peter’s Square - London E 2 7AF - England ³[t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³[e] [email protected] For information: www.oup.com.

The Diapason’s annual listing of summer conferences, workshops, MANDER ORGANS conventions, and related events will be www.mander-organs.com published in the April issue.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 11 Harpsichord Notes By Larry Palmer

Handel with care my own security I prefer to play from a As I write this column we are barely realized score, and the published version past the Feast of the Epiphany and are that I use is a 1998 spiral-bound volume settling in for a bit of “wintery mix” that from Oxford University Press, edited by will bring sub-freezing temperatures Clifford Bartlett (with continuo realiza- plus the threat of snow to much of north- tion by Timothy Morris). This 167-page ern Texas. Blessedly, I am still basking score contains all of the various transpo- in the warm memory of my most recent sitions and alternatively voiced arias as participation as continuo harpsichordist well as the rehearsal letters indicated in for a performance of George Frideric the Watkins Shaw vocal score published Handel’s greatest hit, his oratorio Mes- by Novello. (A practical hint: keep a stash siah (Part I and the Hallelujah Chorus), of large paper clips close at hand, and presented on December 24 as the ask the conductor for a list of the options Sunday morning service at Lovers Lane that have been selected for performance United Methodist Church in Dallas. prior to rehearsals.) Like most colleagues who own a harpsi- Of course, the presence of a printed chord, I have had a career-long association realization does not require that every with Handel’s masterpiece beginning dur- printed note must be played! For ing student days and continuing through dynamic or expressive reasons one may many collaborations with professional wish to omit, or add, notes. A few of my ensembles such as the Dallas and Shreve- favorite examples: in “O Thou that tell- port symphonies and multiple church est Good Tidings to Zion” (#9) try adding Larry Palmer at the Handel House, July 2007 (Photo credit: Glenn Spring) choirs (my own as conductor from the some upward scale fi gures to illustrate keyboard, and others as keyboardist only). “get thee up into the high mountains.” 342–344) as conducted by George Solti, overtures from oratorios and operas Like other particular holiday favorites Delay the harpsichord entrance at the , William Christie, and are available in a volume of keyboard (The Nutcracker and A Christmas Carol beginning of #10, “For behold, dark- Nicholas McGegan. The latter chose to arrangements published by John Walsh come to mind), Messiah can suffer from ness shall cover the earth,” then join the record all the variant surviving material (the younger) during the years 1708 to over-exposure. At this point in my life I bass line at letter A: “. . . But the Lord from Handel’s several versions of Mes- 1750. Dover Publications reprinted the am not certain that I would accept another shall arise . . .” Or, for the recitative #19, siah, thus providing the listener with entire collection in one volume in 1993. engagement to perform the entire oratorio, “Then shall the eyes of the blind be the materials for constructing a unique This facsimile of the “top sixty” begins at A but for this, a repeat booking to assist with opened,” insert a bit of irresistible fun performance of the oratorio to suit one’s (Acis and Galatea). [Aside: my fi rst com- Part I at Lovers Lane Church after having by adding some jolly arpeggiated upward individual interest and preferences. mercial recording was as a singer in the performed in a separate subsequent Good sixteenth-notes to portray that lame man “Oberlin” chorus for Bernhard Paumgart- Friday presentation of Parts II and III who is “leaping as an hart!” A memorable venue: ner’s production of this opera at the Salz- during an appropriate liturgical season, Handel’s house burger Landestheater in 1959, issued on I have come to admire the good taste of Recommended books: Among my fondest memories of a Columbia record in the United States.] music director Jimmy Emery and the Handel and Messiah meaningful recitals, only a precious The Dover volume includes both Messiah sensitive collaboration of his clergy. Music 1) For an eminently readable biog- few hold the same rank as the thrill of and Water Musick [sic], and concludes IS the sermon for these services: a pastoral raphy of the composer, Christopher performing an eighteenth-century key- with Xerxes! This compendium should welcome follows the organ prelude; the Hogwood’s tercentenary offering Handel board transcription of the “Overture” to provide enough variety for a few decades instrumental “Pifa” serves as an offertory, (Thames and Hudson, London, 1984, Messiah during one of my two concerts of Handel House harpsichordists! If and a benediction before the organ post- USA 1985; ISBN 0-500-01355-1) is a in Handel’s London lodging located at the occasional C clefs and idiosyncratic lude completes the spoken word segments winner with one hundred well-chosen 25 Brook Street, Mayfair, known since notational features of the facsimile edi- for the service, thus allowing the powerful illustrations (ten in color), a full chapter 2001 as “The Handel House Museum.” A tion are not to one’s liking, Novello issued biblical texts and Handel’s beloved music on the oratorios, and a complete chrono- lovely two-manual harpsichord by Bruce Twenty Overtures In Authentic Keyboard to serve as the message. logical table of events in the composer’s Kennedy provides the player with an Arrangements, edited by Terence Best (3 For the 2017 presentation we had a long life. exceptional partner in this intimate space. volumes, 1985) employing modern musi- complement of single strings, winds, 2) Richard Luckett, the Pepys Librar- Most wonderful, however, is the sense of cal notation and printing. trumpet, and tympani plus the collabora- ian at Magdalene College, Cambridge awe that is induced by the thought that Handel’s Eight Great Suites comprise tion of organist Sheryl Sebo at the classic UK, is the author of Handel’s Messiah: A in these very rooms the great composer typical eighteenth-century dance move- Aeolian-Skinner pipe organ, moved from Celebration (Victor Gollanz, Ltd, 1992; conceived his immortal music. ments, several of which deserve to rank the original church for installation as the ISBN 0-575-05286-4), comprising ten I did not wish to mention these events along with the best of such sets from chancel instrument for the magnifi cent cogent chapters that describe the back- without hastening to mention the names the period. [Aside: in the early 1960s I primary edifi ce for worship, no longer ground and history of the work’s creation, of some other colleagues who have had nearly caused a riot in Eugene Selhorst’s situated on the eponymous Lane, but its varied performance styles through the the same opportunity. For this informa- graduate music literature seminar at now gracing the northeastern corner of years, and the changing tastes that have tion I appealed to Jane Clark, a wonder- the Eastman School of Music when I Northwest Highway and Inwood Road in developed through the infl uence of the ful British friend and authority on Cou- questioned the comment from a pianist north Dallas. Due to his scheduling error twentieth-century early music revival. perin and Scarlatti, as well as a superb who said that Handel was “not a fi rst- the cellist did not arrive for the Saturday 3) First Nights: Five Musical Pre- performer of her late husband Stephen rate composer for keyboard” by asking morning rehearsal, but a versatile bass- mieres (Yale University Press, 2000; Dodgson’s keyboard music, with a request her if she had ever played any of them? ist did noble service, and the continuo ISBN 0-300-07774-2) is James Forrest for a list of players from the United States She had not. A pity! My own favorites players gathered for an extra half hour of Kelly’s compendium of eventful hap- who have presented concerts. Neither include the suites in E major (“Harmo- checking cues on Sunday morning, so all penings at the fi rst public hearing of a Jane nor I can vouch for its complete- nious Blacksmith”), D minor (which cul- fi t together seamlessly. major work by the composers Monte- ness (so I suggest that readers who have minates in a Presto movement also used verdi, Beethoven, Berlioz, Stravinsky, names to add should contact me so that to conclude the overture for the opera A few performance suggestions and, as the subject of the book’s second I may add them in a future Harpsichord Il Pastor Fido), and the noble F minor. achieved from experience chapter, Handel’s Messiah. Of particular Notes column). In alphabetical order: But the others are worthwhile too: multi- I admire those among us who are interest is a discussion of recommended Ruta Bloomfi eld, Elaine Funaro, Mark movement works in A major, F major, E profi cient readers of fi gured bass, but for recordings of Handel’s oratorio (pages Kroll, Sonia Lee, Joyce Lindorff, Char- minor, F-sharp minor, and G minor: all lotte Mattax, Rebecca Pechefsky, Linton worthwhile and interesting music. For Sale Powell, Michael Tsalka, and Kenneth Finally, you might just “throw in the A. E. Schlueter Pipe Organ Co. Weiss—distinguished company, indeed! towel” and create your own transcription Jane also noted that she was discour- of Percy Grainger’s “clog dance” Handel aging future performances of Handel’s in the Strand (composed for piano and great (but lengthy) Chaconne in G strings in 1911–1912, and, as he noted in Major! (So, colleagues, be forewarned!) a later edition for keyboard, “dished up for piano solo,” March 25, 1930, in Den- Handel for harpsichord: ton, Texas!!). What merriment it must a few suggestions have brought to Dallas’s “neighbor to the In the days before ubiquitous record- north,” now home to the impressive Uni- ing media existed, orchestral works were versity of North Texas School of Music. transcribed for home performances at the And I’ll wager that, if the weather various available keyboards. Sixty Handel was as cold then as it is right now, Percy  New Instruments  Tonal Additions Grainger’s hot pianism could have  Rebuilding  Maintenance turned most of the frozen precipitation  New Consoles  Tuning into a dazzling dancing delight! Q

1907 George How can we help you? Comments and questions are wel- 1987 Roy Redman come. Address them to lpalmer@smu. 800-836-2726 www.milnarorgan.com edu or 10125 Cromwell Drive, Dallas, www.pipe-organ.com Texas 75229.

12 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Reviews

Choral Music popular spirituals in a hand-clapping, pipe organs,” describes façades, cases, New Organ Music When I chose the music for this foot-stomping rendition that will sure to pipes, and consoles, and explains the Partita on In Paradisum: O Jesus review, I went through at least a hun- please all involved. workings of “the mechanical marvel Christ, Thy Manger Is, by Kenneth dred anthems by different publishers inside.” Part Two, “Martin Setchell— T. Kosche. Concordia Publishing and composers. These anthems literally Consider How the Birds Above, by On the road with a free-range concert House, 2014 (including some previ- popped out of the pile as I was perus- Daniel Zager, setting by Bret A. organist,” portrays Jenny’s husband at ously copyrighted material), order ing titles. I kept in mind how I would Heim. SATB and organ with optional work during those nightmare moments no. 97-7661, $12. Available from use these pieces with my choir, teaching oboe/violin, Concordia Publishing that many of us have experienced www.cph.org levels of diffi culty that would stretch and House, #98-4272, (M-) $2.30. (including gaining entry, securing prac- Kenneth T. Kosche grew up in Chi- grow their musical abilities and their This new hymn text by Stephen P. tice time, and the calls of nature). The cago, received bachelor’s and master’s appreciation for good choral music. I Starke, based on Matthew 6, is set to “Four Rehearsal Rules for the Organ” degrees from the University of Illinois hope you enjoy looking over these par- the tune Northcroft in a lovely set- are well known to any organist, and at Urbana-Champaign and a Doc- ticular anthems. They are solid, varied, ting with organ and oboe or violin. The reading them provides an oddly com- tor of Musical Arts degree from the and, I feel, a real asset to the church melody and harmonies are especially forting feeling of camaraderie. University of Washington. After public music/concert choral repertoire. captivating, and members of the con- Part Three focuses on Adrian Marple, school teaching, he served at Concordia gregation will be humming this beautiful the director of music and organist at St. University Wisconsin for 31 years, from Love, by Gerald Near. SATB and tune after the anthem is fi nished. Mary’s Bury St. Edmunds, to present the 1978 through 2009, teaching courses organ, MorningStar Music Publish- experiences of a church organist. Any in church music, composition, music ers, MSM-50-5004, (M+) $1.70. The Eyes of All Look to You, by Carl organist employed by a church can relate education, and choral music. In addi- One of the anthems in the Washington F. Schalk. SATB a cappella, Con- to these (and any clergy who are unaware tion to his service as a church musician, National Cathedral Choral Series, this cordia Publishing House, #98-4259, of the scope of an organist’s skills should Kosche has composed and published a Pentecost text by Christopher Word- (M-) $1.90. study these pages). Part Four, “Life aloft signifi cant body of choral and instrumen- sworth is expertly set to music by Gerald Perfect for communion or general as seen through the eyes of other organ- tal music, including music for the organ. Near. Based on I Corinthians 13:1–13, use, this beautifully crafted motet is ists—and their helpers,” teaches how to More information about Kosche can be this chant-like melody is matched beauti- based on the text from Psalm 145:15–16, identify the “hallmarks of a real organist” found in his online interview, “Profi les in fully to an expansive and exquisite organ “The eyes of all look to You, and You give and relates experiences of many organists American Church Music,” at the Center accompaniment. The fi nal text is wonder- them their food in due season.” With past and present, including David Years- for Church Music website, Concordia fully sculptured: “Faith and hope and love close harmonies and rich suspensions, ley, Gordon Slater, Henry Smart, Richard University Chicago, River Forest. we see, joining hand in hand agree, but this anthem will make a wonderful addi- Elliott, and Carlo Curley. (The life of a Kenneth Kosche’s Partita on IN the greatest of the three, the best, is love.” tion to any service of worship. substitute organist is included here.) PARADISUM is based on his hymntune —Leon Nelson This book features stunning photog- composed in 1998 for the hymn, “O Jesu My Hope Is Built on Nothing Less, Southminster Presbyterian Church raphy and includes off-the-beaten-path Christ, dein Kripplein ist,” written by arranged by John Ferguson. SATB, Arlington Heights, Illinois instruments as well as those one would the gifted theologian and hymn writer, organ, and optional brass quartet, normally expect. (No stoplists are Paul Gerhardt (1607–1696). Admired Augsburg Publishing Company, included.) Organs & Organists: Their by J. S. Bach and called the “king of #978-15064-2606-8, (M-) $2.40. Book Reviews Inside Stories is a most enjoyable volume hymn writers” by Albert Schweitzer Ferguson’s able hands have created a Organs & Organists: Their Inside and is highly recommended for organists (1875–1965), Gerhardt’s German poetic moving and inspiring anthem based on Stories, Jenny Setchell. Bonn, Ger- and those who love them (or maybe also works “breathe a vigorous, simple piety, the tune Melita. There is opportunity many: Musikverlag Dr. J. Butz, ISBN for those who don’t—it may change a and are expressed in a popular diction of for congregational participation as well. 978-3-928412-21-6, $36.00. Avail- few minds!). Consider it for others for excellent quality” (Schweitzer, J. S. Bach, Part of the St. Olaf Choral Series, this able from www.ohscatalog.org. a gift for any occasion, and for yourself 1911, trans. Ernest Newman, pp. 12–13). piece will be a great addition to your The subtitles of this book—“All you right now. Gerhardt wrote 123 known hymns, with choral library and is very accessible for (n)ever wanted to know/A composting of —Joyce Robinson at least ten translated hymns included most choirs. organic material”—make it clear that this Niles, Illinois ³ page 14 book takes a humorous approach to the The Spirit of the Lord, by Philip W. organ and organ-playing. Yet humorous J. Stopford. SATB and organ, Morn- does not mean lacking in depth. This is ingStar Music Publishers, MSM New Zealand author Jenny Setchell’s 50-2525, (M) $1.85. third foray into documenting the world THE AEOLIAN PIPE ORGAN This impressive choral anthem was of the pipe organ—her previous titles commissioned for the enthronement were the 2009 Organ-isms, and the 2015 of the Archbishop of Philadelphia, the photographic album Die Himmel Nahe AND ITS MUSIC Most Reverend Charles J. Chaput, (“Looking up at organs and ceilings,” O.F.M. Cap., in September 2011. The reviewed by Stephen Schnurr in Febru- opening theme, based on the text from ary 2016, pp. 12–13). Whereas Organ- Isaiah 61, beautifully captures the words, isms was a compilation of tales and anec- ROLLIN SMITH “The spirit of the Lord is upon me,” dotes by over one hundred organists, and followed by luscious harmonies, stun- Die Himmel Nahe was a photographic IT WILL SOON BE 20 YEARS since THE AEOLIAN PIPE ning key changes, and a stirring organ essay, Organs & Organists: Their Inside accompaniment. This anthem is perfect Stories combines both techniques. Setch- ORGAN AND ITS MUSIC was published by the Organ for Pentecost and ordination/installation ell is a gifted writer and photographer, Historical Society. This landmark volume has been services. There are optional fl ute, brass and this volume demonstrates her verbal out of print for so long that copies now sell for more quintet, and timpani parts also available. and visual talents in a wonderful way. than $500. A second edition, revised and greatly This piece is part of the Cathedral Series The book has a somewhat unusual for- expanded, is now in publication and, in addition to published by MorningStar, in this case mat—it is a “coffee table book,” meaning the Cathedral Basilica of Saints Peter stunning photography printed on coated emendations and many new photographs, the an- and Paul, Philadelphia. paper that makes the visual elements notated opus list of over 900 organs (with contract pop off the page—yet its smaller, seven- dates, prices, additions, and alterations) has been Who But the Lord?, by Craig inch-square size makes it more portable updated to refl ect subsequent activity. Courtney, lyrics by Susan Bentall (and perhaps more likely to be reached THE AEOLIAN PIPE ORGAN AND ITS MUSIC is Boersma. SATB, Beckenhorst Press, for). Intended for everyone, really, the Inc., BP2112, (E+) $2.15. book is dedicated to “musicians and non- the story of America’s oldest, largest, and longest- Beginning with an a cappella verse of musicians who haven’t got a clue about lived residence organ company, whose instruments a modifi ed text of Veni Emmanuel, the organs and organists. Long may they provided music in the home in the era before the lovely contemplative nature of the text continue to discover the magical world wide-spread use of the phonograph and radio. A that follows makes this anthem perfect inside the outsides.” list of Aeolian patrons is a veritable Who’s Who in American business, industry, and fi nance. for Advent, though it can be useful any- Organs & Organists comprises a “Pre- time during the church year. The accom- lude” and four parts (which include brief This book not only documents the organs, but also the music they were programmed paniment features a fl owing eighth-note glossaries of terms), plus an appendix. to reproduce, Aeolian’s commissions from Saint-Saëns, Stravinsky, Stokowski, and Hump- pattern that would probably be most The appendix reiterates the terms used erdinck, and their reproduction of performances of renowned artists. A special section fea- effective played on the piano. within the parts, and identifi es the loca- tures a wealth of unpublished photographs of Aeolian installations. In addition to a study tions of the organs photographed. It also of the 48 recording organists, dozens of stoplists are included and complete catalogues of Down by the Riverside, with Stand- provides a list of recommended reading ing in the Need of Prayer, by Mary and websites, the endnotes and biogra- Aeolian organ rolls. McDonald. Hope Publishing Com- phies of author Setchell and the book’s As a companion volume to Rollin Smith’s PIPE ORGANS OF THE RICH AND FAMOUS, this pany, C6098, $2.25, SATB with piano cartoonist, Al Nisbet. notable publication makes for reading as fascinating as it is entertaining. and optional rhythm parts (acoustic The prelude, “In the beginning,” guitar, electric bass, percussion, and focuses on the organist (including “hab- RESERVE YOUR COPY ON-LINE TODAY! drums), 6098R, (M) $26.95. itats,” which presents examples of dif- With rhythmic energy and catchy ferent console and keydesk locations). www.O rganH istoricalS ociety.org syncopation, this piece combines two Part One, “A rough pictorial guide to

