THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE INTERESTS OF ORGANISTS

Sixty-third Yt'4r, No . 5 - WIIDIt: No. 749 SUIIScril'tiOJJS $-tOCl a year - 40 cellts n copy

.JJarolJ qlecuon

GilJ~liel~ r&rl~Ja'l 5ritule THE DIAPASON Congl'atutatioTUJ to (x...... , ••/Mr. aI U. S. P....., 01/1.. ) s. E. CRUENSTEIN. PUWWO., (1808-1857)

on RONIT SCHUNIMAN APRIL. 1972 frllto, FEAT1IIIES DOIOtHY 1050 Some Sp.c:ulatiaDS Coacemlng the 'ulin... Manag., Inslrumeatal Mualc 01 the Faerua Codex 117 Dr W. Thoma Marrocco & WISl!Y vas Roberl Hu.. tIa 3. 11. 17. 11 AaI"an' ErIl,o,

Adam 01 Fulda: TJa.an.1 and This issue of TilE DIArAsoN is dedicated to a man who ha.s 3.chievcd distinc­ Compol.r tion in the fields of organ instruction. organ lih'raturc and history, organ build­ Ir Lewis Rowen 4. S. 20 ing. and musicology. but cspt."CiaIly as a pedagf'llgue. The countless number of An l",emGlional Month,., Deao,.d '0 students now holding responsible positions in our colleges and universities allests 'h. Or,n aM '0 Or,.tau and to his skill in teaching. CII..,eI, Mule A Concert On)'Ga lor Rayce HaD. V.C.L.A. Harold Cleason was oorn in Jctrt.' TWU. Ohio, on April ~W . 1892. but rt.'Ccivet) Iy Robert L. Tual., I. 1. 22. 13 his schooling in l'as.1dctl3, first :It the Throop l'uillCdlllic Institute and later at Official JourrNJ/ .J ,h. the California Institute of T t."t hnnlogy. At the age of 20 he realiu'tl that his lo\'c Dmo.. NIleM"" d. 0 ...... "'41 01 M-.rlco for IIlUJic tr:'I1Isct'lI(k'tl all olllt:r inleR'SI! :mll, after preliminary work in piano. JobaDD" Kepler'. Ea:curlloa lnla urgan. harlUony anti cullnt~ rpoilH. he \\"enl to I'aris in 1918 to study wilh Joseph X"'D~ PaUtica) ProportloDS Br UOlmel. While in Europe he also slUdicd Crl'gorian Chant at the ncn~dictine Ed"""'" on4 BwIA... OffIce Ru!b Hannal I ••• 12, 11 Monastery at QU3TT Abbey. anti in Munich he ath:mled 5ClIlit13rs in musicology 434 Sou," WIIfhroM Aonu•• C"'ca,o. la., 80805. X..... h.n. 312·IIA7·3149 gh'ell h)' Hcinrich hcssclcr. SublCripfion prlc., 14.00 a lIear in ad- An His~arlan'. Good Fortune: Returning to the United SIOlIt.'S in 1919 he was appointed organist and choir­ oance. Sln,le copl•• 40 cenQ. Bacl: New Light on Danle' yan der master at the I:Hlh ,\\'enuc l'I'csbylcrian Church in New York City. A ycar later DI.tel8n Eealar aad Junior num""', mar. ,hem hOo lIear. old, 15 Br Maartea A. Vente 10. 14 he 1II0\'cd 10 Rocht."Ster, New York. to become the organist at the First Church em',. Porel,n tublCrlptlona mud b. of Christ, Scientist. From 1926 10 1912 he was organist and choinnaster at the paid In Dnlled S'al•• /un," or '''e Brick 1're\bYlcrlan Church, and from 19~2 to 1949 orbtanist at St. Paul's Episco. _quloaln, '''ereo'. ~s 24 pal Church. Meanwhile he was appointed the heao of the organ dcp3rtmelll and NUNC DIMlrnS 2. prok'SSllr o( musicology at the Eastman School of Music in 1952, and c\'cntually Adoerlidn, rat•• on ttpplleatlon. director o( gradu31e studit."S ulltil his retirement in 1955. As though this were CALENDAR 21-2t not enough he founo timc 10 t:lke the al..hninistrative reins of the David Hoch­ Boullne "8IM lor publlcallon mud b. stein Memorial School from 1920 10 1929, was George Eastm:lO's personal organ· received no' later ,,..,. ,It. lOt" 01 '''e CLASSIFJED ADlVERnSEMENTS 30-31 ist bctwtocn 1920 and 1932, ga\'c recitals in this country and alJroad, and super­ monl" 10 GNU,.. 1ftMf1lon In ,It. laue lor III_ nat mal"". For reclUIJ pro­ \'iscd the installations of many orgolns. In 1952 he was awarded the doctor of cnnna and ad""""", COPJl, a.. cia .. music Ol..-grcc. hO,loriJ callm, (rom MacMurr:lY College. Illinois, All .ubsaiben are urged to ICDd ln, did. " III. 5'''. MoferW. lor ra­ chanp 01 add.... prvmpdy t. the But what of his rt..'SCarch and publie&tion rcrord? His Music Literature Out· ...... "../4 ,....,h .he .1/k. btl u.. allb of The Dwpason. O&anges li"eJ (fh'c \'olumcs rrOin the Middle t\ges to the Twcnticth Century) arc well­ ld. must .. cadi us before the 15th o( the known to graduate slmJenlS prcparing for doclor:ll eX:lIIIS; Music in A.lllcr;ca month preceding the date of the (with this writer :u co·author) W:lS published by WoW. Norton. Ncw \'ork. 1004; Second-clut podoc:e paid a' CIt,· Ont Issue (0 be mailed to Ihe DeW amI m:lny articles and rC\'iews appeareu in the Mluicnl Quartul),. The DiajHurm, cac:o. la., and III addUtonal maUln~ address. The Dlap:uon alnnot pro­ Mllsic Library Noles, the Procertliugs 0/ 'he llhu;c Teachers /\"";0'1111 Allociation ai/Ie •• l ....ed man''',.,. T". Dlopuon vide duplicate copies misled becluae and the }ollrnal 0/ tile American Mluicological Societ),. Undoubtedly. his great­ 01/1.. • , publkallon. 434 SouIh WalHuh o( a lubsttlbe~1 faIlure to nollfy. est contribution is his Method of Organ PlaY;'lg (Appleton-Century·Crofts) now ANn... , C"ko,o. la. 80805 in its fifth edition and used universally. Hale and hearty at SO, Dr. Gleason Jives in La Jolla with his famous spollse. Catharine Crozier. continlles his rescardl. gives master classes on various cam­ W. Thomas 1\(aTTO(CU sludied violin ror three years afler graduating (rom pU!iCS wilh his wife, and cnjo),s life. The due to his success as a tC3cher may be high school in Rochester. New York. He graduated from the Royal_ Conscrvat!'ry (ound in the words o( Gibran's The Prop',et (Alfred 1\. Knop(. New York, of Music in Naples. rclllnted 10 Rochester's Eastman School of MIISIC. cO!,lpletlll~ 1970) . which reads: his bachelor's and Ulilsler's dt-grecs, the lattcr under Harold Gleason III mUSI­ The teacll ~ r who walks in 'lie sliadow 0/ tile teml,'e. cology. Immediately following World War II, during which he. w~ a par;chutc mllong his followerJ, gives 'lOt of his wisdom but lechnician. he taught at the University of Iowa and at the Unl\'crslty of Kansas. mther of his faW, arltl his louingtle5S. If he is His Ph.D. degree was received from thc University of California at Los Angeles, and he has been prurCS50r of Inusic there since 1956. Dr. Marrocco is the aut~or i"deed wise lie tloes flat bid )'ou enter lI,e howe of o( numerous public;ations. His current projects ar:c a six·\'olume set of. ~tahan wisdom, but rather leads you 10 the tlire!llO/d 0/ music of the (ourtt.'Cnth century, and over 100 Items for the new edition o( ),ollr mind. Grave's Dictionary. The following articit."S arc submitted by (anner stutients and (riends as a binJltiay offering 10 all oUlSl:I.llding figure in the musical world o( the twentieth Ro1xn HU!!'Slit. A.,\.G.O., received his bachelor's and mauer's degTccs at Cali­ century. fomi:. Slate Cullege at Long Beach. and he is prcscnlly working toward ad!". W. Thomas Marrocro, Professor 10r:lle in musicology at the Unh'ersity of CaHrornia. Los Angel~, He studied University or CaHromia 3t Los Angeles organ willI Clarence