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 13 Reviews

³ page 13 The “Theme,” as indicated and repetition of the rocking motive on the University of Alabama professor of organ in twentieth-century Lutheran hymnals expected, is straightforward in nature secondary Swell manual. The composer’s Faythe Freese. Freese commissioned published in the United States. The and homophonic in texture. This open- text painting will not be lost on the lis- Pamela Decker to write compositions composite translation of “O Jesu Christ, ing movement, like his hymntune, makes tener, especially if the portions of the in tribute to these three works of art. As dein Kripplein ist” was included in The use of a melody that reinforces the 4-4- hymn are included in church bulletins or a museum docent, I can often see the Lutheran Hymnal (1941) coupled with 11 text pattern of each of the hymns two recital programs. similarities between the visual arts and the hymntune of the same name, written long phrases. The fi rst, or antecedent, The short second variation is fol- the aural arts. Although I do not under- by Johann Cruger (1598–1662), the illus- portion (4+4) of each of the two phrases lowed by an extended treatment of the stand Decker’s subjective impressions trious organist at St. Nicholas Church in is in triple meter, while the consequent text in stanza 4. Drawing on the text, between these paintings and her music, I Berlin. While the setting still remains a portion of the phrase (11) shifts to duple “Be of good cheer and let no sorrow feel that her interpretations are remark- popular hymntune associated with the meter. The antecedent portion has a move thee!,” Variation III is much more ably close to the feelings represented in text, Kosche’s IN PARADISUM offers a fresh rocking effect that harkens to the cradle energetic in nature due to continuously the paintings. and engaging alternative. that sheltered Christ at his birth. The running sixteenth notes for both hands. The fi rst painting, “Nall Violin,” has There are six movements in Kosche’s consequent portion of the phrase rises The hymntune’s rhythm pattern without its corresponding music called “Augen- partita, with each movement attached to and falls to the cadence point. Thus, the the same melodic contour is now shifted musik” (eye music). The painting is a passage contained in one of the hymn’s thematic material Kosche provides in to the Pedal division. The composer of a highly decorated violin sitting on six stanzas. The passages for each move- his hymntune and his partita movement indicates the pedal part as “detached what looks like a marble stand. The ment are as follows: provides a charm that embraces both throughout” but remains dynamically decorations are a mosaic and an eye Theme (stanza 1): the nurturing of Christ in the manger as subservient to the sparkling action above. that appears to be looking out from the O Jesus Christ, Thy Manger is, well as his subsequent action on earth The composer calls for a full registra- body of the violin. Decker states, “the My paradise at which my soul as God’s beloved Son. Kosche’s registra- tion over the quieter pedals, including primary musical motives in the piece are reclineth. tion suggestions are included for each the designation of a Cymbal III in the palindromic evocations of the shape of Variation I (stanza 2): movement, and the opening theme calls Swell division. While Kosche indicates the human eye.” The music begins very He whom the sea And wind obey for a plenum registration for the upper when manual changes are to occur, the lyrically, gradually building, until it ends Doth come to serve the sinner in great voices undergirded by 16′ Principal and composition would still be effective on in a fi ery toccata. meekness. 8′ Octave stops. one-manual instruments. This move- The second piece is entitled “Lirio e Variation II (stanza 3): Marked “freely, somewhat restless,” ment may require a bit of practice at amapola,” a Spanish term that translates The light and grace Our guilt efface, Variation I, like the other movements the piano, compared to the preceding to “Iris and Poppy.” The painting is of Thy heav’nly riches all our loss in this partita, continues to feature the movements and those that follow. But do two fl owers with a border and a mosaic retrieving. juxtaposition of duple and triple meter. not despair! Kosche has created a rondo at the bottom. Decker has tried to intro- Variation III (stanza 4): As indicated above, Variation I is set to form by strict repetition of the material duce “cells” that “suggest the contours Thou Christian heart, Whoe’er thou the opening portion of the hymn’s sec- assigned to the Great manual: learn it of the fl ower petals and leaves.” A lyrical art, ond stanza, “He Whom the sea and wind once, play it thrice! passage forms a B section in this short Be of good cheer and let no sorrow obey.” For each of the two long phrases, Variation IV, marked “Festive,” calls movement before the “cell” material move thee! the rocking motion of denser major and for an 8′ Trumpet, marking the fi rst returns in a different guise. Variation IV (stanza 5): minor chords continues but with sharper suggested appearance of a reed stop in The third piece of artwork is a wall- Remember thou What glory now rhythmic snap, and is presented and the piece, focusing on the brief phrase mounted sculpture made of tin organ The Lord prepared thee for all earthly echoed twice, fi rst on the Great and in stanza 5: “Remember thou What glory pipes designed in the shape of an abstract sadness. Pedal, followed by Swell gesture alone, now.” Voices enter one at a time in the cross. Decker’s interpretation is titled “La Finale (stanza 6): leading to the consequent portion of “bright and energetic” Finale without croix de foi,” a French title that means The world may hold Her wealth and the two phrases of the hymntune. Thus, strict fugal treatment. For the fi rst time, “The Cross of Faith.” Opening with an gold; Kosche has taken the pictorial “rocking” the composer calls for three indepen- irregular pedal solo in a samba rhythm, But thou, my heart, keep Christ as thy motive a step further, refl ecting the dent mixtures for the three divisions, the piece is a real march of faith: dramatic, true treasure. activity of the “sea” and “wind” with the descriptive of the words wealth, gold, bold, full organ, with powerful reeds and true treasure from stanza 6. A short added for the fl ying sixteenth-note pedal- Swell interlude passage without reeds ing that brings the music to a close. and pedals provides a temporary respite I would appreciate attending a recital before the conclusion of the piece on the where this music is played along with pro- full-bodied Great division with Pedal, jections of the art on a screen, as it would rounding off the work with a straight- be a powerful presentation. As is often the forward but powerful restatement of the case with with Pamela Decker’s music, it harmonized hymntune. is diffi cult, but well worth the effort! While harmonic invention may not —Jay Zoller break new ground in this partita, Kosche Newcastle, Maine has created a work of integrity with con- siderable variety that is within the range of medium or moderate diffi culty, suit- New Recordings able for either the Christmas season or Capriccio: Contemporary Music for Holy Eucharist services. If you are look- the Organ. Margaret Phillips plays ing for an engaging and slightly extended the Beckerath organ in Marlborough piece based on a relatively new hymntune College Chapel. Regent Records of merit, Kenneth Kosche’s Partita offers compact disc REGCD419. Available satisfaction for listeners and performers from www.regentrecords.com. alike. Highly recommended! Hommage à Franz Liszt, Lionel Rogg; —Jeffrey Schleff Prelude & Fugue “In Memoriam Mau- Grand Prairie, Texas rice Durufl é,” Fredrik Sixten; Haec Dies, Sebastian Forbes; Partita sopra “Nun freut euch,” Rogg; Miroir, Ad Wammes; The Freese Collection, by Pamela Six Bagatelles, Brian Chapple; Shalom, Decker. Wayne Leupold Editions, Toon Hagen; Capriccio, Forbes. Contemporary Organ Repertoire, Marlborough College is a leading WL610012, 2012, $32.00 English independent school founded In a previous review, I termed Pamela in 1843. The present chapel, designed Decker “The First Lady of the Organ.” by the architectural fi rm of Bodley & With each composition, she lives up to Garner, was completed in 1876. The that reputation. It is obvious from look- current organ by Beckerath of Ham- ing at this concert piece that Decker burg, Germany, built in 2006, is housed possesses a fertile imagination in her in Bodley’s original case. This mechan- compositions, and she does not hesitate ical-action instrument, comprising four to show off her equally comparable per- manuals and pedals with 62 speaking formance technique. This is well-written stops, incorporates some of the pipe- music —entertaining, demanding, and work from the previous Hill, Norman & exciting. Although the suggested reg- Beard organ. The elegant stone Gothic istration recommends a three-manual chapel is large enough to accommodate organ, with some imagination the music the entire school of 860 students and could easily be played on two manuals. provides a fi rst-rate acoustical environ- This is particularly interesting music ment for the organ with about four for me as each of the three pieces seconds of reverberation. attempts to describe in musical form The artist featured on this compact three paintings by the Louisiana artist disc is Margaret Phillips, a former stu- known as “Nall” that hang in the home of dent of Ralph Downes and Marie-Claire

14 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Reviews

Alain. Besides being a concert organist on the melody of the Easter hymn, This is a very memorable compact disc Two popular spirituals, “My Lord, she is the cofounder with her husband, “This is the day the Lord hath made.” that combines Margaret Phillips’s consis- What a Morning” and “Give Me Jesus,” David Hunt, of the English Organ School The booklet describes “Forbes’s lively tently fi ne playing with some unusual and are creatively combined in this arrange- & Museum in Milborne Port, Somerset. and energetic style of writing, which interesting modern repertoire on a fi ne ment bringing a fl owing, sentimental As the disc booklet explains, this estab- is often fast moving and unfettered by modern organ. It will not be to everyone’s feeling throughout. This piece is expertly lishment has procured a number of time signature (or key signature, come taste, but those who like contemporary crafted and should be a fi ne addition in organs from the eighteenth, nineteenth, to that).” It includes ebullient passages organ music will fi nd much to enjoy. your library. and twentieth centuries, and exists to on the fl utes, loud and often discordant —John L. Speller, provide an environment where the organ passages on the reeds, and a tender solo Port Huron, Michigan Festive Praise, arranged by Arnold is taught and played, and to foster its on the clarinet. Sherman. Arranged for 3–5 octaves understanding and appreciation. Marga- We come then to another composi- of handbells, Agape (a division of ret Phillips is also professor of organ at tion by Lionel Rogg, Partita sopra “Nun New Handbell Music Hope Publishing Company), Code the in London. freut euch,” which consists of seven Let Praises Ring: 25 Introductions No. 2748, Level 3 (M+), $4.95. She is best known for her performance movements: Choral, Bicinium, Canon, and Hymn Accompaniments for Arnold Sherman has set this dynamic, of Baroque and Classical organ music Presto, Récit, Passacaglia, and Toccata. Handbells, Organ, and Congrega- melodic piece for 3–5 octaves handbells and has previously issued a monumental This is my favorite work on the record- tion, by Charles E. Peery. Morning- based on an original composition from 16-CD set of the complete organ works ing. Though modern in its atonality, it Star Music Publishers, MSM-30-848, Douglas Wagner’s organ collection of J. S. Bach on the Regent Records is somewhat neo-classical in structure, Level 3 (M- – M), $38.00. Psalm Impressions. It is joyous and label. By contrast, however, the present as well as showing points of contact These settings are designed to be an majestic and can be used as a worship recording is devoted entirely to composi- with the compositional style of other easy method for directors to include prelude, concert piece, or even a wed- tions written in the last half century. modern composers such as Maurice handbells during the singing of hymns. ding processional. Lionel Rogg (b. 1936) is best known Durufl é. Apart from “Passacaglia” and The arrangements are creative and fun, as a recitalist and for his recordings of “Toccata” the movements are all quite but are not as demanding as a handbell Variations on Hallelujah, arranged organ and harpsichord music, most nota- short in length. “Passacaglia” is perhaps ensemble piece. There is an introduction for 2 or 3 octaves of handbells or bly for his recording in the 1960s of the the most classical movement in style. It and fi nal verse for each hymn tune. The handchimes by Michael Burkhardt. complete works of Bach on the Metzler leads directly into the brilliant “Toccata,” layout is fl exible: you ring what bells you MorningStar Music Publishers, organ of the Grossmünster in Zurich which is more in the French Romantic have in the 3–5 octave range. No paren- MSM-30-875, Level 2- (E), $4.75. and again on the Silbermann organ in tradition and where the chorale melody theses, no brackets, or thinking about This work was composed as a teaching Arlesheim. His recordings were not, features prominently in the pedal. what to leave out. Hymns in this volume piece for developing ringing and damp- however, limited to Bach, and I remem- Miroir by the modern Dutch com- were chosen for their usefulness through- ening technique as well as introducing ber purchasing and particularly enjoying poser Ad Wammes (b. 1953) is becoming out the church year. Here is a great bar- the concepts of theme and variations and his recording of the three Hindemith increasingly popular. Margaret Phillips gain all under one cover. Reproducible. canon. The movements that introduce sonatas, once more on the Grossmünster writes in the leafl et of it having an almost these concepts are listed as 1. Theme organ, when it fi rst came out in 1967. It cult status. This is at least the third Hymn Embellishments, arranged and 2. Variations (Restful, Follow Me, is therefore a surprise to many including compact disc including it that I have for handbells by Anna Laura Page. Quarter Lift, Half Circle, Restless). myself that Rogg has also a distinguished reviewed in recent years. The composer Choristers Guild, 2 or 3 octaves of Music is provided for 2 octaves and then career as a composer of organ music. describes it as being “a true perpetuum handbells with keyboard, CGB1019; repeated for 3 octaves. Even though this Hommage à Franz Liszt makes use of mobile,” continuing that, “its rhythm has 3, 4, or 5 octaves of handbells with is written as a teaching tool, it is creative motifs drawn from some of Liszt’s works, a kind of samba feel.” Its popularity is keyboard, CGB1020, Levels 2 & 2+ enough, with a familiar Alleluia theme, combined with some the rather pianistic doubtless due to its lively and energetic (E+ – M-), $54.95 each. that it could easily be used in worship compositional technique of Liszt’s Fan- rhythm combined with the haunting Here is a reproducible collection of or concert. tasia on “Ad nos, ad salutarem undam.” quality of the melody. handbell variations on ten hymns written Like the Ad nos there are many contrast- Brian Chapple (b. 1945) studied under to enhance and encourage hymn singing. Joshua Fit the Battle of Jericho, ing dynamic levels and tempi. Margaret Lennox Berkeley at the Royal Academy There are two settings for each hymn, arranged for 3–5 octaves of hand- Phillips gave the British première of the of Music and his compositions include which can be used together with piano bells, by Martha Lynn Thompson. piece in St. Paul’s Cathedral, London, in choral works, both sacred and secular, or organ in a variety of imaginative ways. Agape (a division of Hope Publishing 2011, in the presence of the composer. as well as orchestral and instrumental There are a variety of titles, both general Company), Code No. 1880, Level 2 Phillips makes an excellent job of playing music. Six Bagatelles are transcriptions and seasonal, which should make this (M), $4.95. what is both a virtuoso work of consid- for solo organ of six out of nine bagatelles collection useful throughout the church While this familiar spiritual opens erable diffi culty as well as a work that that Chapple wrote for piano in 2005. year. A list of compatible hymnal settings with lots of vim and vigor and includes requires warmth and tenderness in its Margaret Phillips gave them their fi rst is provided for each hymn. mallets, shakes, plucked bells, and full softer moments. performance on the organ of Lyme Regis chordal strikes, it is also easily learned Fredrik Sixten (b. 1962) is a Swedish Parish Church in 2011. These pieces are My Lord, What a Morning, by at just a Level 2 diffi culty. This piece is organist and composer, educated at the in very diverse moods, and comprise Karissa Dennis. For 3–5 octaves of fi lled with rhythmic energy that should Royal College of Music in Stockholm. Adagio, Con Brio, Lento, Molto Ritmico, handbells or 3–4 octaves of optional have both ringers and listeners engaged He was formerly organist of Härnösand Vivace, and Piacevole. The collection is handchimes, MorningStar Music from the beginning. Cathedral, Sweden, and is now choir- warm, pleasing, and accessible. It is writ- Publishers, MSM-30-510, Level 2+ —Leon Nelson master of the Nidaros Cathedral in ten in a fairly conservative compositional (M-), $4.50. Vernon Hills, Illinois Trondheim, Norway. In Sweden he is style that shows some contacts with the well known as a leading composer of the French impressionism of composers present day, though he is better known such as Louis Vierne. for his choral music than for his organ The Dutch organist and composer works. His Prelude & Fugue “In Memo- Toon Hagen (b. 1959) presides over riam Maurice Durufl é” was written the great four-manual Schnitger organ in 1986 at the time of Durufl é’s death, in the St. Michaelskerk in Zwolle. His and was inspired by Durufl é’s Prélude et 1996 composition Shalom is based on Fugue sur le nom d’ALAIN. The prelude the traditional Hebrew folksong Shalom begins softly with numinous solos on the chaverim whose haunting melody pro- clarinet accompanied on the strings and duces a quiet and evocative mood. Using interspersed with lively passages on the a combination of rubato and delicate fl utes, leading a build up to a mezzo forte control of the initiation characteristics of and ending with a reprise of the begin- the fl utes, Phillips creates a particularly ning. The fugue begins softly, gradually intense sense of feeling in the piece. building up to full organ. As such it is For the fi nal piece on the compact an admirable work to demonstrate the disc Phillips returns to Sebastian Forbes resources of the organ, which Phillips for the piece from which the recording does most adroitly. takes its name, Capriccio. The Greater The English composer Sebastian London Council commissioned this Forbes (b. 1941) sang under David composition for the Royal Silver Jubilee Willcocks in the Choir of King’s College, in 1972, and Margaret Phillips gave the Cambridge, before taking positions as a fi rst performance in the Royal Festival producer with the BBC, under William Hall at a private concert in the presence Mathias at University College, Bangor, of Queen Elizabeth II and Prince Philip. and as professor of music at the Univer- She gave the fi rst public performance in sity of Surrey, where he is now professor the same hall a year later. The piece is, emeritus. Most of his compositions are as the title suggests, in very free form, either choral in nature or written for and like the same composer’s Haec Dies “superb musicianship, masterly technique and savvy programming … Archer’s strings, though he has composed for alternates sections of discords with ebul- sweeping assurance and stamina enable you to hear the music behind the virtuosity.” other instruments including the organ. lient passages on the fl utes. The discords — GRAMOPHONE (JAN 2018) — His Haec Dies was commissioned by build up on the reeds into a sort of royal Simon Preston in 1969 and is based fanfare at the end. MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 15 In the wind...

one who did something to make us better Organs for the people men and women and to appreciate that in- The early twentieth century was the defi nable something that is an expression golden age of the municipal organist. of the soul. Dozens of cities across the United States installed monumental organs in public The great William C. Macfarlane was auditoriums, and brilliant organists were engaged as Portland’s fi rst municipal hired to play them, paid with public funds. organist, and a city music commission Those were days when the economics of was formed. Macfarlane served from symphony orchestras limited attendance 1912 until 1918 and returned for a sec- to the top-hat and sable-stole crowd, so in ond stint between 1932 and 1934. Edwin the days before radio, the general public H. Lemare, another musical luminary, might not ever have a chance to hear a served from 1921 to 1923. Beethoven symphony or Rossini overture. In the 1970s, municipal funds were That was also the age of rapid devel- dwindling, and the maintenance of the opment of electric organ actions and a organ suffered until 1980 when the city dizzying display of registration aids. Just council voted to stop funding the organ. as Aristide Cavaillé-Coll’s organs changed A group of interested citizens came the work and scope of musicians and com- forth in 1981, founding the Friends of posers 60 years earlier, Ernest Skinner the Kotzschmar Organ (FOKO), which and others were baring their engineering would develop a board of directors and teeth and festooning their consoles with assume responsibility for the care and swell shade selectors, programmable presentation of the organ. The organ crescendos, and settable combination would remain the property of the city, actions with general pistons. Great ideas and a carefully crafted relationship was for new console controls came along, such formed and nurtured that has endured as super couplers that didn’t affect high- to this day. pitch stops and cutouts that would shut In the 1990s, the auditorium was to off all mutations. be renovated and modernized, and the The Kotzschmar Organ, Merrill Auditorium, Portland, Maine In the 1920s, the populace of Chat- Kotzschmar Organ was removed to stor- tanooga, Tennessee, or Topeka, Kansas, age. This was a critical moment in the life would gather loyally each week at their of the organ, as once it was in storage, big municipal auditorium to be treated to there were voices in town that would a varied performance by a great organist. have been pleased if the organ had not The immense popularity of such concerts been returned to the new hall. Through was described by Cleveland city architect FOKO’s tireless devotion, funds were Harold MacDowell, who wrote after the raised to install the organ in a specially dedication concert of the 149-rank Skin- built space above the stage in the newly ner organ in that city’s 13,000-seat Public renamed Merrill Auditorium. Auditorium in 1922: Most importantly, it was the effort of David Wallace, the organ’s cura- Despite the oppressive heat, the crowd which had been collecting since noon soon tor, who was dedicated to seeing the exceeded the capacity of the mammoth organ brought back to life, even though hall and long before the time set for the proper funding was not available. It was inaugural recital all seats were fi lled and that effort that made possible FOKO’s more than 5000 men, women, and children were crowding the corridors of the colos- crowning achievement, the Centennial sal structure. The police which were out in Renovation. After 30 years of tireless Ray Cornils at the Kotzschmar Organ large numbers were at fi rst able to hold the maintenance of the reinstalled organ, console crowd into a semblance of order, but soon an ambitious fundraising project was gave up in despair as the eager mob swept all before it. undertaken, and on August 22, 2012, from Salinas, and they have retained the one-hundredth anniversary of the their home in Maine. I caught up with It’s been a long time since we’ve had a dedication of the organ and the hall, the Cornils by Skype the other day and spent Ray Cornils receives a key to the City riot before an organ recital. Kotzschmar Organ was removed for a a pleasant hour and more chatting about of Portland from Mayor Ethan Strimling. City Hall in Portland, Maine, was second time, this time for transportation FOKO. He described his current state (photo credit: Richard Sawyer Photography) destroyed by a calamitous fi re in Janu- to the workshop of Foley-Baker, Inc., in as “taking a deep breath” and learning to ary 1908 that started, ironically, in the Tolland, Connecticut, for a thorough, live without the relentless responsibili- Ray spoke of the challenges of commu- new-fangled electric fi re alarm system professional renovation. A few new ties of those two demanding positions. nicating with an organ that was operating in the offi ce of the city electrician. The voices were added, the Austin Universal When Cornils was appointed munici- at such a low level. FOKO was working city fathers (there were no women in Air Chest was replaced with a new one pal organist, FOKO was nearly ten years diligently to keep the organ going, but government then) wasted no time, hiring of authentic design, returning the instru- old and growing steadily in organization the instrument was unraveling. After Carèrre & Hastings, who had famously ment to its original dimensions. The and effectiveness. The annual budget the organ was reinstalled following the designed the New York Public Library electrical system was replaced, damaged was around $20,000, and the condition renovation of the auditorium, the press on Fifth Avenue, and the new City Hall pipes were repaired, and the organ now of the Kotzschmar Organ was in steady heralded the triumphant return of the was ready for dedication in August 1912. speaks with clarity and brilliance as if it decline. Ray acknowledged the organ’s “restored” Kotzschmar Organ. While the Concurrently, the publishing magnate, were brand new. terrible condition as “. . . a given. You organ had not, in fact, been restored, its Portland native Cyrus H. K. Curtis, made registered music with handfuls of stops condition was substantially improved, a gift of a hundred-stop Austin organ for A twenty-fi rst century municipal because there were so many dead notes.” allowing a fresh start for programming. the auditorium of the city hall. Curtis’s organist Some stops worked sporadically because Cornils resumed the work of inviting father had invited Hermann Kotzschmar Ray Cornils was educated at the Ober- of worn and unreliable contacts. The prominent organists to present recitals, to move to Portland where he established lin Conservatory of Music and the New roar of the basement blower joined the serving as the tireless and gracious host himself as the most prominent musician, England Conservatory of Music and held chorus of thousands of wind leaks in the as he introduced them to the organ. infl uencing generations of Portlandians positions as organist at various churches organ on the stage to create a high level When I asked Ray what impact the through his tireless work and brilliant in the Boston area until he and his part- of ambient noise, so that when the organ position had on him over the years, he performances. The friendship between ner, now husband, David Bellville, felt was used with the Portland Symphony answered, “the ability to listen.” To listen Curtis’s father and Kotzschmar was an urge to move to Maine. Ray secured Orchestra, it was turned off during rests to reactions of the audience to the artists so strong that he named his son Cyrus the position of director of music at First because the musicians of the orchestra and music being presented. To listen to Hermann Kotzschmar Curtis, and Cyrus Parish in Brunswick, Maine, in 1987, objected to the extraneous noise. the input of lay people serving on the H. K. Curtis in turn dedicated the organ and in 1990 was appointed the eleventh On several occasions, the organ failed FOKO board as they commented on what to Kotzschmar. During the dedication municipal organist of Portland. completely. When Pierre Pincemaille was sells and what doesn’t. To listen to himself ceremony of city hall and the organ on Following the fi nal concert of 2017, preparing for a recital, the huge organ as he spoke at meetings, as he conducted August 22, 1912, Curtis addressed the Cornils retired from the position in Port- blower “threw its fans.” After years of the relationship with the city, and as he assembled crowd: land. He had retired from First Parish in torque from starting the heavy machine, addressed audiences about the music he June, and with all those responsibilities the rivets were worn, and when they was playing. To listen to his playing, try- Mr. Mayor, I present to the City of Portland behind him, he and David retreated failed, torn sheet metal blew through the ing always to be a growing musician and through you, this memorial to Hermann to their home on the beach in Salinas, windlines into the big windchest. It must effective communicator. To listen to the Kotzschmar, who for more than fi fty years Ecuador. Salinas is at the tip of a penin- have made quite a noise. And there was organ, responding to what it seemed to be was pre-eminent in this city as organist, sula that juts into the Pacifi c Ocean from David Wallace to dismantle the blower able to do best. And to listen to the guest composer, and teacher, a man who was loved by all classes for his kindly spirit, his the west coast of Ecuador, right near and take the fans to a local sheet metal artists, noticing what they were able to get high ideals, and his devotion to music. the equator. Ray and David also have a company that fabricated new vanes over- out of the organ and how they did it. He cared little or nothing for material home in Quichinche, high in the Andes, night, and though Pincemaille only had a It is unusual for an organist to get to things or fame—he never sought them, but an hour or so north of the capitol city, few hours to prepare, the concert went hear their home organ played regularly here is his monument—a monument to Quito (altitude 9,500 feet), ten hours on as scheduled.1 by different people. It is more usual that