Mader, continued with AI( Linder in stockholm. Sweden. and studied the methods of organ design ex.emplified in the instruments of Nils Hammarberg of Sweden. Mr. Huestis is organist of St. Andrew's Presbyterian Robert L. Tuslcr, Assodalc Professor Church. Newport Beach, California. University or CalHomia 3t Los Angeles Lewis E. Rowell is cUTTcntly professor of music and chainnan of the graduate A. note from tI,e Editor: £ield o( music at the Unil'ersity o( Hawaii. Educaled at the Eastman School o( Most 0/ Jullat needs to be said about this iss uc is e1cqllelilly Jtalt!d above. Dr. Music. where he earned the 8. 1\.£115. and Ph_D. degrees in music theory, he has Gleasoll throllghout his long mill produclille career has "ot been a Imblicity seek· held positions at the Uniwrsity o( Oklahoma, Indiana Unh'ersity. and the Cni­ er, preferring to go about llis work quielly and with thoro"g/Hless_ Thus it is ,"crsity of Cincinnati. His rcsearch auil'ity has emphasized the history o( 1I1usic-.1I approllrlate tlrat this tribute to him Ilc made in tire Jame mmmer, without theory - partiCUlarly ancient, medieval. and Asian - and aulograph study. He is undue fanfare. It ;s au isslle filled with the work 0/ otl,ers, dedicrJled to Dr. also an organist. compos~r, and co·author o( the widely uscU series of theory texts. Gleason as au cxl,ression of gralituric to au outstmlding aud towering figure Materials arid Slnlcturc of Music. in our mwical world. These articles arc at! exlJreSJiorl of love and admiration to a man who cared much Olat work suc" as this be done well. Kohen L Tusler is associate professor of mllsic at the University of California, Readers will ,waC(! tlrat wc "ave laid aside our usual 11I0,Jt/lly contents. Aside Los Angeles. He is currently continuing his research as a post doctoral Fulbright from Ollr uJual calctJtlar mltl classificd advertisements along wiOJ a small bit of scholar in tlle Netherlands. Among his publications arc two well-known books, timely news, all e1sc "as been omitted iu favor 0/ the sc"olarly art;c1~. This ;s The Slyle 0/ }, S, Bach's Chorale Preludes, and The Organ Mluic of }a" Piclers· as it sl,ouid lIe. Tlliry are exl,reSJ;rle of Ille tllings tlrat Dr. Gletlj{)u lias long iu­ uxm Swu/i"ck. As director of Rlusic at Wilshire Presbyterian Church, Los valved /lilt/self itt - orgaus atHl orgliU music, UJluic tlleory, music history, and Angeles. Dr. Tusler is responsible for an acth'e and growing lUusie&l program. leamiug IIbo,,' mwic. His activities in the Los I\ngeles Chapter of Ihe A.C.O. include serving as chair· We are tf'rilled and proud 10 Ilresc"t lI,cse offerings as a tr;IIIIIt: 10 Dr. Gleason, man of the California Organist editorial bond, and as chainn3n of tJle New and we alii), wish to tllld ollr moll ',earl felt ~".eet;rrgs rmrl 11eJI wishes to those Music Projt."Ct Commillce. Along witJl Rayncr Brown, Dr. Tusler is CO-t.'tlitor of given aboue_ To Dr. Glellsorl au his SOlll birthday: "HaNlY lIirllrrla),1 aud may the Wilshire Presbyterian Music Foundation colllempor:lry organ and chor31 series. ,.our life cout;'lIIe to be filled 1uill, surprises!" Tire Editor Maartcn Albert Vente studied history. geography, and musicology, receiving the doctorate (rom Utrecht Univcrsity in 1942 wilh a dissertation on thc hiltory o( lhe organ in the Low Countries during the 16th century. Hc is prcscntly THE AUTHORS IN THIS ISSUE: associate pmressor or musiCOlogy at Utrecht Unil'ersity and secretary o( the In· RUlh Hamms was born in Greelc)'. Colorado. her parents bciug o( pioneer ternational Society o( Organ Builders. His publications include ilel,erlory of the families from I'Cllnsylv:mi:l. She W:15 ednC3led in America and Europe in piano IltCClf'ds Abol;t Du/ch a"d Belgian Organs and Organ llllilrlerJ (lJrusscls, 1956): and tJleor)" numbering among her private tcachers Ashley "eUis, George McManus, The IJrnbtUIl Orga" (Amsterdam, 1958. 19(3); f'ive Centuries 0/ Orgntls at Albert Elkus, Carolyn Alden Alchin. and Walter Gicscking. She holds thc B.A . Zwolle (Amslcrdam. 19i1): 'rlle Orga'i amI Its Music in tI,e Netherla"ds from degree and the M.A. dl..'gree in German and Latin rtom the U!li\'crsitJ' 0(. Cali· 1500 10 ISOO (Antwerp, 1971, co·author with Flor Peeters and others); Documcnta (ornia ••lUd the Jlh.ll. dtogree rrom Eastman 5<:hool or MUSIC, UIII\'ersIlY of el Arcl,ivalia ad ";J;Ioriam lIIusica~ "urlmulicae (Amsterdam. 1965. 1971. CO ·':11Itll0r Rochester. l'rimaril)' a unh'crsit)' tcacher o( composition. she has publishcd with C, C. Vlam): and also some 100 articles and llIallY rc\·iews. Dr. Veute ha.o; widely in both lIlusicologic.l and litcrary fields. Ill'. Hannas prcsently Ii\'cs in recently gained an international reputation as an Orgall design consultant both Ihrmingham, ,\Iabama. for new instruments as well as for the restoration of historic instruments.

2 THE DIAPASON Some Speculations Concerning

The Instrumental Music of the F aenza Codex 117

by W. Thomas Marrocco and Robert Hue.';s

Since its rediscovery in 1939 the man· The Faenza codex contains 58 folios uscript which is now Codex 117 of the (106 pp.) of instrumental music. Of Bibliotcc.'\ Comunale of Facnza, Italy. tJlese, folio 62r·v is a palimpsest con· Il3s intrigued musicologists because it taining the treatise ]leg,,'e de Mono· i!'l one of Ihe ciulicst docllments per­ conlo tllCUiuli by John HotJlby, copied I:lining 10 the history of instrumcnL:lI O\'er some panially cr.lscd instrument:ll music. The study of the cotlc"- by Dr. music which is similin in appearance Dragan l'lamcnac and its imminent pub­ to the liturgical music pr~nt clsc· lication by the American Institute of where in the codex. Folio 62v shows i\lusiwlogy will undoubtedly add to our lhat the music should continue. a \ meager knowledge of performance prac­ tlo two other folios of the codex. The tices of the Ars No\'a.1 composilions which break off on folios Rcconl is made within the manu­ fir and 36v were probably never com· script that in the )'cars 1473 and 14i4 pleted. since 5v was left VOlcanI (later loh.ulIIes Uonadic!I, a Carmelite monk, filled in with a Kyrie by John Hothby) I 'used the codex for the blank. music and the staff lincs 011 folio 36v arc not folios which it then contained in order full)' occupied with music. The compo­ 10 cllier some compositions and Ihoo­ sition which ends on folio G2v was Ictical writings by himself and other citJlcr left incomplete, or the folio is musicians of his Ordcr/.1 At that tune presently l1Iisoound in the coc.lex and the volume was devoted exclusively tl') ~lSibly onc or more folios which or· instrumental music, some of it composed Iginally followed it arc missing. If as much as n century earlier. Pan of the folio is properly bound into the this music was intended for litursical coc.lcx al thc prescnt time. a