16 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM By John Bishop

him to claim credit for it. It was a mag- the organ reemerged under Ray’s fi ngers, nifi cent effort put forth by an active and the public was delighted. group of volunteers serving on the On December 22, 2017, Ray made his board, supported by the generous dona- last appearance in Merrill Auditorium as tions from the public. But Ray’s decades municipal organist in the city of Portland. of service, his unfl appability, his gracious Over the years, “Christmas with Cornils” and thoughtful presence as FOKO nego- programs had developed into a seasonal tiated the relationship with the city, and highpoint for the community, and pre- his continuous presence on stage and in dictably, the 1,600-seat hall was fi lled. public as the voice of FOKO, the ambas- Ray was joined by an 11-piece brass sador for the organ, and an artistic leader choir, percussion, chorus, and handbells in the city were central to the success of for a rollicking romp through beloved the project. His voice and artistry helped holiday repertory. At intermission, Ethan make the Kotzschmar Organ a worthy Strimling, mayor of Portland, presented recipient of the hundreds of private Ray with a key to the city. Ray responded donations involved in funding that ambi- to the audience’s ovation by saying, “This tious project. is not goodbye, it’s thank you.” of the city of Portland would be one of It was fi tting that Cornils’s tenure During the concert, Cornils was aware humility and generosity. extended after the completion of the that his successor, James Kennerley, was Some people might assume that the renovation. After the thrilling festival of present in the hall. At the end of the eve- role of the municipal organist would Pierre Pincemaille holds up blower rededication, Ray was on the bench of the ning, without prompt and without plan, be to present a haughty, theatrical parts that rendered the Kotzschmar Or- Kotzschmar Organ for three years until his Ray invited James to join him on stage, demeanor. That was not Ray’s way, and gan unplayable during preparations for retirement. Now, guest artists gush their signaling to the audience his support of the city of Portland is a better because of his recital. enthusiasm about the organ’s transforma- the future, and generously giving James his 27 years on that bench. Q tion, especially those who had played it and the audience a chance to see each the “home” organist of a church never before the renovation. And Ray had time other. No one who has worked with Ray Notes 1. Ray’s telling of that story was especially hears anyone else playing the organ, to learn the organ’s new strengths and to as student, colleague, peer, or collabora- poignant as Pierre Pincemaille had passed which is often not to the advantage of the experience afresh those voices that had tor would be surprised to learn that Ray’s away on January 12, the day before my con- listener. Ray spoke at length about the been unusable. The original personality of last public gesture as municipal organist verastion with Ray Cornils. value of that part of his work. It’s a chal- lenge for any organist to arrive in town with a few days to prepare a concert on a strange organ, especially one that’s not in terrifi c condition. Professionals in the pipe organ com- munity are a tiny subset of society, and Cornils worked to fi nd ways to connect the organ world with the real world. He encouraged guest artists to address A UTHENTIC SOUND their audiences, and instituted precon- cert conversations in which he would interview a musician, allowing for more FROM REAL PIPES: personal contact between artists and audiences. Late in his tenure, FOKO began publishing brief videos on social media featuring guest artists playing selections from their program and speak- THE ORIGINAL TECHNOLOGY. ing about what excited them about the music and the experience of playing in Merrill Auditorium. Cornils was always mindful of the heritage of the Kotzschmar Organ. The instrument was presented to the city by a music lover who had been moved by INVEST ONCE... the work of a prominent local musician, a moving response to an artist’s life work. Ray understood the responsibility of honoring and nurturing that heritage by THINK APOBA. keeping the Kotzschmar Organ in front of the public and always showing its best side, no matter what particular foibles it presented on a given day. During his tenure, Cornils was active in and devoted to FOKO’s educational outreach. He spoke of the rich rewards NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS of working with children in public BUILDER MEMBERS schools and working with the teachers A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. to plan curriculums that melded into the Andover Organ Company Holtkamp Organ Company Schoenstein & Co. other topics discussed in the classroom. Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders He made an effort to pick up on the sorts Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company of vocabulary the class was used to and to Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS tie the marvels of the organ into scientifi c, C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. historical, and artistic conversations. He Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems recognized that many people experience Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources the sound of the organ as scary because Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products of its use in popular horror fi lms and other media. Ray enjoyed sharing the organ’s joyful, triumphant, meditative, and tuneful sides with the students, and some of his highest moments were when parents greeted him after concerts saying Call today for APOBA’s Please watch and share that their kids had experienced FOKO Pipe Organ Resource Guide our short video at: in their classrooms and encouraged the and Member Prospectus www.apoba.com/video family to come to Merrill Auditorium to hear the organ in person. § The Centennial Renovation was a crowning achievement of the Friends Apoba.com 1-800-473-5270 of the Kotzschmar Organ, and Cornils’s well-known humility would never allow

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 17 On Teaching

What is Performance? Part 1 What is performance? This is certainly a daunting question that is not only dif- fi cult to frame but can invite pompous answers. It is also one that we are all, as players, going to answer by our actions whether we know it or not. Therefore it is not a bad idea to try to grapple with it explicitly once in a while. Our students are also going to grapple with it: most obviously those who want to be perform- ers, but also those who play music but, at a given moment, are not drawn to public performance. For the latter, this is true if only because they must have a concept of what performance would be in order to feel that they are not drawn to it. There are many different ways to answer the question “what is perfor- mance?” Some of those differences are the sort that arise out of the answers’ being partial in nature—and I would say that answers to this question should be partial. To strive to give a complete or all encompassing answer to the question risks coming across as pretentious or pompous. Some of the differences may arise out of details about what sort of performance we are asking about in the fi rst place, or from who is asking, or on whose behalf the ask- ing is taking place. And some, of course, arise out of disagreement. The question “what is performance?” shades over into such questions as “what does performance feel like to me?,” “how do I know whether I am performing or not?,” “who am I when It was difficult for early photographers to capture musical performance live, since long exposures were required. (This reminds I am performing?,” and others even us that performance involves at least some motion and therefore some energy.) This is one of the earliest photos that was sup- posed to show music in performance, in this case Wagner’s Tristan & Isolde. The picture must have been staged, but staged to more arcane. The approach of any one look like a performance, not a portrait. The singers were Ludwig and Malwine Schnorr von Carolsfeld who were husband and musician to performance is most likely a wife and who gave the premiere of the opera in 1865. (photograph public domain in the United States) mosaic of answers or tentative answers to questions such as these. The answers to these smaller component questions If we are giving a concert, and there wane while we are in the very act of per- most abstract. Therefore, perhaps this is a and any answer that feels like it pertains are clearly people in the hall, and they forming. The room can seem “dead” or form of performance in which the notion to the bigger over-arching question will are not in any obvious way doing things “alive.” Is it right to be aware of this? It is of playing the music for its own sake can almost certainly change over time for that are inconsistent with listening, we realistic to be unaware of it at least some assert itself. It is certainly a way to expand any one person. I was pleased to notice have the right to assume that they are of the time. When we are, how might and perhaps redefi ne what it feels like that literally yesterday (from the vantage listening. In reality some are and some we respond? It might be better to try to to be a performer. It seems like a very point of my sitting here writing today) I are not. But in this situation—pure look away from that awareness and to good thing that recording has been sort had an experience that enabled me to fi t performance, so to speak—our feeling focus more on ourselves and the music. of “democratized.” Anyone who plays one more tile into my own mosaic—that that people are listening helps to shape We might be able to use that awareness can make recordings that have a reason- gave me a slightly new answer to a par- what we do. It can create nervousness to get motivated to communicate even able shot at being heard by that unknown ticular question about my own identity or anxiety and can also create focus. more intensely. audience out there, through various plat- as a performer that has puzzled me for Do we respond to an awareness of lis- There can arise in church playing, forms under the umbrella of social media. a long time. teners mostly by becoming anxious or specifi c situations in which we wonder The distinction between those who are This month and next, I will poke and even scared? If so, what causes anxiety? whether anyone is listening and if so and those who are not recording artists prod at this question from several angles. Perhaps we are afraid of missing notes, how or how much. Are people listening has been largely broken down, and with You will notice that I pose more ques- falling apart, or perhaps we simply fail to during a prelude or postlude, or are they that the societal defi nition of performer tions than answers and that I have not convey inner musicality. talking, or just focusing on and expe- and performance has altered. forbidden myself to include thoughts or The awareness that people are listen- riencing other things? There may be a ideas that may be unconventional. ing can also be inspiring. If we not only situation in which we actually don’t know Who is the performer? are performing but also want to be per- whether anyone is there: people some- Who are we when we perform? Are Two defi ning aspects forming, then there must be something times leave during the postlude! Does we the composer? I am not talking of performance about conveying music to those listeners that matter? Can we practice keeping about the rather specialized case in Performance is playing when you that we really care about. In real life the up our commitment to really performing which we are literally the composer. In know or think that someone is listening. vividness of this feeling will come and even if the sense that people are listen- that case, I imagine that the answer to We usually know whether or not we are go. Does it help us to achieve this feel- ing has become shaky? the question is still a bit complex. Does playing, though, especially if we are not ing to have a conscious awareness that In some situations we know that peo- a composer performing his or her own really singers, we may not always know the listeners are listening? That is, some ple are physically there and not expressly music feel in some ways like a different when we are singing, not to mention of the time to be playing to the listeners turning their attention away from what person during that act than during the humming, whistling, tapping our fi ngers as if perhaps we were conversing with we are doing, but we also know that the act of composing? Can a composer dis- to some unheard music, or even trying them? Or is it more effective to com- point of everyone’s focus is not just the cover, through performing new things out fi ngerings on the table when we mune not so much with the listeners as music in and of itself. This can be true in pieces, new things about himself or think that no one is watching, and so with the music itself, as we have come of a variety of circumstances: church herself as a musician? I imagine so, on. But we don’t always know for sure to know it and care about it? In many services during offertories and other though I have never been in that posi- whether someone is listening. organ performance situations, there are mid-service musical moments, wed- tion myself. limits to how much of the audience we dings and funerals, receptions, school Let’s say that we are playing music can see. Does this affect our awareness events, sporting events, anything where of others. Do we feel like, or want to of them or the ways in which that aware- the music is background. What do we feel like, a stand-in for the composer? ness interacts with our playing? For each make of knowing that the listening is not I mentioned last month an idea about player/performer there will be a different as focused and intense as it might be? playing the role while performing not set of answers to any of these and similar Perhaps this can be a time to shift the specifi cally of the composer by name, questions that seem the most fruitful. balance of our own focus from commun- but of a theoretical someone who could What if we don’t know whether any- ing with the listeners to communing with have improvised the music that we are one is listening? Realistically this doesn’t the music itself. playing. I fi nd that idea intriguing and often mean that we have literally no Recording is another circumstance in fruitful for getting into a mode of feeling information about whether anyone is in which we don’t know who the listeners that enables me to perform the music of the room. But it is still a concept that can are. They are not physically there, rather, others. Do some of us fi nd it useful in be germane. For one thing, our sense of they exist somewhere else in time and some sense to inhabit the identity of the whether anyone is listening in the sense space —at least we hope that they do. The composer by name? Not, of course, as a of really paying attention can wax and act of playing specifi cally for them is at its real “I am Napoleon”-style delusion, but

18 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM By Gavin Black as something perhaps akin to some of the and this is a source of all sorts of questions convincing performance, I need to feel ways in which actors inhabit roles? and things to think about. But in particu- like myself. Or do we want to be ourselves as lar there are sometimes performances Here is the interesting new thing, much as we possibly can, but ourselves of this Renaissance/Baroque repertoire however. I went to see the new play Fari- engaged in a particular act for which that are cast as historical recreations— nelli and the King in New York. Since it we are well trained, well prepared, and perhaps of a specifi c performance, per- is in large part about a musician—the talented? It may be that performance haps of a specifi c sort of concert or court real-life Carlo Bruschi, who performed in the sense of playing music when we or home or church musical event, or under the stage name Farinelli—there believe listeners to be listening is cru- perhaps just as an evocation of the milieu was live music in the theater. (And the cially different from performance that and aesthetic of the time. This kind of music was quite wonderful, by the way.) is acting in exactly this way. We are not event might well involve the musicians’ The performers, on harpsichord, guitar, inhabiting a character, we are trying as wearing period-appropriate clothes. I various strings, were dressed in eigh- best we can to be ourselves. Perhaps for have been to performances of that sort as teenth-century attire, as were the actors. some of us it is only by being ourselves an audience member and enjoyed them, I realized right away that if I were asked that we can connect with whatever it sometimes getting something out of the to participate in something exactly like is about the music that makes us care recreation of the historical trappings that this, I would happily do so and would enough about it to take on the chal- indeed added to the music. wear the old-style garb without hesita- would, here and now, be improvising lenges of performing in the fi rst place. However, I have always felt uncom- tion. Something about its being a part that piece,” I meant “would not” rather It seems certain to me that this works fortable with the idea of participat- in a play rather than a concert seems to than “would.” I want to go on record out differently from one person to ing in anything like that as a player. I overcome completely the discomfort that with this, since only that way does what I another and is often a mix. have never been willing to perform in I described above. Why? I don’t really wrote (I hope) make sense. Q costume or in historical clothing. My know. But I know that it sheds some Three illustrative stories identity as a musician, person, and per- light on my own answers to the question More to come . . . I heard the following story many years former seems like it would be violated of who I am when I am performing. ago from a colleague. I admit that it was by dressing in period clothing. I do not Before I sign off for this month and Gavin Black is director of the Prince- something heard third-hand, and there- know exactly why this is, and I certainly continue this discussion next month, I ton Early Keyboard Center in Princeton, fore I cannot swear that it is factual and have no interest whatsoever is saying note that I made a typographical error New Jersey. His website is gavinblack- accurate. But I believe that it is, since I that it is right or in persuading other near the end of the February column. baroque.com, and he can be reached by know something about the trustworthi- people to feel this way. To execute a Where I wrote “Even a fi ne improviser email at [email protected]. ness of the people who transmitted it. And since it is by no means disparaging to anyone, I will let that be enough basis for telling it without suppressing names. An organist, active, well trained, with lots of playing and listening experience, was also working as a carpenter and builder. He happened to be on a job at a venue where, a day or two later, Virgil Fox was to play a recital. He saw and overheard Fox practicing, and he reported that his practicing was calm, sober, systematic, focused, totally with- out fl amboyance. The way my colleague put it in telling the story was this: that it was only in the concert that Virgil Fox became VIRGIL FOX! His persona as a charismatic and extroverted performer was something that he indeed purposely put on in concert as a technique for get- ting across what he wanted to get across. Does each of us do some of that? Cer- tainly some more than others and some with more consciousness of it than oth- ers. Is this a dimension of our playing, or rather of our performing, that we might do well to think about more explicitly? Probably so for many of us. I say that without implying anything about the specifi cs of how some of us might want to shape this aspect of our performing lives differently. That will vary dramati- cally from one of us to another. Here is another story. I am acquainted with a dancer who, at a young age but well within her prime, no longer a student or beginner, was participating in a perfor- mance. She and the other performers were in very specifi c and defi ned char- acters, and from time to time interacted directly, in character, with audience members. This performance, unlike most dance performances, included a small amount of speaking. I asked her whether she thought of this as dancing or as acting. She replied very fi rmly that she thought of it as dancing and only dancing, because if she thought of it as acting it became terrifying. The very same actions, ones which she was as well-trained to do as anyone could be and which she repeated with complete command night after night, seemed like something different based solely on the concept of what sort of performer she was. The last story for this month is the one to which I alluded above. As a perform- ing musician I have always specialized in music from about 1550 to about 1750. This is long enough ago that everything about the culture of that time seems historical rather than current or modern,

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 19 Pipe organ history

Hinners & Albertsen on the Mississippi Bluffs Part 2: The Tale Unfolds

By Allison Alcorn Figure 10. Hinners & Albertsen (1898), made for St. Peter Lutheran Church, Swell to Pedal Coupler Red Wing, Minnesota Editor’s note: Part 1 of this article was Great to Pedal Coupler published in the February issue of THE DIAPASON, pages 22–24. Accessories with blight and rust exacerbated by a Figure 11. St. Peter Norwegian Church Swell Tremulant series of severe storms. (Photo courtesy of United Lutheran Church, Red Blowers Signal Wing, Minnesota) Hinners & Albertsen in Red Wing, Wind Indicator Industrial diversifi cation probably Minnesota saved the town of around 4,000 inhab- The Red Wing organ’s specifi cation Pedal movements itants; fl our mills opened along with list represents the standard style 2/10, Great Forte lime quarrying and furniture building, Great Piano available in style A, B, or C; that is, in the Balanced Swell Pedal lumber, and millwork. Red Wing Iron mail order, the congregation indicated Works, founded in 1866, was perhaps whether it should be built to go on the the chief contributor that enabled the left, center, or right of the altar. This was Red Wing was originally the site of city to diversify and save itself. The a substantial investment for the church a Lakota farming village, and then in iron works was owned and run by Ben- at just less than $1,000.00. Clearly, this 1837 missionaries with the Evangelical jamin and Daniel Densmore, Benjamin organ (Figure 10) is nothing elaborate Missionary Society of Lausanne began a being the father of Frances Densmore, or extravagant. It is a meat and potatoes decade of relatively sporadic missionary a true pioneer in American musicology organ. No dessert here, no fancy gar- activity until several treaties were signed and ethnomusicology. nishes, only what is absolutely needed: with the Sioux and Mendota in the Frances’s letters provide a good sense 1850s and a U. S. Land Offi ce opened of what Red Wing was like in the era in GREAT 8′ Open Diapason (metal, 61 pipes) in Red Wing in 1855. Within a few which the Hinners & Albertsen organ 8′ Melodia (wood, 61 pipes) years, the town of Red Wing—named came to the city. Frances wrote about 8′ Dulciana (metal, 49 pipes) after the Lakota chief who used a dyed having grown up going to bed at night lis- 4′ Principal (metal, 61 pipes) swan wing as a symbol of rank—became tening to the drums and chanting of the SWELL a busy river port. A more stable white Lakota on Trenton Island, directly across 16′ Bourdon (wood, 49 pipes) settlement was established with the the Mississippi River from her house. 8′ Violin Diapason (metal, 61 pipes) opening of a leather and shoe factory— She could see their fi res from her bed- 8′ Lieblich Gedackt (wood, 61 pipes) the beginning of the famous Red Wing room window. In 1889 the Lakota were 8′ Salicional (metal, 49 pipes) 4′ Flauto Traverso (metal, 61 pipes) Shoe empire—and a pottery factory— forced onto the Prairie Island Reserva- the Red Wing Pottery empire—in the tion, but they remained both a physical PEDAL 1860s. However, it was the wheat trade and aural presence in Red Wing.5 Figure 12. Pipe stencilling, Hinners & Al- 16′ Bourdon (wood, 27 pipes) that spurred rapid growth throughout The Norwegian Lutheran Hauge bertsen pipes Couplers the 1870s and then ironically also led to Synod established a signifi cant strong- Swell & Octave to Great Coupler a serious economic downturn because hold in Red Wing beginning in the departments: piano, voice, and pipe Swell to Great Coupler of depleted soil and increased problems 1870s and opened a seminary there in organ (the auditorium had a Kilgen 1879, high on the bluff overlooking the organ) and ran a concert series that city. The ladies seminary was opened brought performers from the East coast. in 1889 and was known especially for People would take the train from Min- its Conservatory of Music and its direc- neapolis for the concerts, so despite the tor, Dr. Bernard F. Laukandt, who was hardships of life in turn-of-the-century also organist at St. Peter Norwegian Red Wing, people also found a measure ii — 19 ranks ii — 19 Lutheran Church; therefore, the organ- of cultured entertainment. The residents ist for the 1898 Hinners & Albertsen.6 of Red Wing clearly appreciated music, The conservatory was divided into three so the climate was amenable to raising winchester, virginia