queslion use. and the rest was arranged nom remains to be answered. Though lhis pre-existing secular ,,"oml models Cor folio is extrcmdy dif(jcull to read. its instrumental performance. All the COlO­ two sklcs show the ends of three scctions positions arc written a 2; the lower :lnd the beginning of a fourth section 01 part in most cases adhering quile faith· 311 unidentified composition, thougll rully to that of the mcal onginal. and only parts of the bass linc and none the uPI)t!r part relying on elaborations o( the treiJle may bc read for seuions of the melody_ In those instances whcle one and three. Why should this compo· the \'oml lIIodel is prescn"ed a a, the sition, even if never finished, ha\"c treble part of the Faenza version repre­ becn left isolated on eitJler sidc by sents an arntngement made from both several blank pages? upper parts of the vocal antecedent. 'lhe Twelvc French and 12 Italian com­ bass line is preserved as before. t:= x­ positions arc din"'C lly identified in the ccpt that rests arc filled in wilh the low­ codex. Among these arc instrumental est·sounding notes or the ,,"ocal mooe}'s arrangemcnts of balladcs by Guillaume upper parts. de M3chaut and Pierre des Mulins. rhough the copying of the inslru· alit) also madrigals :md ball3las by melHal pieces into the l'aenza Codex Jacopo dOl llologll3. Bartolino dOl POl ' was done hetween 1410 aud 1420,), the dova, and Francesco Landini. A number \"Dca 1 originals arc French and Italian ~f these marked compositions reprc5("lIt compositions written during the last mstrumental arrangements of vocal an· half of the 14th century. As some of thl' lcccdents which have not been prc· composers represented arc known to servt.'tl,il and a short verse on the Kyrie ha\"c played the organ. a natural pOJ' CutJctijJoUru is included with the Italian sibility exists lbat a few of the in· pieces. Among the unattribulcd composi. strumental alT:mgements in this man· lions included in the codex. Dragan uscript ma}' have been written by the Plamenac has identified several secular same composers who wrote the vOClI compositions by Antonio Zacara da Tera- originals. Some YcaJs ago the nott.-d 1U0, an :lIIonymous ballala Deduto sey~ musicologist Charles van den Borrcn seltings o( the liturgical hymns Benedi· suggested that Fruncesco Landini him· COUIIU Dom;'Jo and Ave Maris Stella, and self could have been the arranger of two organ Masses based on tJle Fourth Jouannes de Florentia an instrumental fantasia on olle oC Gregorian Mass C,mctipoteru Geni­ his own ballatas. "Non ar.'l may piela tor D~lls . . '1 he unmarked pieces also From the SquaraiaZupi eods:::. foZ. 195v. questa mia dona" (Ex. I)." include a number of compositions as yet unidelllHiablc: the manuscript sources cont3ining their vocul models have in all likelihood been lost. Ilo\\' were these arrangements per· formed? Did the v0C31 original serve as Ex. I" fol. 8lr a model with its customary repeats, were the instrumental versions pcr­ ronned strnight Ihrough without reo peals? The French ballades appear to follow their ""DCaI models (AAB) since rirst and second endings are glven at the cnd o( thc firsl section_ The ar. raulJements of the ll .. lian madrig-.J.ls are obViously performcd willlOUl the rept.'­ Iii ion of thc first section" TIle sec. tHlt.! section is int.!icall'd by the word I'olln (the exact meaning of which is lIot clear in this COntcxt) thu5 giving the performancc sequence AB. The [onn of the vocal ballatas is A (riprt."S3). n (primo picdc). U (secondo piede), 1\ (volta). A (ripr<_'S:I.). Howe\"cr, thc instrumcnlal version is performed ABB; the first anti s.... cond endings arc sup­ plit.'tl. The perfonnance ruedi .. used for this mU5ic JI:l5 long been a subject for (conanu~d, p. 16)

APRil, 1972 3 Adam of Fulda: Theorist and Composer

by Lewis Rowell

There arc curious gaps in tlu~ histolY mona~tic experience wcrc~ in nearby Ihe coune of these iu\'t..'$tigations; Ad· the relationships betwecn the art of or music theory, most notably the in­ Etfurl. and in 1508, a year after his 0&111', practical, conunon'5Cnse advice for mllsic and intellectual life. Leonard El· tCT\r:l1 between the yean 1330 and orctinatiotl to the prio;thootl. Luther was the contempor.uy composer and his re· linwood's "Ars MusiCil"· is a particularly 1480 in which there seems to h::m! been appoinletl to the chair of philosophy I:Hion to earlier tIIusicn $}JeculntivtJ. The helprul source ror the Mc..·theval music II remarkable sparsity of speculath-e it( Wittenberg. latter themc is a fascinating ouc in Ad· lreatisc as a part of the university wlilillg about music. The end points There is some qucstion as to whether am's writing and makes it impelOlth'e scene. (or this period can be marked by the Adam W:1.Ii a deric: before the slUdics that his position in the general stream Adam's treatise belongs to both decade 1320·1330 which produced a of Moser" 3nd Elnnanll:J most sources or intellectual history be determined. groups; like the scholastics he devotes \'crltable nood of treatises celebrating seem to ha\'e 3SSUllled that he was abo To a great extent the devclopment fully a quarter of the work to the or~ the rhythmic juno\'ations of the Ars batt of the famous monastery at Fulda. of the Iheory o( music is intertwined igins and effects of Ulusic, but later NOlIn (dc Muris, dc Vitry. Marchetta but unless he abandoned hi!ll pastoral with the history of ide3 :!i , and indeed chapters turn to morc practical matters. tin I'adu:l. :tml their reactionary adverso c.1l1ing at all early age. this i!l probably it is hoth difficult and pointlns to $Cf" T he subject matter of book two is the ary. jacob of lii.-gc) and by a similar false. t-lis trc..'ati~ suggc..'SI!'i an extenshe ;malc them, Historians ha\'e general y sc\'ell coruideranda (mmuu. CtUJtus, vox, outpouring of lr~li5C5 in the (in;1I t't1l1tatiun in classical Latin, not merdy elll(lhasilt.'t1 Ihe plOlctical elements of clovis, mutalio, modus, and 'Ot,US - quarter o( tJlC fifteenth century b~ in the usc of slandard quotations which tht.."ul'l!tical treatiSt."S at thc expense of 3 con\'entional segmenting o( the ingre' Til1ctoris. Carori, Ramis. aull a host appear frt'tluently in contemporary the more scholastic, university.oriented dients of music) . ActU311y tllis book is of lesser theorists. writings bUl through a wide range of writings on the discipline of music. The a miniature treatise on plailliong with Olle wonders whcther to 3uribute this classical quot3tiol1s and allusions. He Irealises emanating from the unh'ersity two interpol3ted ch3pters (10 and II) . apparent . dccrca~c in musical. specula. wrotc: in a Latin st)'lc that is granunati. milieu in the Middle Ages are not a. the latter containing the famous ten tion to IlIslorfs II1scrUlablc accidents or Celli), iUld