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20 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM was supremely practical for rural con- manual pumping precisely because of gregations without regular access to an that unreliable electricity. Typical Hin- organ technician.9 ners console design is quarter-sawn oak Pedalboards used native woods, the with a dark stain, decorated with raised sharps stained somewhat darker than panels and carved fi nials and moldings the naturals. The pedalboards were characteristic of early twentieth-century fl at and short-compassed until the late furniture styles. Grillework is sometimes 1920s, when the company made an integrated with façade pipes. effort to conform with the standards set forth by the American Guild of Organ- Continuing History of the Red Wing ists and began building full concave, Hinners & Albertsen radiating pedalboards. The façade pipes The 1928 photograph in Figure 13 were painted and stenciled until shortly is the only extant image of the 1898 after 1910, with muted color schemes Red Wing Hinners & Albertsen while it designed to blend with the natural belonged to St. Peter’s. Professor Lau- colors of the console wood. Many of kandt is seated at the organ. In 1930— the original pipe stencils (Figure 12) two years after this photo—the two Nor- do not offer shining examples of stellar wegian Lutheran churches in Red Wing stenciling work. For the most part, the merged, taking Trinity Lutheran’s name Hinners factory workers were German and building. The St. Peter building was immigrants with backgrounds in fur- sold to the Christian Science Church niture building, not painting, and the in 1933. At some point the Christian stenciling is frequently sloppy in places. Scientists decided to update the sanctu- Generally, the factory employees took ary. This has virtually never been good great pride in their work and believed news for organs—and the 1898 Hinners Figure 13. 1928 photograph of St. Peter Lutheran Church choir with the Hinners & their instruments were giving voice & Albertsen was moved to the center of Albertsen organ (personal collection, Allison Alcorn) to their own thoughts and feelings, the front platform with small side rooms sometimes rather metaphysically. For built to its left and right. The console example, when the Rutz Organ Com- was whitewashed (Figure 14) and the pany rebuilt a 1918 Hinners for Holy façade pipes were painted gold (Figure Nativity Evangelical Lutheran Church 15), but the working parts remained in New Hope, Minnesota, they found untouched. It was rather untidy, but it a penciled inscription inside the Great was all there, and the paint-just-the- chest on the valve spring board: “Peace visible-front job on the pipes allowed Proposal of Austria to USA rejected. To for later restoration to the original color Hell with the war Lords. Dade Johnson scheme. That the church members were and F. C. Muehlenbrink 9/18/18.”10 able to uninstall and reinstall even a ten- Nicking of pipe mouths is heavy in all rank pipe organ seems to be a testament Figure 15. Gold-painted pipes Hinners organs. Metal pipes are nicked to the basic mechanical sense used by on the languid and wooden pipes are Hinners and to the general battleship cold it was on that February night.8 Pro- nicked in the windway. Hinners used quality of these little organs. This is one fessor Rydning was active in the region three tuning methods: stoppers, scrolls, of the precise things that made Hinners from the 1890s through the early part of and key-hole tuners. Any sleeves found so successful in the small rural church the twentieth century, appearing in news- on these instruments were added after market—anyone with fundamental paper concert program announcements the scroll broke. mechanical sense could care for the with great frequency. The manual keyboards are con- organ; it was sturdy enough to stand structed with ivory slips on the naturals up to the rigors of rural life. The 1926 Characteristics of the organs and ebony sharps. Pedal ranks and Hinners at Immanuel Lutheran Church The stoplists, pipe scales, mouth façade pipes often use a tubular pneu- in Dimock, , went through shapes and cut-ups, and high wind pres- matic winding action while the key the Dust Bowl, had not been cleaned in sures indicate that the Hinners company action is mechanical throughout.11 Even about 60 years, and still sounded beauti- espoused a romantic tonal ideal. Further, as regards winding, though, unreliable ful through two inches of solidifi ed dust. Figure 14. Whitewashed console, c. 1996 small swell boxes jammed to the edges electricity in rural areas kept Hinners In the mid-1980s, the former St. Peter with pipes, and the packed interior using pump handles for quite awhile Church building was purchased by the money for a good pipe organ. On the mechanical set-up demonstrate that Hin- after most builders had switched to Apostolic Face Lighthouse Church, other hand, the reality was that Red ners was committed to offering as much electric blower systems. Despite even- and in August 1995 by the Four Square Wing was rural and largely blue collar, organ as possible for the limited amount tually having electric blowers, most Church. By 1996 the pastor confi rmed and so while they sincerely appreciated of space available in small churches. The organs still retained the capability for to me they were about to “throw [the the organ, a Möller or a Casavant was out identical nature of measurements from of the question. one organ to the next strongly suggests Red Wing’s organ was order number mass-production techniques and certain Scattered leaves ... from our Sketchbook 360, placed August 6, 1898, by Carl N. stock models that could be altered for Lien, secretary of St. Peter Norwegian particular requirements. A number of Lutheran Church (Figure 11). It was features stand out as typical of the Hin- to be shipped October 10 and dedicated ners organs as represented by this 1898 October 23, 1898. As of December 7, instrument. First, draw knobs rather however, it was still being hoped for, but than tabs were standard until sometime for an unknown reason, it was not shipped in the 1920s. Second, early organs have until January 25, 1899.7 It weighed 5,690 a system of two pre-set mechanisms that pounds and was shipped on the Santa Fe were mechanical and could not be reset. Railroad at a cost of $34.14. The price of One of the pre-sets combined all the loud $1,050.00 was payable thirty days after ranks, while the other combined all the delivery. The organ fi nally arrived about soft ranks. Economically minded con- February 1, 1899, and was installed later struction is seen in details such as lower that week, ready for the dedication con- octave pipes built of wood rather than cert the following weekend. metal and lower octave pipes of one rank Tickets were sold for 50 cents for shared with at least one other rank. Some adults and 25 cents for children, a good of the organs have a Quintotone in which indication that the organ had been the stopper doubles the pipe length, mak- purchased with a payment plan, which ing it sound an octave lower without the was typical for the company, and selling cost of additional metal. Especially note- tickets for the dedication concert is a worthy because of its uniqueness among feature that appears in the histories for contemporary organ builders, Hinners & many of the Hinners organs. The concert Albertsen normally avoided traditional featured Professor Rydning from St. reed ranks and instead included a labial Paul, a virtuoso organist and graduate of reed stop in the Swell. Labial reeds hold the Conservatory of Christiana, Norway. pitch through temperature variations in Schoenstein & Co. Professor Chally (from the seminary) and addition to being less susceptible to dirt other participants in the concert were than a traditional reed pipe. Perhaps Established in San Francisco š 1877 from Red Wing. The newspaper reported most important is that the labial reed, www.schoenstein.com ❧ (707) 747-5858 that the turnout was excellent, given how because it does not have an actual reed,

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 21 Pipe organ history organ] away.” I contacted Tom Erickson, As with any organ’s story, this instru- a Casavant representative who lived in ment has had to accept compromises Red Wing. Erickson took up the cause. along the way in order to continue serv- For the next year, Erickson was tireless ing the needs of its changing audiences. in attending Kiwanis meetings, Rotary Most signifi cantly, the corner façade meetings, Lions, city council, and cham- pipes had to be lowered by about a foot ber of commerce—any group that would to fi t it in the space, and the rear six side listen to the organ’s story and might agree façade pipes had to be left off entirely. to help. He fi rst made headway when he The Hinners & Albertsen organ is used raised enough money to purchase the regularly. Hotel guests may request the instrument, for by now, the church had blower key between the hours of 10 become quite convinced of its treasure, a.m. and 10 p.m.; as one might guess, and while they would certainly not harm the historic St. James Hotel does a the instrument, they could be convinced brisk wedding business, and the organ to sell it. Next, Erickson persuaded the is a frequent participant. The hotel staff owners of the historic St. James Hotel works hard to keep it safe, and current to let him store the organ in the hotel’s management seems cognizant of its recently acquired Red Wing Iron Works historic value. The St. Peter Norwegian building that was, at that point, sitting Lutheran Church building has taken on empty while they decided what to do with a new life in recent years as well, now it. Erickson kept raising money, and the serving as The Red Wing Church House keydesk was sent to Luhm’s Refi nishing, (https://www.redwingchurchhouse. Figure 16. St. James Hotel exterior with a fi rm that specializes in his- com), a luxury vacation rental that rents balcony and door added for organ John Leonard Hinners toric furniture and pianos. A local artist, for about $2,500 a week (Figure 17). access Delores Fritz, re-stenciled the pipes. In the meantime, the owner of the St. James Nuts and Bolts Hotel agreed to give the organ a home The Hinners & Albertsen organ com- in its lobby and accept the responsibility pany was, even in its time, sometimes dis- for its care. It now has become part of missed as being the producer of inferior the identity of the hotel—“you know, the instruments, as was the Hinners Organ historic hotel in Minnesota with a pipe Company for decades after it. Gradually, organ in the lobby”—so much so that the and sometimes with a bit of sentimental organ even appears on the hotel’s Wiki- nostalgia for the instruments on which so pedia page (https://en.wikipedia.org/wiki/ many organists cut their teeth, the organ St._James_Hotel_(Red_Wing,_Min- world began to realize that the organs are nesota)), in its TripAdvisor photos and not inferior at all, but that they represent reviews, and ubiquitously on Instagram a “nuts and bolts” type of organ. Hinners Figure 17. The Red Wing Church House with the stjameshotel location tag. & Albertsen organs offered churches a The St. James built a small balcony and perfectly serviceable and respectable vast majority of all Hinners instruments fashioned a window into a door in order musical alternative to the reed organ were organs of about ten ranks—the to access the organ for servicing (Figure that would fulfi ll the needs and meet the largest Hinners organ ever built had only 16). A ladder is required to climb into the budget of a small congregation without twenty-eight ranks. Moreover, Hinners balcony off the exterior stairs, and then the nice but unnecessary expense of a built these small pipe organs for nearly the door opens straight into the organ. large number of ranks on an organ that 50 years, long after the other companies To get into the swell box, the side façade was individually designed for each par- had followed the trend to larger organs pipes have to be removed, but that is not ticular church. with strictly electric actions. Hinners unusual for a Hinners. The very com- Other companies built stock organs, & Albertsen organs, and ultimately the Ubbo J. Albertsen pactness and space effi ciency that made to be sure, and other companies used Hinners Organ Company, supplied a Hinners organs so attractive to small con- a catalog approach to sales. Lyon & unique need in American society that Allison A. Alcorn received her PhD from gregations without much square footage Healy, Kimball, Felgemaker, Estey, and arose from circumstances peculiar the University of North Texas, Denton, in the sanctuary conversely also made the Wangerin-Weickhardt all had a similar to the American situation. The fron- in 1997 and is now professor of musicol- organs into real maintenance challenges product line and methodology—par- tier was closed and settlements were ogy at Illinois State University, where she as far as simply accessing its various com- ticularly Felgemaker with the Patent progressing beyond concern for mere is active in the Honors Program, Study ponents. They are intuitive constructions Portable Organ. On the other hand, cer- survival to concerns for improving their Abroad, and Faculty Development and to the mechanically minded, to be sure, tainly for Hinners & Albertsen, opera- quality of life. Raised in small mission mentoring. Alcorn served as editor of the but one must fi rst somehow reach the tions were focused nearly exclusively in churches around the rural Midwest, Journal of the American Musical Instru- part in need of attention. the realm of the small stock organ. The John L. Hinners felt the people’s desire ment Society from 2012–2017 and joined for a pipe organ and understood their the AMIS Board of Governors in 2017. She frustration with the expense and com- has previously been councilor for research plexity of the instrument that made it for the Organ Historical Society and on the impractical for small country churches. governing board of the American Organ A Precious Gift In a creative combination of business Archives. Publications include articles for methods and comprehension of musical the Grove Dictionary of American Music from the Past and construction issues, the Hinners and the Grove Dictionary of Musical & Albertsen Organ Company brought Instruments as well as articles in a variety pipe organs to rural America and, in of national and international journals. for the Present the case of the Red Wing, Minnesota, Notes organ, fi lled the bluffs of the Mississippi 5. Frances played organ, and for many and the Future River with music. Q years she was a church organist at the Red Wing Episcopal church. It seems a safe as- Supremely beautiful and blendable sumption that Frances would at least have The Diapason announces its new known this Hinners & Albertsen organ, likely tonal color – a Gift from the Venetian digital edition, available now! heard it, and possibly even played it. School of organbuilding, a monumental part of our 6. The school’s students included girls who wanted to marry ministers, but also “status of- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH THE THET fenders,” that is, girls who had committed no DIAPASON DIADIAPASONP SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN DECEMBER 2017 NOVEMBERN 2017 crime but had become impossible to control. 7. This is an excessively delayed sched- ule, even for a business at the time. Hinners Intriguing? Let us build your dream. typically turned around its orders well within three months, with some organs shipping within a matter of a few weeks. 8. Sadly, weather data for Red Wing is re- corded only as far back as 1902.

St. Stephen’s Episcopal Church Church of St. Ignatius Loyola irginia Richmond, V New York, New York Cover feature on pages 26–27 Cover feature on pages 26–28 9. Allison Alcorn, “A History of the Hin- ners Organ Company of Pekin, Illinois,” The Tracker, vol. 44, no. 3 (2000), 17. For those desiring an environmentally friendly 10. This organ was built for Church of the edition of the magazine, you may subscribe to the Sacred Heart, Spring Valley, Illinois, and was Builders of Fine Pipe Organs to the World digital-only edition. Digital subscriptions are $35, moved to Minnesota in 1990. a savings over the regular subscription rate of $42. 11. One of Hinners’s distinctive characteris- tics is how late the company relied on tracker www.ruffatti.com actions. Even in its few theater contracts, Hin- For any subscription, contact Ebony Fendley: ners remained loyal to and was Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 [email protected]; 847/391-1028. probably the last builder to give up theater trackers, with two installed as late as 1916.

22 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM In memoriam

A tribute to Luigi Ferdinando Tagliavini (October 7, 1929–July 11, 2017)

By Etienne Darbellay, Bruce Dickey, Susan Ferré, Margaret Irwin-Brandon, and Marc Vanscheeuwijck

Introduction to the Netherlands with Prince Phillip, Luigi Ferdinando Tagliavini— and the numerous questions those links organist, harpsichordist, musicologist, posed, especially concerning the 1635 teacher, and composer—died July 11, Frescobaldi Preface.1 We had a lot to 2017, in Bologna, Italy. Born October discuss, and I was eager to hear his 7, 1929, in Bologna, he studied, organ, thoughts, which he shared enthusiasti- piano, and composition at the conserva- cally, even with relish. He could have tory in Bologna, and later studied organ retreated to safety, but instead, engaged with Marcel Dupré at the conservatory fully, listening as intently as he spoke. in Paris, France. He graduated from the During the years I lived off and on university at Padua in 1951, and then in the French Pyrenees (1969–1972), taught at universities and conservatories I enjoyed Italian neighbors and friends in Bologna, Bolzano, and Parma in Italy, whose homes I later visited in the Ital- Luigi Tagliavini at the organ of the Franciscan church in Vienna, built 1642 by Jo- and Fribourg in Switzerland. Tagliavini ian mountains. During those visits and hann Wöckherl (photo © DerHHO - Licensed under CC BY-SA 3.0.) was a guest instructor at various universi- traveling to play concerts with Luis de ties and presented recitals and lectures Moura-Castro in Spain and Italy, Maestro of being institutionally penalized by world in which every single instrument for several chapters of the American Tagliavini took me to play historic organs seeking a perfect collaboration between has been restored in a historically rele- Guild of Organists throughout the not yet restored. It was then I met Susan musicology and performance practice vant manner), and I have also been able United States. He regularly taught organ Tattershall, who, with help from Martin forced me to look for a job as far away to introduce many of my students from courses at Haarlem, the Netherlands, Pasi, was busy restoring some of them, from Europe as Oregon. Oregon and from various European and at Pistoia, Italy. He served as organist much to the delight of Tagliavini. Our Tagliavini managed to be a leading conservatories and universities to these of the Basilica of San Petronio, Bologna, paths crossed in Switzerland, in Haar- authority as a musicologist and a profes- sounds of the early modern period sharing duties with Liuwe Tamminga. lem, and in Dallas. His passing removed sional keyboard player—specialized not and, maybe even more importantly With Renato Lunelli, he founded the a most brilliant, most informed thinker, only in performance practices on organ, for me as a performing musicologist, journal L’organo in 1960. An active per- and most generous musician from my harpsichord, spinet, clavichord, and fort- to Tagliavini’s approach to musicology former, he presented recitals throughout world. I didn’t know him well, but the epiano, but also in organology and in the and historical performance practice as Europe and the United States. Tagliavini loss of this unassuming, humble, gentle, preservation and restoration of historical a scholarly discipline, which fortunately was a recognized authority in historical yet wildly virtuosic musician touched me instruments through his collection. is becoming more mainstream even in performance practice for the Baroque profoundly. It is with joy that I give voice In that sense Tagliavini was prob- European universities. His infl uence organ and harpsichord, and was a strong to the following tributes from those who ably the most infl uential fi gure in my thus continues on both continents, and supporter of the historic organ move- knew him best. entire career, and he has continued to I am trying to make it happen as far as I ment in Italy. A prolifi c recording artist, —Susan Ferré be so. This infl uence continues through can through my own teaching. earning several awards for his LP and Director, Music in the Great North one of his most eminent and talented —Marc Vanscheeuwijck CD discs, he was awarded several hon- Woods, www.musicgnw.org students, Liuwe Tamminga, who fi rst Associate Professor of Musicology, Area orary degrees, including a doctorate in Director, Texas Baroque Ensemble, became his colleague as an organist in Head, Musicology and Ethnomusicology music from the University of Edinburgh 1980–2005 San Petronio, and then the curator of University of Oregon, and a doctorate in sacred music from the Tagliavini’s collection of instruments School of Music and Dance Pontifi cal Institute of Sacred Music in I fi rst met Luigi Ferdinando Taglia- when it became a public museum in Rome. As a musicologist, he published vini in November 1986 at an exhibition the former convent of San Colombano I think I must have met Maestro numerous papers and edited critical edi- at San Giorgio in Poggiale, Bologna, in the center of Bologna. Thanks to Tagliavini about 40 years ago, soon after tions of music. where he was displaying his vast collec- this collection and my friendship with my arrival in Basel at the Schola Canto- tion of harpsichords and organs for the Liuwe and Ferdinando, I have been rum Basiliensis. I remember that he came Editor’s note: the staff of THE DIAPASON fi rst time. My next encounter with him able to play such beautiful instruments to give a talk on tuning and temperament, invited Susan Ferré to assemble some was at San Petronio in Bologna, dur- (his collection is the only one in the and that I was astonished, not only by his remembrances of Maestro Tagliavini. ing concerts for the celebration of the What follows are remembrances from church’s patron saint in 1990. Of course, Confident pedal work Ferré, Marc Vanscheeuwijck, Bruce I had also encountered his numerous Dickey, Etienne Darbellay, and Marga- publications on the history of Baroque comes with practice and ret Irwin-Brandon. music in Bologna while I was working the right shoes § on my dissertation at the University of Ghent and was deeply honored when he It was during a long bus trip to see agreed to be the external expert reader on the organs with Maestro Luigi Ferdinando for my dissertation and defense in 1995. Tagliavini that we became friends. He In those years I had also discovered his pedals was not obliged to sit beside me. Making importance as a scholar in Italian and sure I boarded the bus fi rst gave him the European musicology, organology, and x Men’s & Women’s Organ Shoes opportunity of sitting somewhere else. I historical performance practice. had interviewed him on public radio, and When I was a student in the 1980s, with suede soles and heels he knew of my interest in early music and historical performance practice was not x Whole & Half organ restoration. He had read my thesis considered to be part of “serious” musi- Sizes in 3 Widths on Respighi’s organ works and knew of cology (certainly not in Belgium), which articles I had written on links between could only be either historical or system- x Quick & Easy Sweelinck and Frescobaldi, through atic. Performance questions belonged in Returns such Neapolitan composers as Giovanni the conservatories, not in the university. de Macque, Giovanni Maria Trabaci, and As a musicologist and Baroque cellist OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET Ascanio Mayone, their connections to myself, I always needed to have both 44 Montague City Rd Email: [email protected] Antonio de Cabezón, who had traveled “sides” inform each other and the idea Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 23 In memoriam