syUlacticall)' cJe3r and which helprul when applied to editorial or rules of counterpoitll. n real dearth of such acth'ity. Or ha\'c occasionally .5hows flash C'$ of real ele· performance problems, and they tcnd Riemann trall$lates - or rather para· we perhaps bc..'Cn led to look for morc gance. Ad.:nu·s inlellectual interests were In dwell ilt Icngth all thc origins and phrases - these rules. ob~rving that literaturc of tcchnical significance in not limited to the discipline of music. cfreCls of music (approaching the sub­ they 3re "distinctly founded upon prac· these years b~lI5C o~ the abtlndan~c and it is app.:uent that his education - ject (If music as a \ hUlal m}'thology). tical usage. similar to those of Tinctoris, of major lreatl5(.'S at either end of thIS l'iClllinary or otherwise - was a compte· hut they arc irl\'aluallie in aSSCS!ling and arc nOl merc fundamcntals."lo century and a JI:llf? Can this "dry hellsh·c one. l'iPCIl" be partially cxplained by the gen· It is ccrt3inly possiblc th3t Fulda eraJly accepted maxim tJ,al musical :and Luther were acquaintcd, allhough AD/\l\I'S TEN RULES FOR COUNTERPOINT" spcCul':llion nourishes at times of max· no mc.'t:ting is recorded. There is am· imum stylistic nux but languishes dUro pic e\'idellce of Luther's intcrest in ing periods o( style stabilil)-? Hardly, music. and it seems likely th3t Fuh.13 I'rillla. ill omni cantu ad minus una "OS Rule one: III all toni AI leut une voke shall since it is difficult to describe tJle late may ha\'c spent sollie of his earlier dicitu.. alltafi "ero telno; hoc eat autem represent .he true "mill (01 the eight lo"n. rourtccnth and early fi(teenth centuries al,lare tllllO . scilicet octo lonalos. id at, i,e. placing ClIdences artfully ill Ihe proper years at Er(url. Howc\'er, in his treatise, clausulas Ilulchrc 10C3.lilcrque ponere. .kit as "pcriods of sty~c stabi~i~y." A,,!d sim· I\dam dm'S not indicate e\·en the exist· places and ClIrclully ubservin! Ihe ~ ac. ilarly, the thc..'Oretlcat actll'lty wluch be· (,lIim acccnhlJ IU'(I!o;1.e ller punclum urna'or, cents. ence o( religious dissent: its (our books lie: .unus per uc::co. gan with the comprehclISi\'c and s}'~· arc sprinklc..'C.I with the usual Biblical lemati.: writings of jol,al1no TinCIO!tS refercnceS and respcafu1 deference to Rule two: tumpoKn shall 10 continued unabated throughout the SIX­ All learn dec­ the authority of Augustine, Ambrose. Secunda: IImnis compon... ,,, diM::1t cantum urale their millie: with raUl whit'h provide var~ teenth century during a period in which and a number of other church F3then. diltinde ~wis orn:are, quia varietatem laciunl; ielY: lor none the 1t'U pl"Aiacwonhy is it 10 resl there e\'oln-d an extremely stable "com· We lnow that Luther was parti311y a lion millus enim laudahile eal Ilausare, quam than 10 sing. neilher b prose witboul pauses. mon style." product - not the sole cause - of the ClI lltare, IICC aCCcllltd prosae .ine paUla .il. Considering all the dHficulties of l'rotc..'Sta1lt Reformation in Germany and transmitting and preserving documents that the reform movement hOld alrcady Rule three: All dissonance is 10 be avuidcd in the Middle Agcs and allowing for Teflia: eJIIlni. diswmmlia, (Imld fiefi potal, whcllcver IlOSSible (includin. die trilone and begun to acquire momentum b)' the fusicud.. eal, .imilitcr trilollus cum Icmidia· diminished fihh) exccpt when a perfecliun