Luigi Tagliavini rehearses with a friend at the Tagliavini instrument collection, San Colombano knowledge of the topic, but also by his The following is a personal refl ection extraordinary ability to speak German delivered at the University of Fribourg and English, almost without a trace of (Switzerland) on September 21, 2017, Luigi Tagliavini addresses course attendees at Haarlem, the Netherlands (photo an accent and always with eloquence and excerpted and translated by Susan Ferré: credit: Martin Goldray) clarity. After I moved to Bologna in 1985 I Tuesday, July 11, 2017, “Ferdinando came to know him much better and came, has disappeared!” That’s what was physics, with which I was still hesitant. I covered with numbers, fractions, with at his insistence, to call him Ferdinando, announced to me in a pithy email mes- have never regretted this choice, and this, values of four or fi ve numbers, which he an honor I cherished. I have seldom if sage from Liuwe Tamminga. It was like was because of his presence in the early knew by heart, and which he could infal- ever known anyone who carried his erudi- a return to the ice age. The image as diz- days, which never wavered in the follow- libly recognize by ear! Often he created tion (and in his case it was very substan- zying as the sound of a scaffold falling: ing ones. a demonstration on a small harpsichord tial) with such lightness and modesty. now a world without him, an impossible It was here, 50 years ago, seen at the that he himself had brought before class I would like to relate two anecdotes world that rocked silently in the real one. top of the stairs, with a fi rm footing, he for the occasion, or he would gather us, that I think give an impression of his As this was surely the case for many of would head toward a large table on which clustered around the instrument, open- character and personality. Both of these us, it took me time to understand. Decid- he posed some music or a book. He would ing our confused ears. stories relate to rehearsals with the won- edly, I hate the inexorable. Occasionally, concentrate for a few moments, then, Noting our notorious incompetence derful organs of the Basilica of San Pet- time, a matter essential to the musician, without emphasis or oratorical effect, in counterpoint, knowledge of which ronio in Bologna, whose renovation he an engine full of promise, now raw, deliv- he would begin to speak on the topic of was indispensable in order to follow his was, of course, instrumental in securing. ers us dirty tricks, chilling, unacceptable, the day, sometimes with a slight smile course on any particular writing tech- On one occasion many years ago, I was engaging mercilessly on a path without and an enigmatic look without a target, nique of the Renaissance, he set up a rehearsing with him for a concert with return. It was not only as announced by which gave us the impression that he was kind of accelerated pro-seminar where some pieces for cornetto and one organ. our friend Liuwe Tamminga the collapse reading in his head. He never stumbled he taught us with his usual virtuosity the The morning rehearsal was dragging into of an entire library, but even more, it or searched for his words, and in all these basics and essential tips, the best courses the early afternoon, and I asked if we was the fi nal disappearance of a point various data he was consistently accu- of “music theory” I have ever had! could do one more piece before break- of fundamental support for the evolving rate. Throughout his life, he possessed The biggest revelation of all—when ing for lunch. He paused for a moment, science and art of music, an emulator a phenomenal and infallible memory, we were touched by his teaching—was then said, “Yes, of course, but I will have without precedent, for all those who, like regardless of the fi eld. What struck me without a doubt, those blessed moments to call my mother to tell her to hold off me, had the great good fortune to know most as a student was his mastery, almost when he rose from his small chair to go tossing the pasta in the water!” I think he him. There are circumstances in which discouraging to his colleagues and stu- to the keyboard—normally one of the was into his 70s at this point. we truly learn the opaque meaning of the dents, in all areas of music history and in big beautiful old Steinways, brown from The other occasion was some six word “vacuum.” all languages, including Latin. He would use. Everything became pure magic. months before he died. He had been More than a teacher who would jump without diffi culty from the exegesis Whether sight reading from any large very ill in the hospital and then made a become a master and a friend, Fer- of a grimoire of the eleventh century to keyboard or full score (for example a sudden miraculous recovery. Enough of dinando was for me a true spiritual the explanation of a technique of com- Mahler symphony), he gave us a living a recovery that he was able to participate father, a support, a reference of wisdom, position in “our” century (the twentieth), example of how to prepare a concert fol- in a concert at San Petronio with two insight, and intelligence coupled with or the rapport between the voice of the lowing the rules. His virtuosity, his ease, organs and two cornetti, together with rare kindness. Always ready to enter piano in a song of Schumann opposed and his proverbial musical insight were Liuwe Tamminga and Doron Sherwin. I into any serious area of knowledge, to Schubert. Nothing would escape his marvels. For example, during a course was with the organ played by Tagliavini. whether a random encounter or to solve expertise or encyclopedic knowledge. on Frescobaldi, I discovered this fasci- Though he was able to play well enough, a particular problem, he was at the same Recently, I actually saw him in Bologna nating music —totally unknown to me , he did not have the strength to depress time ready to come out with a joke that where, as usual, I went to consult with and with which I became a prisoner—a the stop levers without climbing down demonstrated his unfailing sense of him about a few issues related to the music that served as a passage between from the bench and putting all of his humor, which from a natural distance completion of the edition of the Fresco- us, a ford over the river of life that sepa- weight on the lever. That created some also afforded him his magical freedom in baldi manuscripts. rated us until the last months before his remarkably long pauses between sections interpretation, both musical and scien- Often he demonstrated at the black- death. Having become my preferred of the canzona we were playing. Still, I tifi c, open to suggestion and to listening. board, very precisely, an idea or a par- subject of study and subsequently an was thrilled that he was able to play the His tutelage and his inspiring presence ticular mechanism, whether a problem area of specialization, it was this bridge organs he so loved one last time, and I felt accompanied me in all circumstances of solemnization or even a calculation of that brought me back constantly to him, enormously privileged to be a part of it. of my life in the days when, blessed as a temperament. This last area in which he after my degree and my PhD, as part of —Bruce Dickey young student and apprentice musician, was incredibly competent (in the image the complete critical edition by the Ital- Cornettist, Scholar, Professor of I met him at the University of Fribourg. of his friend Patrizio Barbieri) was one ian Society of Musicology, an edition for cornetto and 17th-century music, Schola His infl uence had convinced me to sign of his favorite areas of exploration: at the which he was the initiator and, always, Cantorum Basiliensis (1976—2016) on to the track of musicology rather than end of the explanation, the board was the ultimate validating reference. I owe

24 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Italian organ landscape—fi rst through participation in a traveling conference of the Gemeindshaft der Deutsche Orgel- freunde, under the guidance of Luigi Ferdinando Tagliavini, during which we visited mostly antique organs, many of which were still playable but in need of restoration—and fi nally concluding at the Basilica of San Petronio in Bologna, where the two now-famous organs (da Prato and Malarmini) face each other across the choir, both restored under his watchful eye. There has never been a greater evan- gelist for the Italian organ and its music than Tagliavini. Through his herculean efforts, and in support of the efforts of others, scores of organs now shine as they once did in centuries past. The trea- sures of musical composition are opened to new eyes, hearts, and minds. But per- Luigi Tagliavini lectures in Haarlem, the haps the most tangible evidence of his Netherlands (photo credit: Martin Goldray) passion is to be found in the Museo San Luigi Tagliavini demonstrates at the Muller organ, Haarlem, the Netherlands (photo Colombano, Tagliavini Collezione, where credit: Martin Goldray) Thanks to him, therefore, I discovered upwards of 80 keyboard instruments the organ, its stylistic peculiarities so (and a couple dozen various others) are so much to Frescobaldi: it is thanks music. When he was confronted in a differentiated in its creation according now on display, in playing condition, and to Frescobaldi that I stayed in almost modern edition with an inaccuracy due to Italian or Nordic styles. This is true open to the public without charge. In permanent contact with Ferdinando, to a colleague, he gave us an informative for the harpsichord in its extreme refi ne- October 2017, a convocation dedicated Frescobaldi’s fi rst and most important example without blaming or judging, ments. Ferdinando also gave us several to Luigi Ferdinando Tagliavini, “Il cem- prophet, both as a performer as well as sometimes even excusing it as a teach- organology classes dedicated to his cho- balo a martelli: da Bartolomeo Cristofori a musicologist. ing example. His tolerance and kindness sen instruments, their construction, their a Giovanni Ferrini” (the harpsichord He loved teaching, and he loved his were also as proverbial as his mastery sound principles, and their history. with hammers: from B. Cristofori to G. students. He spent as much time as he without compromise. With his disappearance, it is really the Ferrini), was held at San Colombano, could with them. When he conducted In the fi eld of organology, it was the fi rst time he leaves us. I have the impres- with concerts in the museum and in the a thesis, I think that none of those who same for thoughtless and reckless resto- sion of fl oating in a world without anchor, Basilica of San Petronio, and papers by have lived the experience would con- rations of organs or harpsichords. One of disoriented, whose entire grounding has scholars in the fi eld. It was my honor to tradict me in saying that he followed it his recent battle cries was the problem disappeared. This weightlessness con- be included as a harpsichordist in one of relentlessly, helping the student in the of successive restorations with the set of fuses me, and the void it digs is called these memorial concerts, one particu- face of diffi culties while reading the work choices to which they led. It is the same loneliness, a kind of erasure of all land- larly unusual, in that it included ten of with unfailing attention. For me, it was problem as in the restoration of art: does marks, a general loss of meaning. As with his former students and colleagues, in not only a help, but a pleasure, and major one scrape the Van Gogh in order to all of those who have had the chance to a program that moved chronologically assurance as I walked with my clumsy fi nd the Courbet, and then the Courbet appreciate him, I will need much cour- from Frescobaldi, 1615, to Johannes feet in his most personal garden. I cannot to fi nd the Cantarini? The evolution of age to continue without him who will Brahms, op. 118. This breadth of musi- forget to mention that his sympathy for taste is part of the story: the traces that remain in our memories and our hearts cal composition in no way traced the his students almost always brought him it leaves on the witnesses, too, are news- until we face our own deaths. boundaries of Tagliavini’s interests, but to share with them his fondness for fon- worthy, which must be documented. In —Etienne Darbellay was clear in its meaning. Music. Music, due. How many times did the fondue at fact, the ideal situation is the reversibility Honorary Professor at the center of his life. the Café du Midi in the street of Romont of any intervention. Ferdinando taught University of Geneva, Attending the events of this col- (Fribourg) serve as an extremely joyful us the vital importance of respect for all Musicologist loquium the maestro’s two brothers, and festive climax to a semester or a who, in history, made history. extended family and friends, shared in business meeting? Besides, the tradition Ferdinando was world renowned as It was 1962 when I fi rst heard the the legacy that I believe will accompany continued in Geneva, where Ferdinando an interpreter, even if his audience was name “Tagliavini”—a name associated his memory in years to come—his keen agreed repeatedly to the thankless task unaware of his other talents, which, in the with Italian organs and “early” Italian scholarship, illuminating performance, of thesis jury, accepting this burden for fi rst place, was musicology. We have wit- music. He was, I believe, on his fi rst insightful and inspirational teaching, many of my students who, even today, nessed many times the enthusiastic way visit to the United States to give a course love of life, jokes, puns, frivolity—all are grateful. But the fondue there was in which young people followed him with on playing the music of Frescobaldi. evident in his brilliant fulfi llment in a life not as good . . . . lots of gear to record and preserve some A young woman in our church choir of music. Q One of the aspects that characterized exceptional moments, like the amazing had attended this course and, know- —Margaret Irwin-Brandon Ferdinando the best throughout his life concert in Bösingen to inaugurate a resto- ing I was an organist, would speak of Founder/Director, Desert Baroque, was his taste in riddles—perhaps a form ration of the organ. The exceptional qual- nothing else. Six years later I began to Southern California; Director Emerita, of self-satisfaction in view of his incred- ity of his playing, both in vivacious music understand why, when I attended the Arcadia Players Baroque Orchestra, ible ability to solve them. His students of and in its technical perfection, always Haarlem (Netherlands) Academy for Western Massachusetts; the 1970s and ’80s remember: be it the had the same impression on his audience Organists and took the Maestro’s course. Originator, Organs of Italy Tours. Album of the Countess (a nineteenth- which was to experience one of those This mind- and life-altering experience, century manuscript that he had found, exceptional moments of existence that three weeks of daily classes, excur- Notes containing if I remember correctly a one remembered always, between ecstasy sions, concerts, and earnest discussions 1. Preface to Fiori Musicali (1635) and its piece by Liszt and which offered sev- and levitation, of “musical Tiepolo.” led me to further investigations of the relation to Il secondo libro di toccate (1627). eral weeks of hilarious and passionate I still think back more than 30 years ago discussions), or a mysterious inscription of a concert at San Petronio (Bologna) on between two planks of a newly found old two organs, with Tamminga: dazzling, instrument that he had discovered in Italy aerial virtuosity played with acrobatic or elsewhere. Each week he reserved for garlands of sixteenth-century Venetian us the surprises of these little mysteries ornamentation, the rhythmic vivacity of that he presented with his characteristic which has had no parallel. Not so long smile of satisfaction, that he could still be ago, he told me the amazing story that the one to rule over his new fi nd. With just happened to him in Messina where his proverbial passion for antique musi- he had inaugurated the restoration of a cal instruments, the organ at the top of famous organ. Approaching in a car with the list, these are clearly the different a friend, he found himself stuck in the traits of passionate curiosity that led him city because of incredible traffi c. He then to establish, almost despite himself, the said to his friend in the form of joke. “It most important collection in the world of is because of my concert!” And the last instruments of this type, which he gave straw was that it was true! It almost didn’t to the Foundation Carisbo de Bologna, happen, as they had to clear a passage for in order to institute at San Colombano him in a crowd estimated by newspapers a museum of “living sonic monuments.” the next day to be about 5,000 people. As His immeasurable respect for history the maximum that the church could hold and masterpieces of the past rendered was about 400–500 people, he had to give him uncompromising in the face of the concert two more times in the follow- inaccuracies in modern editions of early ing days to satisfy the frustrated audience.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 25 Cover feature

Kegg Pipe Organ Builders, Hartville, Ohio Christ the King Chapel, St. John Vianney Theological Seminary, Denver, Colorado Every new pipe organ project, large or small, has a unique sense of importance. Rarely are we afforded the opportunity to build an instrument that will inspire generations of clergy to high ideals. Our new organ at St. John Vianney Theological Seminary is a true honor for an organbuilder. Each of our pipe organs is custom designed for the space it occupies and the musical task it must perform. During the design process, the organ evolves. Sometimes the stop list has additions made as funds become available, or unknown building impediments are discovered that require us to adjust. This new organ of course went through this process, but through it all, the goal we shared with associate professor of sacred music, Dr. Mark Lawlor, did not. The goal was to build an instrument suited primarily to the multiple daily Masses of the seminarians. The failing electronic organ from 20 years ago had “replaced” the original 1931 Kilgen pipe organ. Heavily dam- aged fi rst by modifi cations to the stop list with foreign pipes installed by lesser hands, then with loud speakers among and largely on the pipes, the original pipe organ was assumed destroyed. When Kegg sales representative Dwayne Short fi rst crawled into the crowded, dark, and dirty space, he made his way into the furthest reaches where few had ventured in years, to discover that many of the Kilgen Swell stops had survived in reasonable condition. These, along Console with one Pedal stop and an orphan Great 1 Clarinet, gave us some original pipes to musical fl exibility. Most organists prefer with 1 ⁄3′ Mixtures. The breaks of these and space available, we used an existing consider retaining in the new organ. a three-manual organ to two, which we two Mixtures are different. The Swell wood Kilgen 8′ Concert Flute for notes Christ the King Chapel is a handsome frequently offer in organs of this size. Mixture breaks before the Great, bring- 1–32. At note 33, this stop changes to 2 room built in 1931. Beautiful to look at The new organ is 19 stops and 25 ranks ing in the 2 ⁄3′ pitch early. This gives the new Kegg harmonic pipes. The stop with masonry walls and terrazzo fl oors, it dispersed over three manuals and pedal. Swell Mixture a rich texture, particu- increases in volume dramatically as it is a child of its time, apparent when one The only unenclosed stops are the Pedal larly helpful in choral work. Emphasis ascends the scale. Available at 8′ and 4′ looks up. The coffered ceiling panels are 16′ Principal, from which the façade pipes in fi nishing is on unison and octave on both the Great and Choir manuals, beautifully painted acoustic tile, render- are drawn, and the horizontal Pontifi cal pitches when present. The fi rst break the 8′ stop is nicely textured and mezzo- ing only about one second of reverbera- Trumpet, in polished brass with fl ared in the Great Mixture is at C#26 and forte. The treble of the 4′ morphs into tion when the room is empty. The organ bells. This last stop was also a specifi c from C#14 is one pitch higher than the a soaring forte voice, made even more is at the rear of the room, in a shallow request. Because the room is not exces- Swell, making it relatively normal. For alluring by the tremulant. chamber over the main door. The robust sively large, these pipes are placed as the Great Mixture, the upper pitches With the exception of the Clarinet, all-male congregation is mostly at the high as possible. The large scale, tapered are given more prominence during fi n- all reeds are new Kegg stops and typical front of the nave and in the crossing. shallots and 7-inch wind pressure give ishing. The two choruses complement of our work. The Trumpet has a bright All these elements dictate a rich, strong, these pipes a round, Tuba-like quality and contrast well in this intimate space, treble and a darker, larger bass extending and dark organ to meet the voices at that is commanding and attractive. without excessive brightness. into the Pedal at 16′. The Oboe is capped their pitch and location. There is an The Great/Choir and Swell are Many of the fl utes and strings were and modeled after a Skinner Flügelhorn. Antiphonal division that is prepared in enclosed in separate expression boxes. retained from the original Kilgen organ. The lovely Kilgen Clarinet fi ts nicely into the console. Until it is installed, the main The stop list is not unusual, but the With some attention in the voicing room, the Kegg design. organ will have to fi ll the room from the execution of the Principal choruses is. these work well within the Kegg tonal The Pedal has the foundation needed rear with the singers up front. Both choruses have Mixtures based at family. Having heard other examples of for the organ. The 16′ Principal unit of Dr. Lawlor specifi cally requested that 2′. This allows them to couple to the our work, there was a keen desire by Dr. 56 pipes provides stops at 16′, 8′, and all manual divisions be enclosed to afford Pedal without a noticeable pitch gap Lawlor for a new Kegg Harmonic Flute. 4′. This is the only fl ue stop that is not him and future musicians maximum in the bottom octave sometimes heard To make this happen within the budget under expression. It grows in volume as

Kegg Pipe Organ Builders

GREAT (manual II, enclosed) SWELL (manual III, enclosed) CHOIR (manual I, enclosed with PEDAL 8′ Solo Diapason III (fr Gt 8′, 4′, Ped 8′) 16′ Gedeckt (73 existing pipes) Great) 32′ Resultant (derived) 8′ Principal (61 pipes) 8′ Diapason (73 existing pipes) 8′ Concert Flute (Gt) 16′ Principal (56 pipes) 8′ Concert Flute (1–32 existing, 33–73 8′ Gedeckt (ext 8′) 8′ Dulciana (Gt) 16′ Subbass (44 existing pipes) new pipes) 8′ Salicional (61 existing pipes) 8′ Unda Maris (TC, Gt) 16′ Gedeckt (Sw) 8′ Dulciana (61 existing pipes) 8′ Voix Céleste (TC, 49 existing pipes) 4′ Principal (Gt 4′) 8′ Octave (ext 16′) 8′ Unda Maris (TC, 49 pipes) 4′ Principal (ext 8′) 4′ Flute (fr Gt 8′) 8′ Subbass (ext 16′) 4′ Octave (73 pipes) 4′ Harmonic Flute (73 existing pipes) 2′ Octave (fr Gt 4′ Octave) 8′ Gedeckt (Sw) 2 4′ Harmonic Flute (ext 8′) 2⁄3′ Nazard (TC, 49 existing pipes) 8′ Oboe (Sw) 4′ Choral Bass (ext 16′) 2′ Fifteenth (ext 4′ Octave) 2′ Flute (ext 4′) 8′ Clarinet (Gt) 32′ Harmonics (derived) 3 IV Mixture (2′, 244 pipes) 1⁄5′ Tierce (TC, console preparation) Tremulant 16′ Trumpet (Sw) 1 2 8′ Clarinet (61 existing pipes) 1⁄3′ Larigot (fr 2 ⁄3′) 8′ Pontifi cal Trumpet (Gt) 8′ Trumpet (Sw) Tremulant IV Mixture (244 pipes) Choir 16 4′ Clarinet (Gt) 8′ Trumpet (Sw) 16′ Trumpet (85 pipes) Choir Unison Off 2 stops, 2 ranks, 100 pipes 8′ Pontifi cal Trumpet (TC, 39 pipes, 8′ Trumpet (ext 16′) Choir 4 C13–D51, polished brass, fl ared 8′ Oboe (61 pipes) bells, high pressure) 4′ Clarion (ext 16′) Chimes (console preparation) Tremulant Great 16 Swell 16 Great Unison Off Swell Unison Off Great 4 Swell 4 8 stops, 11 ranks, 661 pipes 9 stops, 12 ranks, 768 pipes

26 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Christ the King Chapel, St. John Vianney Theological Seminary, Denver, Colorado

down to mirror the brick arch above, making space for the Pontifi cal Trumpet to seemingly fl oat. The center section sits 5 inches behind the side bass sections, giving more depth to the visual effect. Viewing the façade from any angle other than head-on, it becomes sculptural. This was an exceptionally exciting and enjoyable project for us. The enthusiasm, interest, and complete cooperation from the seminarians and staff were a daily spir- itual boost for the entire Kegg team. This organ was installed in nine days, ready to be voiced, due largely to the excellent working conditions. Many thanks to James Organ bench with cup holder Cardinal Stafford, Archbishop Samuel J. Aquila, Dr. Mark Lawlor, and all our new rosewood keys and, of course, the Kegg friends at St. John Vianney. signature pencil drawer and cup holder. —Charles Kegg The original 1931 organ was cov- President and Artistic Director ered by a gray painted wood and cloth Swell pipework Façade and Pontifi cal Trumpet grill. The new organ façade design was The Kegg team: inspired by the building age and funds, Philip Brown you ascend the scale and does so more With three 8′ diapasons at one time, it but mostly by the signifi cant stone door Michael Carden than its manual counterparts. Because is similar in effect to a First Open for that dominates the rear wall. This is not a Cameron Couch of this, it is easy to have the Pedal be both solo and chorus work where a fi rm formal case, but it is more than a simple Joyce Harper independent and prominent when 8′ line is required. fence row. The stone door is massive and Charles Kegg needed for polyphonic music. This stop The console provides all the features will always be visually dominating, so it is Philip Laakso joins the Great Principal and Octave, expected in a fi rst-class instrument today natural to acknowledge it and build from Bruce Schutrum all playing at 8′ pitch, to make the 8′ including unlimited combination memory, it. The center façade section pipe toes Ben Schreckengost Solo Diapason III, a Kegg exclusive. multiple Next/Previous pistons, bone and sit atop the lintel with the tops dipping Dwayne Short

Christ the King Chapel, St. John Vianney Theological Seminary, Denver, Colorado

INTER-DIVISIONAL COUPLERS ADJUSTABLE COMBINATIONS REVERSIBLES TONAL RESOURCES Great to Pedal 8 14 General pistons (1–14 thumb, 1–10 toe) Great to Pedal (thumb and toe) 19 Stops, 25 Ranks, 1,529 Pipes Great to Pedal 4 6 Great pistons (thumb) Swell to Pedal (thumb) Swell to Pedal 8 6 Swell pistons (thumb) Choir to Pedal (thumb) Organbuilder website: www.keggorgan.com Swell to Pedal 4 6 Choir pistons (thumb) Full Organ (thumb and toe) Choir to Pedal 8 4 Pedal pistons (toe) 32′ Harmonics (toe) Seminary website: http://sjvdenver.edu Choir to Pedal 4 General Cancel (thumb) Swell to Great 16 Set (thumb) ACCESSORIES Swell to Great 8 Range (thumb) Balanced Swell expression pedal Swell to Great 4 Undo (thumb) Balanced Great/Choir expression pedal Choir to Great 16 Clear (thumb) Balanced Crescendo pedal (2 memory adjust- Choir to Great 8 Next (General piston sequencer, 4 thumb, 1 able, with numeric indicator) Choir to Great 4 toe) Full Organ indicator Swell to Choir 16 Previous (2 thumb) Transposer Swell to Choir 8 30 memories per User, unlimited Users Concave and radiating pedal clavier Swell to Choir 4 Adjustable bench Great/Choir Transfer

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 27 Organ Projects

American Organ Institute, University of Oklahoma, Norman, Oklahoma Trinity Lutheran Church, Norman, Oklahoma Built in 1909, this Hinners organ was originally installed in the Eighth Street Methodist Church in Oklahoma City and is believed to be one of the fi rst pipe organs installed in Oklahoma. The bombing of the nearby Murrah Federal Building in 1995, along with water dam- age and wear, made the organ unusable by the time the church converted the building’s primary function to be the home of Skyline Urban Ministries. John Schwandt, director of the American Organ Institute (AOI) at the University of Oklahoma, Norman, arranged for the The open house for the Hinners organ organ to be removed and put in storage, at the American Organ Institute (photo awaiting restoration at the AOI shop if a credit: Fred Bahr) new home for it could be found. Under Eighth Street United Methodist Church, Oklahoma City, Oklahoma (photo credit: Jeremy the careful leadership of Pastor David Wance) Nehrenz, Trinity Lutheran Church in Norman decided to purchase the organ and to become that new home. At the AOI shop, the full-time staff along with students in the organ technol- ogy program lovingly restored as many of the existing parts as possible. Pieces that had been damaged beyond reliable repair were replaced with new, replicat- ing the old. The reservoir and feeder bellows were completely releathered, as were the pallets of the slider windchests. All bushings on the keyboards, squares, and other action parts were replaced, along with any broken trackers. As one of the Hinners Organ Compa- ny’s stock model instruments, the organ Hinners toeboards before restoration had been made with casework for both (photo credit: Fred Bahr) sides, which had then been removed or substantially altered to install it in a partial chamber. In its new home, the organ would be freestanding, requiring suitable casework on either side. Using details from some surviving pieces of casework, completely new sides were designed and built to match the front casework that remains unchanged. The façade pipes were stripped and repainted with an elegant pale gold color. One of the great assets of the AOI program is the opportunity to bring in experts from the organbuilding com- munity for some aspects of a particular project. Not only does this yield excel- lent work, it also allows students to learn details by working directly with a master. The Hinners organ in Trinity Lutheran Church, Norman, Oklahoma (photo credit: Fred Hinners organ, Eighth Street Methodist On this project, the windchest retabling Bahr) Church (photo credit: Jeremy Wance) and pallet restoration were accom- plished by Brad Rule from Tennessee. for an open house celebration. Several Releathering of the large double-rise students played pieces, and the entire reservoir and feeder bellows was done group joined in hearty hymn singing. Hinners Organ Company by Richard Nickerson of Massachusetts. The organ was delivered on November Trinity Lutheran Church, Norman, Oklahoma The Great 2′ Super Octave replaces 28, 2017, was used for the fi rst time in the original 8′ Dulciana (from tenor worship on the evening of December GREAT C), which shared 12 basses with the 8′ 19, and was dedicated with a recital by 8′ Open Diapason (61 pipes; 1–27 zinc in façade; 28–61 metal) Melodia. New bass holes were drilled Silviya Mateva on February 11, 2018. 8′ Melodia (61 pipes; 1–12 stopped wood; 13–49 open wood; 50–61 metal) 4′ Principal (61 pipes; 1–7 zinc; 8–61 metal) in the chest for the Super Octave. The Evan Bellas, a graduate student at the 2′ Super Octave (61 pipes; metal) Dulciana pipes were carefully wrapped AOI and part of the restoration team, and stored in the organ for future resto- is organist and choir director of Trinity SWELL (enclosed) ration, if desired. Lutheran Church. 8′ Violin Diapason (61 pipes; 1–19 zinc; 20–61 metal) 8′ Salicional (TC, 49 pipes; 1–12 common with Lieblich Gedackt; 13–19 zinc; 20–61 metal) The entire organ was assembled in The staff and students of the American 8′ Lieblich Gedackt (61 pipes; 1–49 stopped wood; 50–61 open metal) the shop for testing before being dis- Organ Institute are proud to have had a 4′ Flute Dolce (61 pipes; 1–7 zinc; 8–61 metal) mantled and transported to the church part in bringing this instrument back to Tremolo for fi nal installation. On its fi nal week- life and reinforcing the role of the pipe PEDAL end in the shop, the AOI welcomed organ in Oklahoma. 16′ Bourdon (30 pipes; wood) church members and the community —Fredrick Bahr, Shop Manager Couplers Great to Pedal Swell to Pedal THE DIAPASON THET Swell to Great DECEMBER 2017 DIADIAPASONP Subscribers can view the digital NOVEMBERNOV 2017 Swell to Great 4 version of this issue (as well as Accessories selected past issues) at our website. Balanced Swell expression shoe MF combination pedal (draws Melodia, Salicional, and Gedeckt, double-acting) Visit www.TheDiapason.com to FF combination pedal (draws all manual stops, single-acting) Mechanical key and stop action Church of St. Ignatius Loyola St. Stephen’s Episcopal Church New York, New York Richmond, Virginia Cover feature on pages 26–28 experience this! Cover feature on pages 26–27 Wind pressure 4 inches

28 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Candlelight Vespers; Shadyside Presby- Park Ridge Presbyterian Church This calendar runs from the 15th of the month terian, Pittsburgh, PA 7 pm Park Ridge, IL GRACE CHURCH The deadline of issue through the following month. Bellarmine University Schola Cantorum; Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Calvary Episcopal, Louisville, KY 12:05 pm Feb. issue). All events are assumed to be organ Bloomingdale, IL Wolfgang Rübsam; Valparaiso Univer- recitals unless otherwise indicated and are grouped sity, Valparaiso, IN 7:30 pm within each date north-south and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ Christine Kraemer; St. Luke’s Episco- pal, Evanston, IL 11:30 am dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it 22 MARCH specifi es artist name, date, location, and hour in Brahms, German Requiem; St. Thomas Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, order; please do not send duplicate listings. Church Fifth Avenue, New York, NY 7:30 pm CATHEDRAL OF ST. JOHN Manhattan School of Music choirs and Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. orchestra; Riverside Church, New York, NY 7:30 pm James Walton; Christ Church, Braden- UNITED STATES ton, FL 12:15 pm East of the Mississippi Dean W. Billmeyer 23 MARCH 15 MARCH Herndon High School Choir; St. Patrick’s University of Minnesota Nancy Siebecker; Christ Church, Bra- Cathedral, New York, NY 1:30 pm denton, FL 12:15 pm Hopkins High School Choir; St. Patrick’s Minneapolis 55455 • [email protected] Cathedral, New York, NY 4 pm HyoJin Moon & Dean Robinson; First David Higgs; Cathedral of St. John the Baptist, Ann Arbor, MI 12:15 pm Evangelist, Cleveland, OH 7:30 pm 16 MARCH Monty Bennett; Holy Trinity Lutheran, Erwin High School Chorus; St. Patrick’s Kingsport, TN 7 pm GAVIN BLACK Byron L. Blackmore Cathedral, New York, NY 4 pm Martin Jean; Second Presbyterian, In- Princeton Early Keyboard Center Crown of Life Lutheran Church Maxine Thévenot; Emmanuel Episco- dianapolis, IN 7:30 pm pal, Chestertown, MD 7:30 pm 732/599-0392 Sun City West, Arizona 24 MARCH Katherine Johnson; St. Paul’s Episco- www.pekc.org Bach, St. Mark Passion; Trinity Lutheran, 623/214-4903 pal, Greenville, NC 7:30 pm Worcester, MA 7:30 pm Tom Trenney, improvisations on the Sta- TENET; St. Vincent Ferrer Catholic tions of the Cross; First Presbyterian, Sagi- Church, New York, NY 8 pm naw, MI 8 pm THOMAS BROWN Carson Cooman 25 MARCH 17 MARCH UNIVERSITY CONCORA, Bach, St. Matthew Pas- Composer and Concert Organist Simon Thomas Jacobs, masterclass; PRESBYTERIAN CHURCH sion; Immanuel Congregational, Hartford, Bower Chapel, Naples, FL 4 pm CHAPEL HILL, NORTH CAROLINA Harvard University CT 4 pm ThomasBrownMusic.com www.carsoncooman.com 18 MARCH Bach, St. Matthew Passion; Madison Renée Anne Louprette; College of the Avenue Presbyterian, New York, NY 3 pm Holy Cross, Worcester, MA 3 pm Bach Vespers; Holy Trinity Lutheran, Paolo Bougeat; Brown University, Provi- New York, NY 5 pm Nathan Laube; First Presbyterian, Allen- Your professional card dence, RI 4 pm DELBERT DISSELHORST Virginius Barkauskas; St. Patrick’s Ca- town, PA 3 pm Robert Parkins; Duke University Cha- could appear here! thedral, New York, NY 3:15 pm pel, Durham, NC 5 pm Professor Emeritus Benjamin Sheen; Cathedral of St. John Contact: [email protected] Choir concert; Cathedral Church of St. the Divine, New York, NY 5 pm University of Iowa–Iowa City or 608/634-6253 Paul, Detroit, MI 4 pm Bach Vespers; Holy Trinity Lutheran, Bach, St. John Passion; Christ Church, New York, NY 5 pm Grosse Pointe Farms, MI 4:30 pm Colin MacKnight; St. Thomas Church Choral Evensong; St. James Episcopal Fifth Avenue, New York, NY 5:15 pm Cathedral, Chicago, IL 4 pm STEVEN EGLER JOHN FENSTERMAKER Chelsea Chen; Cathedral Basilica of the Central Michigan University Sacred Heart, Newark, NJ 4 pm 26 MARCH Neil Harmon; Longwood Gardens, Ken- School of Music TRINITY-BY-THE-COVE Benjamin Sheen; St. Thomas Church, Mt. Pleasant, MI 48859 nett Square, PA 1 pm Fifth Avenue, New York, NY 7 pm Alan Morrison; Ursinus College, Colleg- [email protected] NAPLES, FLORIDA eville, PA 4 pm 27 MARCH Jeremy Filsell; Washington National Ca- Students of St. Olaf College; Central thedral, Washington, DC 5:15 pm Synagogue, New York, NY 12:30 pm Norberto Scott Atchison & Zachary Fritsch- Daniel Hyde; St. Thomas Church, Fifth Hemenway; Peachtree Road United Meth- Avenue, New York, NY 7 pm Susan Goodson Guinaldo odist, Atlanta, GA 7 pm Michael Bahmann & Paul Cienniwa, 30 MARCH Emanuel United Church of Christ His Music harpsichord, Bach, Art of the Fugue; St. Tenebrae; Duke University Chapel, Dur- Manchester, Michigan See—Listen—Buy Paul’s Episcopal, Delray Beach, FL 3 pm ham, NC 7:30 pm www.GuinaldoPublications.com Simon Thomas Jacobs; First Presbyte- rian, Naples, FL 4 pm 1 APRIL Joshua Stafford; Holy Trinity Episcopal, Bach, Easter Oratorio; Holy Trinity Lu- Gainesville, FL 4 pm theran, New York, NY 5 pm A Professional Card in Craig Cramer; Christ Episcopal, Bra- Benjamin Sheen; St. Thomas Church STEPHEN HAMILTON denton, FL 4 pm Fifth Avenue, New York, NY 5:15 pm The Diapason Henry Glass; St. Michael & All Angels For rates and digital specifi cations, recitalist–clinician–educator Episcopal, Sanibel, FL 6 pm 4 APRIL contact Jerome Butera www.stephenjonhamilton.com Choral Evensong; Christ Church, Grosse Bountiful High School A Cappella Choir; 847/391-1045; [email protected] Pointe Farms, MI 4:30 pm St. Patrick’s Cathedral, New York, NY 4 pm Jonathan Oblander; Loyola University, David Baskeyfi eld, masterclass; Kravis Chicago, IL 3 pm Center for the Performing Arts, West Palm Music Institute of Chicago Chorale, Beach, FL 4:15 pm Mozart, Mass in c; Nichols Concert Hall, Florence Mustric; Trinity Lutheran, David Herman Evanston, IL 3 pm Cleveland, OH 12:15 pm Karen Beaumont; St. John’s Lutheran, Trustees Distinguished Professor Emeritus of Music and University Organist Milwaukee, WI 2 pm 5 APRIL Karen Beaumont; St. Mary’s Episcopal, The University of Delaware Q [email protected] 19 MARCH New York, NY 6:30 pm David Schrader; Presbyterian Homes, Three Choirs Festival; Peachtree Road Evanston, IL 1:30 pm United Methodist, Atlanta, GA 7 pm David Baskeyfi eld & Thomas Gaynor; 20 MARCH Kravis Center for the Performing Arts, West Choir concert; Cathedral of St. John the Palm Beach, FL 7:30 pm Divine, New York, NY 7:30 pm Katelyn Emerson; Principia College, El- Stephen Tharp; First Presbyterian, sah, IL 7 pm Lorraine Brugh, Ph.D. Waynesboro, VA 7 pm Professor of Music Bryan Dunnewald; St. Louis King of 6 APRIL France Catholic Church, St. Paul, MN Stephen Buzard; Church of the Advent, University Organist 12:35 pm Boston, MA 8 pm University of Mississippi Concert Sing- Valparaiso, Ind. 21 MARCH ers; St. Patrick’s Cathedral, New York, NY valpo.edu Choir concert, works of Bach; St. Igna- 4 pm 219.464.5084 tius Loyola Catholic Church, New York, NY • Clara Gerdes; First United Methodist, [email protected] 8 pm Hershey, PA 7 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Raúl Prieto Ramírez; St. Paul the Apostle 14 APRIL New York, NY Syracuse, NY 13203-2816 Catholic Church, Westerville, OH 7:30 pm Bine Bryndorf, masterclass; Cornell www.andrewhenderson.net Nathan Laube, with Huntsville Sym- University, Ithaca, NY 10 am (315) 471-8451 phony Orchestra, Barber, Toccata Festiva, Choir Boys of St. Paul’s Cathedral, Lon- Saint-Saëns, Symphonie III; First Baptist, don; Cathedral of St. Philip, Atlanta, GA Huntsville, AL 7:30 pm 7:30 pm Leah Martin; First Presbyterian, Evans- • Bálint Karosi, masterclass; Zion Lu- Richard Barrick Hoskins ville, IN 7 pm theran, Wausau, WI 9:30 am Brian Jones Chelsea Chen; Trinity International Uni- Director of Music & Organist Director of Music Emeritus versity, Deerfi eld, IL, worship service 11 15 APRIL St. Chrysostom's Church am, class 4 pm & 7 pm Josiah Hamill; Woolsey Hall, Yale Uni- RINITY HURCH Chicago T C Bine Bryndorf; House of Hope Presby- versity, New Haven, CT 7:30 pm [email protected] BOSTON terian, St. Paul, MN 8 pm David Higgs; St. Ignatius Loyola Catho- lic Church, New York, NY 3 pm 7 APRIL Andrea Trovato; St. Patrick’s Cathedral, Stephen Buzard, masterclass; Church New York, NY 3:15 pm KIM R. KASLING JAMES KIBBIE of the Advent, Boston, MA 10 am Harold Stover; Cathedral of St. John the Parker Ramsey; St. John’s Episcopal, Divine, New York, NY 5 pm D.M.A. The University of Michigan Savannah, GA 12 noon Bach, Mass in B Minor; Holy Trinity Lu- St. John’s University Ann Arbor, MI 48109-2085 Chelsea Chen; Trinity International Uni- theran, New York, NY 5 pm 734-764-1591 FAX: 734-763-5097 versity, Deerfi eld, IL 3 pm Margaret Harper; St. Thomas Church Collegeville, MN 56321 Fifth Avenue, New York, NY 5:15 pm email: [email protected] Bine Bryndorf, masterclass; House of Hope Presbyterian, St. Paul, MN 9:30 am Gail Archer; United Church of Canan- daigua, Canandaigua, NY 3 pm 8 APRIL Joshua Stafford; Christ Episcopal, Phil- David K. Lamb, D.Mus. Harold Stover; St. Luke’s Episcopal Ca- adelphia, PA 4 pm Your professional card Katelyn Emerson; Shadyside Presbyte- Director of Music thedral, Portland, ME 3 pm could appear here! Beau Baldwin; St. Patrick’s Cathedral, rian, Pittsburgh, PA 3 pm Trinity United Methodist Church Axel Flierl; Washington National Cathe- Contact: [email protected] New York, NY 3:15 pm New Albany, Indiana Stephen Buzard; Cathedral of St. John dral, Washington, DC 5:15 pm Ahreum Han; Holy Trinity Lutheran, or 608/634-6253 812/944-2229 the Divine, New York, NY 5 pm Lynchburg, VA 4 pm Bach Vespers; Holy Trinity Lutheran, Jason Roberts; Cathedral of St. Philip, New York, NY 5 pm Atlanta, GA 3:15 pm recital; 4 pm Choral Jonathan Schakel; St. Thomas Church Evensong Fifth Avenue, New York, NY 5:15 pm Jeannine Jordan, with media artist; Eric Plutz, works of Bach; Princeton A.S.C.A.P. Fairlawn Lutheran, Akron, OH 7 pm FELLOW, AMERICAN GUILD OF ORGANISTS Seminary Chapel, Princeton, NJ 3 pm Renée Anne Louprette; Hyde Park Adam Brakel; St. Matthew Lutheran, Ha- Community United Methodist, Cincinnati, 345 SADDLE LAKE DRIVE nover, PA 4 pm ROSWELL-ATLANTA, GEORGIA 30076 OH 4 pm (770) 594-0949 James Kealey; Washington National Ca- Jeremy David Tarrant; Basilica of St. thedral, Washington, DC 5:15 pm Adalbert, Grand Rapids, MI 3 pm J. Samuel Hammond, carillon; Duke Easter Lessons & Carols; Christ Church, University Chapel, Durham, NC 1 pm Grosse Pointe Farms, MI 4:30 pm John Ferguson, hymn festival; Duke Lafayette Master Chorale; St. Boniface University Chapel, Durham, NC 5:15 pm Catholic Church, Lafayette, IN 4 pm Bryan Dunnewald; Cathedral of St. Phil- Bálint Karosi; Zion Lutheran, Wausau, Professor Emeritus – University of Michigan – Ann Arbor ip, Atlanta, GA 3:15 pm recital; 4 pm Choral WI 3 pm Professor of Organ for 67 years Evensong Grant Nill; Loyola University, Chicago, MarilynThe University’s longest-serving faculty memberMason Lynne Davis; First United Methodist, Or- IL 3 pm lando, FL 4 pm Daryl Robinson; Stambaugh Audito- 16 APRIL rium, Youngstown, OH 4 pm Hamilton Civic Choir; St. Patrick’s Cathe- A two-inch Professional Card in The Diapason dral, New York, NY 4 pm 9 APRIL Bálint Karosi, masterclass; Lawrence For information on rates and specifi cations, contact Jerome Butera: Janet Yieh; Christ Church, New Haven, University, Appleton, WI 10 am CT 7:30 pm [email protected] 608/634-6253 Bine Bryndorf, masterclass; Christ 17 APRIL Church, Rochester, NY 6 pm Marilyn Keiser; St. Mark’s Episcopal, Joshua Stafford; Westminster Presbyte- Louisville, KY 7:30 pm rian, Nashville, TN 7:30 pm Isabelle Demers; Overture Center for the Arts, Madison, WI 7:30 pm 10 APRIL PHILIP CROZIER LARRY PALMER Jakob Lorentzen; Central Synagogue, 18 APRIL New York, NY 12:30 pm James Kennerley; Merrill Auditorium, CONCERT ORGANIST Harpsichord – Organ Bine Bryndorf; Christ Church, Roches- Portland, ME 7:30 pm ter, NY 7:30 pm Mark Dwyer; Mechanics Hall, Worces- ACCOMPANIST ter, MA 12 noon Professor of Music, Emeritus Jack Mitchener; Stetson University, De- 3355 Queen Mary Road, Apt 424 land, FL 7:30 pm Wesley Roberts; Trinity Episcopal, Covington, KY 12 noon Montreal, H3V 1A5, P. Quebec Wesley Roberts; Campbellsville Univer- SMU, Dallas, Texas sity, Campbellsville, KY 12:20 pm Canada 19 APRIL South Mecklenburg High School Choirs; (514) 739-8696 Recitals — Lectures — Consultancies 11 APRIL Daniel Roth; St. John’s Episcopal, Ports- St. Patrick’s Cathedral, New York, NY 4 pm [email protected] mouth, VA 7:30 pm Highland Consort; Cathedral Church of [email protected] + 214.350-3628 Canterbury Cathedral Choir of Men & the Advent, Birmingham, AL 7:30 pm Boys; St. Paul’s Episcopal, Greenville, NC Spring choral concert; Cathedral Church 7:30 pm of St. Paul, Detroit, MI 7 pm Florence Mustric; Trinity Lutheran, 20 APRIL Cleveland, OH 12:15 pm Villanova University Pastoral Musicians; Vincent Warnier; Winnetka Congrega- St. Patrick’s Cathedral, New York, NY 4 pm A gift subscription to tional, Winnetka, IL 7:30 pm Robert McCormick; St. Peter’s Episco- pal, Morristown, NJ 7:30 pm 12 APRIL David Briggs; St. James’s Episcopal, Wesley Roberts; Gethsemani Abbey, Richmond, VA 7:30 pm The Diapason Trappist, KY 6:30 pm Rodney Ward; Holy Trinity Lutheran, Kingsport, TN 7 pm The perfect gift for 13 APRIL Richard Newman; Cathedral Church of Daniel Roth; Church of the Transfi gura- + organist colleagues + choir directors St. Paul, Detroit, MI 7:30 pm tion, Orleans, MA 7:30 pm + students + organ builders Fairfi eld Country Day Touring Choir; St. 21 APRIL + teachers + clergy Patrick’s Cathedral, New York, NY 4 pm TENET; Metropolitan Museum of Art, Students of Manhattan School of Music; New York, NY 7 pm Each month your gift will keep on giving by providing the Madison Avenue Presbyterian, New York, Alan Morrison; Longwood Gardens, NY 7:30 pm important news of the organ and church music fi eld. Know that Kennett Square, PA 8 pm Bine Bryndorf; Cornell University, Itha- Lafayette Master Chorale; Immanuel your gift will be just right. ca, NY 8 pm UCC, Lafayette, IN 4 pm For information, contact Ebony Fendley, 847/391-1028; Nathan Laube; St. John’s Episcopal, [email protected]. Or visit www.thediapason.com and click Chevy Chase, MD 7 pm 22 APRIL Parker Ramsey “subscribe.” ; Emmanuel Episcopal, Canticum Novum Singers; St. Luke’s Chestertown, MD 7:30 pm Episcopal, Katonah, NY 3 pm Joel Bacon; Cathedral Church of the Ad- $42 one year USA; $35 one year digital; $20 one year student Pauline & Jérôme Chabert; St. Patrick’s vent, Birmingham, AL 7:30 pm Cathedral, New York, NY 3:15 pm

30 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Steven Patchel; Cathedral of St. John Isabelle Demers; Zion Lutheran, Balti- Southminster Presbyterian Church the Divine, New York, NY 5 pm more, MD 7:30 pm SHORT HILLS Arlington Heights, IL 60005 Christian Gautschi; St. Thomas Church Quire Cleveland; St. Noel Catholic Fifth Avenue, New York, NY 5:15 pm Church, Willoughby Hills, OH 7:30 pm Jamila Javadova-Spitzberg; Washing- Katherine Meloan; First Centenary Unit- ton National Cathedral, Washington, DC ed Methodist, Chattanooga, TN 7:30 pm ANDREW SCHAEFFER, M.MUS 5:15 pm Samford University A Cappella Choir; DEREK E. NICKELS, DMA Jonathan Ryan; Grace Episcopal, The Cathedral Church of the Advent, Birming- First United Methodist Church Plains, VA 5 pm Church of the Holy Comforter ham, AL 12:30 pm Edmond, Oklahoma David Briggs; Duke University Chapel, Kenilworth, IL 60043 Durham, NC 5 pm 28 APRIL [email protected] Coro Vocati; Peachtree Road United Bach, Mass in B Minor; Woolsey Hall, (847) 251-6120 • [email protected] Recitals — Hymn Festivals Methodist, Atlanta, GA 3 pm Yale University, New Haven, CT 7:30 pm Stefan Kagl; Cathedral of St. Philip, Dessoff Choirs; Church of St. Paul & St. Atlanta, GA 3:15 pm recital; 4 pm Choral Andrew, New York, NY 4 pm Evensong Stephen G. Schaeffer A one-inch Professional Card Raúl Prieto Ramírez; Christ Church Ca- Canticum Novum Singers; St. Ignatius of in The Diapason thedral, Nashville, TN 4 pm Antioch Episcopal, New York, NY 8 pm Recitals – Consultations Choral Evensong; Christ Church, Grosse Taylor Festival Choir; St. John’s Episco- Director of Music Emeritus For information on rates and specifi cations, Pointe Farms, MI 4:30 pm pal, Savannah, GA 7 pm Christine Kraemer, with instruments, Quire Cleveland; Lakewood Congrega- Cathedral Church of the Advent contact Jerome Butera: works of Messaien; St. Luke’s Episcopal, tional Church, Lakewood, OH 8 pm Birmingham, Alabama [email protected] 608/634-6253 Evanston, IL 3:30 pm Katherine Meloan, masterclass; First Choral Evensong; St. Chrysostom’s Centenary United Methodist, Chattanooga, Episcopal, Chicago, IL 4 pm TN 10 am Gail Archer; St. Mark’s Episcopal, Glen Bella Voce; Buchanan Chapel, Fourth Jeffrey Schleff, Ed.D. Ellyn, IL 4 pm Presbyterian, Chicago, IL 7:30 pm Organist – Teacher – Consultant STEPHEN SCHNURR Saint Paul Catholic Church 23 APRIL 29 APRIL Sulphur Public Schools, Sulphur, OK Yale Repertory Chorus; Marquand Cha- Jeannine Jordan, with media artist; Nel- First Presbyterian Church, Grand Prairie, Texas Valparaiso, Indiana pel, Yale University, New Haven, CT 5 pm son Hall, Cheshire, CT 3 pm [email protected] Jackson Borges; Presbyterian Homes, CONCORA, Mozart, Requiem; St. Evanston, IL 1:30 pm James’s Episcopal, West Hartford, CT 4 pm Choral Evensong; St. John’s Episcopal, 24 APRIL West Hartford, CT 5 pm ROBERT L. Students of Vassar College; Central Syn- Yuejian Chen; Cathedral of St. John the agogue, New York, NY 12:30 pm Divine, New York, NY 5 pm Mark Steinbach Isabelle Demers; St. Bridget Catholic SIMPSON Church, Richmond, VA 7:30 pm Daniel Hyde; St. Thomas Church Fifth Christ Church Cathedral Brown University Jory Vinokour, harpsichord, with mez- Avenue, New York, NY 5:15 pm 1117 Texas Avenue zo-soprano; St. Chrysostom’s Episcopal, Gail Archer; Palmyra Church of the Houston, Texas 77002 Chicago, IL 7:30 pm Brethren, Palmyra, PA 3 pm Bruce Neswick, hymn festival; Christ

25 APRIL Church Christiana Hundred, Wilmington, ] St. Ignatius High School Chorus; Trinity DE 5 pm Lutheran, Cleveland, OH 12:15 pm Joseph Ripka; Washington National Ca- Joe Utterback David Wagner thedral, Washington, DC 5:15 pm ]] ] www.jazzmuze.com DMA 26 APRIL David Henning; Cathedral of St. Philip, Raymond Nagem; Cathedral of St. John Atlanta, GA 3:15 pm recital; 4 pm Choral www.davidwagnerorganist.com the Divine, New York, NY 7:30 pm Evensong 203 386 9992 Katelyn Emerson; Siesta Key Chapel, Ken Cowan; St. Paul’s Lutheran, Savan- Sarasota, FL 7 pm nah, GA 4 pm Choral Evensong; Cathedral Church of 27 APRIL the Advent, Birmingham, AL 3 pm Yale Schola Cantorum, Bach, St. John Quire Cleveland; Plymouth Church, Kevin Walters KARL WATSON Passion; Woolsey Hall, Yale University, New Haven, CT 7:30 pm Shaker Heights, OH 4 pm M.A., F.A.G.O. AINT UKE’S Renée Anne Louprette; Trinity Church, Choral Evensong; Christ Church, Grosse S L Wall Street, New York, NY 1 pm Pointe Farms, MI 4:30 pm Rye, New York Moon Area High School Honors Choir; St. Bella Voce; St. Luke’s Episcopal, Evan- METUCHEN Patrick’s Cathedral, New York, NY 1:30 pm ston, IL 7:30 pm The Salvatones; St. Patrick’s Cathedral, Handel, Messiah, Parts II & III; First New York, NY 4:30 pm Presbyterian, Evansville, IN 4 pm Barnard-Columbia Chorus & Choir of Alan G Woolley PhD 30 APRIL RONALD WYATT University of Bolzano, Italy, Verdi, Messa Musical Instrument Research da Requiem; Church of the Ascension, Matthew Buller; First Unitarian, Worces- New York, NY 8 pm ter, MA 7 pm Edinburgh Trinity Church

[email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 M !"!#$%$&'()*+,$&'-.+!"!"!"!#$!%&'&()*+#,$!,-!.,/&$01! A 2#1+,)3!4,$+5!*$6!7$+&)$*+#,$*'!.,/&$01!8*3!9:;<;=<>?! A two-inch Professional Card in The Diapason *!%,''&%+#,$!,-!@,/&$!%,/A,1&)1!*$6!A&)-,)/&)1" R For information on rates and specifi cations, contact Jerome Butera: C $!"!!$%$/012.304.5$/.6'(.$7+4$862.(!"!"!"!8*$#15!)&%#+*'#1+! B#$&!B)3$6,)-!A),C#6&1!*$!#$D6&A+5!*11&11/&$+!,-!+5&! [email protected] 608/634-6253 H E)&*+&1+!,)E*$!%,/A,1&)!(&-,)&!B*%5

!"!9$%$/7:35$8;('74$7+4$82$<'-.!"!"!"!@5&+5&)!#$!5#1!,@$! %,F$+)3!,)!#$!G@#+H&)'*$6?!I*A*$!,)!+5&!JGK?!B*%501! Artist Spotlights 2 /F1#%!+5)#''1?!F$,LF#C#%*''3" Artist Spotlightspotlights 0 1 !"!=$%$>'$?*@.$7+4$A3*+.$FHOHEUDWLRQVDQGUHÀHFWLRQV Artist Spotlights -,)!+5&!M*1+&)!1&*1,$" are available on Your professional card 8 The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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UNITED STATES Peter Richard Conte; South Main Bap- Wyatt Smith, with fl ute; St. Mark’s Ca- 8 APRIL West of the Mississippi tist, Houston, TX 4 pm thedral, Seattle, WA 2 pm Scott Dettra, with OSM Chorus, Mozart, Gregory Peterson; Pacifi c Lutheran Bruce Neswick; Trinity Lutheran, Lynn- Mass No. 17 in c, K. 427; Maison Sympho- 16 MARCH University, Tacoma, WA 3 pm wood, WA 7 pm nique de Montréal, Montréal, PQ, Canada Guy Whatley; Trinity Episcopal Cathe- Isabelle Demers; Southern Oregon Uni- Cherry Rhodes & Ladd Thomas; Clare- 2:30 pm dral, Phoenix, AZ 12:10 pm versity, Ashland, OR 3 pm mont United Church of Christ, Claremont, Rachel Mahon; Westminster United Brett Oliver; Christ Episcopal, Tacoma, Jeannine Jordan, with media artist; First CA 4 pm Church, Winnipeg, Manitoba, Canada WA 12:10 pm United Methodist, Portland, OR 3 pm Choir concert; Cathedral of St. Mary of 2:30 pm Temple Hill Choir & Orchestra, Gardner, the Assumption, San Francisco, CA 4 pm 18 MARCH Lamb of God; Cathedral of St. Mary of the 11 APRIL 29 APRIL Ryan Mueller; Our Lady of Good Coun- Assumption, San Francisco, CA 4 pm Samuel Kummer; Frauenkirche, Dres- Katelyn Emerson; Cathedral of St. John, sel Chapel, Mankato, MN 2 pm Michael Hey; St. James’s Episcopal, Los den, Germany 8 pm Stainer, The Crucifi xion; Church of the Angeles, CA 4 pm Albuquerque, NM 3 pm Anthony & Beard Duo (Ryan Anthony, Gail Archer; University of Alberta, Ed- Holy Family, St. Louis Park, MN 3 pm monton, AB, Canada 12 noon Angela Kraft Cross; Cathedral of St. 13 APRIL trumpet; Gary Beard, organ); Our Lady of Lourdes Catholic Church, Sun City West, Mary of the Assumption, San Francisco, Jonathan Ryan; Trinity Episcopal, Tulsa, 13 APRIL OK 7:30 pm AZ 3 pm CA 4 pm Gail Archer; Holy Rosary Cathedral, Re- gina, SK, Canada 7:30 pm 21 MARCH 14 APRIL INTERNATIONAL Paul Kosower; First Presbyterian, Roch- Christopher Houlihan; Cathedral of St. Paul, Des Moines, IA 7 pm 15 APRIL ester, MN 12:15 pm 17 MARCH Raúl Prieto Ramírez; Spreckels Organ Daniel Roth; St. Joseph’s Oratory, Mon- ; Bloomsbury Central tréal, PQ, Canada 3 pm 23 MARCH Pavilion, San Diego, CA 7:30 pm Baptist, London, UK 4 pm Edward Norman, with French horn; Karen Taylor; Trinity Episcopal Cathe- Ryerson United Church, Vancouver, BC, dral, Phoenix, AZ 12:10 pm 15 APRIL 18 MARCH Lynne Davis Canada 3 pm Fred Swann; St. Margaret’s Episcopal, ; St. Philip’s Episcopal, Gail Archer; Basilica of Santa Maria, Palm Desert, CA 12 noon Beeville, TX 3 pm Igualada, Spain 8 pm John Walker; Campbell United Method- Christopher Keady; Grace Episcopal 16 APRIL Greg Morris; Temple Church, London, ist, Campbell, CA 7:30 pm Cathedral, San Francisco, CA 4 pm 21 MARCH Alexander Ffi nch; Cathedral of St. Mary Samuel Kummer; Frauenkirche, Dres- UK 1:15 pm 24 MARCH of the Assumption, San Francisco, CA 4 pm den, Germany 8 pm 18 APRIL John Walker, workshop; First United Greg Morris; Temple Church, London, Methodist, Palo Alto, CA 4:30 pm 18 APRIL UK 1:15 pm Christoph Schöner; Frauenkirche, Katelyn Emerson; Cathedral of St. Mary Dresden, Germany 8 pm 25 MARCH of the Assumption, San Francisco, CA 7 pm 24 MARCH Choral Vespers; Gethsemane Lutheran, Carole Terry; Stanford University, Stan- James Johnstone; St. Albans Cathe- 21 APRIL Hopkins, MN 4 pm ford, CA 7:30 pm dral, St. Albans, UK 5:30 pm Jonathan Scott; Victoria Hall, Hanley, Philip Manwell; Cathedral of St. Mary of Stoke-on-Trent, UK 12 noon the Assumption, San Francisco, CA 4 pm 20 APRIL 26 MARCH Geerten Liefting, with soprano; St. Al- De Angelis Vocal Ensemble; Christ Ca- Jonathan Holl; Christchurch, Woking, bans Cathedral, St. Albans, UK 5:30 pm 6 APRIL thedral, Garden Grove, CA 7:30 pm UK 12:40 pm Leicester Philharmonic Choir, Handel, Bruce Neswick; Cathedral of St. John Samson; De Montfort Hall, Leicester, UK 22 APRIL Berchmans, Shreveport, LA 7:30 pm 28 MARCH 7:30 pm Ken Cowan; Meyerson Symphony Cen- Johannes Trümpler; Kulturpalast, 8 APRIL ter, Dallas, TX 2:30 pm Dresden, Germany 8 pm 22 APRIL Diane Bish; University of Oklahoma, The Chenault Duo; St. Andrew’s Episco- Greg Morris; Temple Church, London, Kit Armstrong; Berliner Philharmoniker, pal, Amarillo, TX 7:30 pm Norman, OK 3 pm UK 1:15 pm Berlin, Germany 11 am

30 MARCH 25 APRIL Ex Cathedra, Bach, St. Matthew Passion; Holger Gehring; Kreuzkirche, Dresden, Symphony Hall, Birmingham, UK 2 pm Germany 8 pm 2 APRIL Oliver Hancock; Christ Church, Skipton, 27 APRIL UK 11 am Denis Bédard; Holy Rosary Cathedral, Vancouver, BC, Canada 8 pm 4 APRIL Jaroslav Tuma; Kreuzkirche, Dresden, 29 APRIL Germany 8 pm Greg Morris; Westminster Abbey, Lon- don, UK 5:45 pm 5 APRIL Reitze Smits, with saxophone ensem- 30 APRIL ble; Sint-Katharinakerk, Hoogstraten, Bel- Jonathan Holl; Reading Town Hall, gium 8 pm Reading, UK 1 pm

ORGAN BUILDERS Duchon’s Organ Pipes CORNEL ZIMMER ORGAN BUILDERS L. W. BLACKINTON New Reeds & New Flues and associates, inc. Additions & Repairs FOURTH GENERATION BUILDER 330/257-0491 A NEW GENERATION IN 380 FRONT ST. EL CAJON, CA 92020 [email protected] EXCEPTIONAL QUALITY CREATIVITY, AND INTEGRITY Member Firm: The Associated Pipe Organ Builders of America RANDALL DYER 731 CROSSPOINT DRIVE Pipe Organ Builders Since 1915 DENVER, NC 28037 & ASSOCIATES, INC. P : 704-483-4560 11561 Edmonston Rd. HONE PIPE ORGANS OF QUALITY AND DISTINCTION BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Beltsville, MD 20705 WWW.ZIMMERORGANS.COM [email protected] 800/952-PIPE [email protected] ◆ www.rdyerorgans.com David E. Wallace A N D C O M PA N Y, L. L. C. Pipe Organ Builders New Organs Restoration / Renovation / Relocation www.wallacepipeorgans.com ATOS ExperienceAmerican Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

32 Q THE DIAPASON Q MARCH 2018 WWW.THEDIAPASON.COM Recital Programs

ADAM BRAKEL, Cathedral Basilica of St. August 11: Ciaconna, Storace; Allegro, Adagio gio in G, Volckmar; Andante in F, Lefébure- JOSEPH RIPKA, St. John’s Abbey Church, Augustine, St Augustine, FL, September 1: (Sonata cromatique), Barnes; Étude héroïque, Wély; Gavotte (Mignon), Thomas; Marche Collegeville, MN, August 9: Toccata, Fugue, Sonata I in f, op. 65, no. 1, Mendelssohn; Trio Laurin; Selections from Water Music, Handel; Pontifi cale, Lemmens. and Hymn on Ave Maris Stella, Peeters; Sonata in c, BWV 526, Fantasie and Fugue in Final (Sonata No. 5), Daveluy; Scherzo (Sym- Praeludium in C, BuxWV 136, Buxtehude; g, BWV 542, Bach; Introduction, Passacaglia, phonie V, op. 47), Vierne; Trio Sonata in C, FRANZ HAUK, Westminster Cathedral, Alleluias sereins d’une âme qui désire le ciel, and Fugue, Willan; Tu es petra et portae inferi BWV 529, Bach; Marche au supplice, Songe London, UK, August 30: Fantasia in f, K. 608, Transports de joie d’une âme devant la gloire non praevalebunt adversus te (Esquisses Byz- d’une nuit du Sabbath (Symphonie fantastique, Mozart; Wer nur den lieben Gott lässt walten, du Christ (L’Ascension), Messiaen; Master antines), Mulet. op. 14), Berlioz, transcr. Demers. BWV 647, Bach; Poème lyrique Ex oriente lux, Tallis’s Testament, Howells; A Refi ned Refl ec- Helmschrott; Choral No. 1 in E, Franck; In tion (Baronian Suite), Impassioned (Three JOHN BROCK, Cathedral of St. Peter the JONATHAN GREGOIRE, First Lutheran paradisum, Dubois; Fantasia and Fugue in d, Temperaments), Paulus. Apostle, Jackson, MS, September 22: Prae- Church, St. Peter, MN, August 7: Prelude in op. 135b, Reger. ludium in e, Bruhns; Toccata I (2nd Book), D, BuxWV 139, Buxtehude; Die helle Sonn DANIEL SCHWANDT, with Cara Wil- Frescobaldi; Canzona, Froberger; Ciaconna, leucht jetzt herfür, Walcha; What is this lovely JÓZEF KOTOWICZ, First Presbyterian son, violin, Prospect Park United Methodist Muffat; Tierce en taille, Dialogue in C, March- fragrance, Manz; Prelude and Fugue No. 16 in Church, Ypsilanti, MI, August 31: Study in Church, Minneapolis, MN, August 7: Sonata and; Sonata VI in d, op. 65, no. 6, Mendels- A-fl at, Martin; Sonata No. 3 in a, Ritter. b-fl at, op. 4, no. 2, Szymanowski; Chaconne, V in D, op. 65, no. 5, Mendelssohn; Sinfonia, sohn; Schmücke dich, O liebe Seele, BWV 654, Surzynski; Aria, Strejc; Sonata in c, BWV 526, Vocalise, Mutanza Oblongata (Sketchbook 4), Prelude and Fugue in G, BWV 541, Bach. LAURA GULLETT and EMERSON Bach; Hommages, Lindblad. Gawthrop; Abendlied, Gigue (Six Pieces, op. FANG, Old West Church, Boston, MA, Au- 150), Rheinberger. CRAIG CRAMER, Basilica of the Sacred gust 22: Variations on Est-ce Mars, SwWV NATHAN LAUBE, Basilica of St. Mary, Heart, South Bend, IN, September 10: Toc- 321, Ballo del Granduca, SwWV 319, Minneapolis, MN, August 7: Allegro (Sym- THOMAS SHEEHAN, Old West Church, cata in D, BuxWV 155, Buxtehude; Partita Sweelinck; Joie et clarté des corps glorieux phonie VI, op. 42, no. 2), Mystique (Trois Boston, MA, August 8: King David’s Dance, diverse sopra: Sei gegrüßet, Jesu gütig, BWV (Les Corps Glorieux), Messiaen; Wir glauben Nouvelles Pièces, op. 87, no. 2), Widor; O Filii Paulus; Organ Sonata, Distler; Scherzo for 768, Bach; Batalha de 6. Tom, Anonymous; all’ an einen Gott, BWV 680, Bach; Offer- et Filiae, Hosanna fi lio David (Twelve Cho- the Flutes, Cooman; Five Dances, Hampton. Noël à minuit fut un Reveil, Noël Pour l’Amour toire sur les Grands Jeux, Elevation, Tierce ral Preludes on Gregorian Chant Themes), de Marie, Noël de Saintonge, Dandrieu; Le en Taille (Messe pour les Couvents), Cou- Demessieux; Deux Évocations, Baker; Salve CHRISTOPHER STROH, Sacred Heart Mystère de Noël, Fauchard. perin; Andante sostenuto (Symphonie IX, op. Regina, Latry; Overture (Tannhäuser), Wag- Catholic Church, Freeport, MN, August 9: 70), Widor; March on Handel’s Lift Up Your ner, transcr. Warren, Lemare, Laube. Entrée Pontifi cale, Bossi; Capriccio (Douze PHILIP CROZIER, Wallfahrtkirche, An- Heads, Guilmant. Pièces), Lemaigre; Florete Flores, Pastorale, dechs, Germany, July 23: Air, Gavotte, Wes- AARON DAVID MILLER and ROBERT Downey; Concert Study, Yon. ley; Trio Sonata in c, BWV 526, Bach; Pas- STEPHEN HAMILTON, St. Nicholas VICKERY, House of Hope Presbyterian tourelle, Gagnon; Praeludium in e, BuxWV Church, Stuttgart, Germany, August 13: Church, St. Paul, MN, August 10: Jump, Ab- KENT TRITLE, Himmerod Abbey, 143, Buxtehude; Epigrams, Kodály; Partite Transports de joie d’une âme devant la glo- erystwyth Parody, Miller; Fantasy on BACH, Grosslittgen, Germany, August 27: Prelude and diverse sopra De Lofzang van Maria, Post; rie du Christ qui est la sienna (L’Ascension), op. 46a, Reger; Andantino, Grand Jeu (Suite Fugue in a, BWV 543, Bach; Sonata III in A, Tierce en Taille en D (Livre d’Orgue de Mon- Messaien; Partite Sopra la Aria della Folia de de premier ton), Bédard; Kyrie (Messe So- op. 65, no. 3, Mendelssohn; A Prophecy for Or- tréal), anonymous; Hommage, Bédard; Im- Espagne, Pasquini; La Romanesca con Cinque lennelle), op. 16, Vierne; Still Be My Vision gan, Pinkham; Sonata V in c, op. 80, Guilmant. petuoso, Wiedermann. Mutanze, Valente; Prelude and Fugue in c, (Triptych), Paulus; Contrapuctus 14 (Die Sankt Nikolai, Kiel, Germany, July 28: Im- BWV 546, Bach; Toccata, Villancico, y Fuga, Kunst der Fuge, BWV 1080), Bach, complet- GRANT WAREHAM, First Baptist petuoso, Wiedermann; Andantino (op. 51, no. op. 18, Ginastera; Litanies, JA 119, Le jardin ed Ferguson. Church, St. Paul, MN, August 10: As if the 2), Toccata (op. 53, no. 6), Vierne; Pastourelle, suspendu, JA 71, Alain; Prelude and Fugue in Whole Creation Cried (Triptych), Paulus; Gagnon; A Mighty Fortress Is Our God, op. B, op. 7, no. 1, Dupré. GIGI MITCHELL-VELASCO, Old West Variations sur un Noël bourguignon, Fleury; 69, no. 10, Peeters; Epigrams, Kodály; Kyrie Church, Boston, MA, August 15: Praeludium Evening Song, Bairstow; Agitato—Allegro (Messe Double, Livre d’Orgue de Montréal), DAVID HURD, Loyola University, Chi- in g, BuxWV 149, Buxtehude; Vater unser (Sonata XI in d, op. 148), Rheinberger. anonymous; Hommage, Bédard; Sonata Eroï- cago, IL, August 20: Sinfonia (Cantata 29), im Himmelreich, Böhm; Praeludium in d, ca, op. 94, Jongen. Dona nobis pacem (Mass in b), Bach; Fan- WV 34, Scheidemann; Komm, heiliger Geist, FLORIAN WILKES, St. Patrick’s Cathe- tasia on Wondrous Love, Four Spiritual Pre- Herre Gott, Tunder; Ach Herr, mich armen dral, New York, NY, August 20: Prelude and PETER DUBOIS, Third Presbyterian ludes, Hurd; Overture (St. Paul), Mendels- Sünder, BuxWV 178, Buxtehude; Prelude and Fugue in E-fl at, BWV 552, Bach; Karfreitags- Church, Rochester, NY, September 29: Cho- sohn; Faneuil Hall, Decker; Suite in Three Fugue in c, BWV 537, Bach. zauber (Parsifal), Wagner, transcr. Wilkes; ral in a, Franck; Psalm Prelude, op. 32, no. 2, Movements, Toccata, Hurd. Carillon de Westminster (Pièces de Fantaisie, Howells; Sonata in G, BWV 530, Bach; Trio ROSALIND MOHNSEN, Church of St. op. 54, no. 6), Vierne. en Passacaille, Raison; Passacaglia in c, BWV JAMES HAMMANN, First Congrega- Mary, St. Paul, MN, August 10: Toccata, Tit- 582, Bach; Andante sostenuto (Symphonie tional United Church of Christ, Menomonie, comb; Divinum Mysterium (Chant Works, set GREG ZELEK, Holy Cross Lutheran Gothique, op. 70), Widor; Suite, op. 5, Durufl é. WI, August 5: Festival Prelude on Old Hun- 1, no. 4), Near; Ave Maris Stella (Trois Para- Church, Minneapolis, MN, August 7: Fanta- dredth, Eddy; Communion in e, Batiste; phrases Grégoriennes, op. 5, no. 2), Langlais; sia, Weaver; Liebesträum No. 3, Liszt, transcr. JILLIAN GARDNER and ISABELLE DE- Melody in C, Silas; Andante (Sonata, op. 2), Roulade (Six Pieces, op. 9, no. 3), Bingham; Potts; Danza Lucumi, Malagueña (Suite An- MERS, First Lutheran Church, Duluth, MN, Gleason; Prelude and Fugue in a, Eddy; Ada- Triumphal March, op. 26, Buck. dalucía), Lecuona, transcr. Zelek.

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Morel and Associates, Organ Builders of Den- Certified appraisals—Collections of organ ChicAGO Centenary Anthology, by Alan J. Organa Europae calendars featuring famous ver, Colorado, is seeking an experienced pipe books, recordings, and music, for divorce, Hommerding, Paul M. French, Richard Proulx, et pipe organs of Europe; years 1969 to 1977. organ technician to join our company to assume estate, gift, and tax purposes. Stephen L. al. This joint effort of the Chicago Chapter of the $10.00 each. 219/662-0677, [email protected]. the position of Service Manager. Please mail or Pinel, Appraiser. 629 Edison Drive, East Wind- American Guild of Organists and World Library email résumé to: Rick Morel, 4221 Steele St., sor, NJ 08520-5205; phone: 609/448-8427; Publications presents specially commissioned Pipe Organs of the Keweenaw by Anita Denver, CO 80216; email: [email protected]. email: [email protected]. organ works by Chicago composers, as well Campbell and Jan Dalquist, contains his- as rare or unpublished pieces by earlier organ- tories, stoplists, and photos of some of ists from the city including Leo Sowerby. Also Organist/accompanist position. Northwest Organs of Oberlin chronicles the rich history of the historic organs of the Keweenaw Pen- Covenant Church in Mt. Prospect, Illinois (Chi- includes a jubilant Bailado Brasileiro by Richard organs at Oberlin College, the Conservatory of insula, the northernmost tip of Michigan’s cago’s northwest suburbs) is seeking an organist Proulx, the AGO’s 2006 Composer of the Year! 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Organs by Luther’s text, with its 16th-century melody, is the Skinner Organ Company, Aeolian-Skinner, set for SAB choir and organ and was written to C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, commemorate the 2017 Reformation anniversary. Organ Music of René Louis Becker, Vol. 3, a Wanted: Organists visiting Maui. Lahaina’s Holy and many others are featured. Text by Stephen Available from the composer at herman@udel. new Raven CD. Damin Spritzer plays the 1938 Innocents Episcopal Church invites visiting organ- Schnurr, foreword by James David Christie; edu. Kimball 4-manual, its original 96 ranks restored, ists to play its Beckerath Positiv organ at Sunday photographs by William T. Van Pelt, Trevor services. Built in 1972 by Rudolf von Beckerath and at St. John’s Cathedral, Denver, now with a then-apprentice Hans-Ulrich Erbslöh for Honolulu’s Dodd, Halbert Gober, as well as rare vintage 17-rank antiphonal added. Becker (1882–1956) examples. $50, plus $5 shipping. Visit www. The new Nordic Journey series of CD record- was an Alsatian-American composer, teacher, Lutheran Church, the 408-pipe Shrankpositiv has ings reveals premiere recordings of symphonic a 54-note “split” manual, 30-note pedal, 11 stops, organsofoberlin.com. and organist who worked 52 years in St. Louis, organ music—much of it still unpublished—from 8 ranks, and 6 registers. Holy Innocents acquired Illinois, and Michigan. Spritzer’s previous two vol- Nordic composers, played by American organist the instrument in 1977 and moved it to Maui where umes of Becker’s works, still available on Raven, Johann Sebastian Bach’s S. 562, Fugue (frag- it has been played by parish musicians such as James Hicks on a variety of recently restored received stellar reviews. The new CD is the fi rst Carol Monaghan and visiting artists including ment) in C-minor, prepared with a completion is Swedish organs. It’s a little bit like Widor, Reger to be recorded on the completed organ and Angus Sinclair of Canada and Dalibor Miklavcic of featured in an occasional—and unusual—com- and Karg-Elert, but with a Nordic twist. Check it contains 10 works, all not previously recorded. Slovenia. The instrument is extremely responsive plimentary issue from Fruhauf Music Publica- out at www.proorgano.com and search for the Raven OAR-999 $15.98 postpaid. Raven, Box and fi lls the worship space beautifully. The parish tions. The letter-sized booklet PDF fi le includes term “Nordic Journey.” 25111, Richmond, VA 23261; 804/355-6386, community is “exemplary in its hospitality to all visi- notes and seven pages of music. The fi le down- RavenCD.com. tors,” and that especially includes visiting organists. load will be featured throughout 2018, available For information: 808/661-4202; holyimaui.org. from FMPs’ home page Bulletin Board, to be Ed Nowak, Chicago-area composer, arranger, found at: www.frumuspub.net. and church musician, announces his new web- The Organ Historical Society has released site, featuring Nowak’s original choral works, The Philadelphia Hymnbook, compiled, edited, PUBLICATIONS / RECORDINGS hymn concertatos, chamber and orchestral and annotated by Rollin Smith. This spiral-bound My restoration of Weinberger’s Bible Poems works, organ hymn accompaniments, organ edition is a cross-section of sacred music from Foreshadows of the Cross. For the ambitious includes the original Foreword, Editor’s Note, and and piano pieces, electronic music, and psalm many faiths, in many styles, and as diverse as organist. Stunning, powerful. 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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

The Holtkamp Organ Company is proud to offer Historic 1859 ROBJOHN, II+Ped, 11 ranks. Aeolian/Robert Morton-style maroon this fi ne instrument for sale. It is a1937 Votteler- Wahl two-stop fi rst series practice organ. Drop dead gorgeous rosewood case, 14′-2″ tall. leather is now available from Columbia Organ Holtkamp-Sparling, originally located at St. Oak casework. Neenah, Wisconsin. Lovely for chapel, large residence, or museum. Leathers! Highest quality. 800/423-7003, Mary’s Church in Millersville, Ohio. It was fea- 920/725-6466. [email protected]. www.bigeloworgans.com. Click on News. www.columbiaorgan.com. tured in The Organ In Church Design, by Joseph Edwin Blanton. It is two manuals, 7 stops, and 9 ranks. It’s dimensions are roughy 12′-0″ high, II/3 Kilgen Harmonic Ensemble 3 rank organ. Rare Estey Grand Minuette (1930, Opus Releathering all types of pipe organ actions 8′-6″ wide, and 5′-6″ deep. The attached console Beautiful walnut console with full AGO pedal- 2882): 2-manual, 3-rank, with newer Ventus and mechanisms. Highest quality materi- adds another 2′-10″ to the depth. After a com- board; complete with blower and cabinet: 99 by blower. Unifi ed 16′ string, 8′ fl ut e , 4 ′ prin- als and workmanship. Reasonable rates. plete restoration, it will make a beautiful organ 37 by 100 inches tall plus console. Has been in cipal, $10,000. [email protected], Columbia Organ Leathers 800/423-7003. for a small worship space. Contact the Holtkamp our residence since 1997. Owner will help disas- 763/229-5448. www.columbiaorgan.com/col. Organ Company for further details. 216/741-5180. semble and remove from house. Unit updated [email protected]. with Peterson electronics in 1982. $2000.00. Danville, VA: 434/724-3761, frankjhumphrey@ MISCELLANEOUS FOR SALE ANNOUNCEMENTS yahoo.com. Rieger 23-rank mechanical pipe organ for THE DIAPASON E-Newsletters are e-mailed Excellent used pipes, like new Austin sale. Two 61-note manuals and 32-note AGO monthly to subscribers who sign up to receive concave, radiating pedals. 1,221 pipes, manual 54-rank Casavant–Létourneau pipe organ for actions half price, all sizes of re-leathered them. Don’t miss the latest news, featured artists, and pedal couplers, and tremulant; includes 3 sale with 10-year warranty: $949,000. Orgues bellows and solid-state equipment. Milnar and classifi ed ads—all with photos—some before separate mixture stops and 2 reed stops. Gen- Létourneau is offering a 50-stop rebuilt pipe Organ Company, 615/274-6400, dennis@ they appear in print! Visit www.TheDiapason. tly voiced for a chapel or home use. Compact organ in like-new condition for US$949,000. The milnarorgan.com. Please visit our website com and click on Subscribe to our newsletter. For 1 design: width: 5′-8 ⁄8″, depth 7′-3¼″, height core is Casavant’s Opus 2518 from 1959 with for information on available inventory: www. assistance, contact Stephen Schnurr, 847/954- 7989, [email protected]. 7′-3½″ with separate electric blower 2′ x 2′-1″ electro-pneumatic wind chests; the revised spec- milnarorgan.com. x 2′-5″. Mechanical key and stop action, slider ifi cation can incorporate up to sixteen new stops windchest. Asking $55,000.00. For more details built by Létourneau. Installation costs, on-site Consider a gift subscription to THE DIAPASON Consoles, pipes and numerous miscellaneous call 360/945-0425 or see OHS Organ Database, voicing, an allowance for casework in red oak, for all your friends who love the organ, parts. Let us know what you are looking for. Rieger Orgelbau, Gaspar Schulek Residence. a rebuilt three-manual solid-state console, and harpsichord, carillon, and church music. E-mail [email protected] (not comcast), a ten-year warranty are included. Transportation Your gift will be remembered throughout the phone 215/353-0286 or 215/788-3423. Kilgen Petit Ensemble, 2-1/2 ranks, two manu- from Québec is not included. This organ requires year. (And don’t forget our special bargain for ′ ′ als, 17 stops. Full AGO pedalboard, original approximately 570 sq. ft. with 20 ceiling for 16 students at $20!) Visit www.thediapason.com ivory keys. In tune, played regularly. In a church ranks. For more details, visit www.letourneauor- SERVICES / SUPPLIES and click “subscribe.” until late 1980s, refi nished case, in private home gans.com, e-mail [email protected] or since. $14,000. Contact: 225/975-6758. call Andrew Forrest at 450/774-2698. Do you have a pipe organ that you would Postal regulations require that mail to THE like to interface with an electronic or digital DIAPASON include a suite number to assure Casavant Freres Opus 3818, 2004. 3-manual Circa 1860 Pfeffer eight-rank organ, available organ? We can interface any digital organ or delivery. Please send all correspondence to: drawknob, 52 ranks, E/P action in excellent play- rebuilt and custom fi nished. Also 1884 choir any with any pipe organ. For more THE DIAPASON, 3030 W. Salt Creek Lane, Suite able condition. Scottsdale, AZ. Steve Beddia, organ by Louis Debierre. Both are pictured on the information e-mail [email protected] (not 201, Arlington Heights, IL 60005. 609/432-7876, [email protected]. Redman website: www.redmanpipeorgans.com. Comcast) or call 215/353-0286.

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3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2018 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

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

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Stefan Engels* Thierry Escaich*László Fassang* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Westminster Cathedral United Kingdom (October 2018)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Saint Thomas Church New York City (March 2019) New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth* Jonathan Ryan Notre-Dame Cathedral Paris (April 2020) Celebrating Our 97th *=Artists based outside Season! the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young