time's accidents. one stitt wonders at the turn of the century. Ne\'erthcless. de· fK" nlc. qllia diKrt'I13l1tia 'cmilollii prohibetUf, absencc of significant speculati\'c trea' lolklWJj I du nut _peak o{ that J,midiDp,"" spite his proximity to tJle center or this I'nleter in acalllu., ubi calli Iler(ceta conlilluo ",'Ilich Maml " ClIlls " :.emi"iri phrysa" in which tises other than the few recorded from gTuwing contro\'cfSY. I sec no c\'kience uquhurl non KmidiallCnle ioqtHJr, III Maro the Kmilone d tess Ihan half 01 a tone. this era (I'tnsdocimus, Odington, Capua, th3t "'1IIda playt..... ilny significant rule dicit. um,,,;,, ,..",I'J, tillia IICC Kmil.llium dilllMlius cst tOIlU'. Caserta. Hotl,by, el tJl).' For tllis reason in the lJispute. it is a temptation to rely he3\·lIy on,3ny Rule lour: TI,e composer nlUSI be cardlll, I\dam is somewhat bettcr known as in a .ransposed mode, to remember Ihe proper additional literature that appears hkely Quarta: cumponrllii cautc prnsJliciellw erit to illuminate these dimly.ht I'ears. a composer: Glarea" included his four. IJot"ilion ul the heuchorth, which arc joilled voice Lied, "Ach huUf mich l3yd," in cluviulll vera Ilusitiu ill tOlli tr.lllsposiliollC. cunjllnclly (which the Greeks called ",ynem. Despite its 1490 date, I be ie\'c that lJuia illi coniunctanun ohviatill cst, lJuud Gr.leci Adam of Fulda's MIU;ca, a treatise of the DorleC: llchorcIotl set to the Latin text mellon" but which in our music we ClIII "mu~ '),IICI1I1I1CIIOn, noslfi VI'IIi mllsicalll liclam a,.. ~iCll licla", . moderate length printed in \'ohune "0 \'eR lUX." Glareall praised thc song pdlare volueront. tlm~c of the Gerbert ScriJltorer,' reveals as "clebr.anti5.'lime composita. ile per totall1 a distinctly e3rlier outlook than the Germaniam cant3tissima.··· Three other sl'cular songs are included in the corp,u Rule rive : All ""'"posen mu.. Ir.cep in mind contemporary writings of Tincloris, Quinta: onmt. e"'IIIIOIK'115 lilllilliciler memo­ tile lwei\'!! i.ll tc:rv.IIi. without whidt no 10118 of his works as well as a hoantlful of ri:w: tr.ldat duodce;m articlI"" .. rlis, quia silll! Garori. aud Ramis, Intellectually. at taM be \u nnposcd)' least. the trealise shows few traces of sucrcd pien'S: one Lie,I",esJI:, aRe· hn n"nus eumpou;lur c:tnlus, Renaissancc thought: Adam's precepts. sponsorium, two antiphons, a l\l3gnifi· org-.mization of material. choice of cat, and SC"en hymns.' Ehmann has Rule six: All composen shall live ,!afticular hailed I:ulda as one of the forerunnen Sexta: cllllll Jot millae nmllea iingularem bab.:. conslderatioll 10 the lint ahree rhythmic levels worlls. r.hilosophiced orientation, reliance ill lIl reslH'chun ad prilllus Irrs IIlUSiClle 8I11d"l. on aut tority, and paraphrasing of ear· of thc rirst generation of Gennan com· o ( music: maud. time, and prolation; these posers aud dc..'Scribcd his style, 310ng viddicel lIIodlllll. 1t'IIIIII1S, )!rulalionem; IIUIllt'" lIumbcn provide Ihe approllriate signs 101' cor. Iier sources bespe3k a typically Medic· gralia, lit cui'llll" 'lu.'1e slla $IUll aplcnl, id "I, rect pcrceptiull alld perlunnancc. \'al appr03ch to the discipline of music. with th3t of Finck and Agricola, as an n'nllll signum lin, aSnilicme 6: laCIII. The facts of ,\dam's recorded life adaptation of a "burgundisch, spatgot· arc Sp3rsc: born in or otbout 1445 in Ischen Musikstil ... • Rule seven : No perfect consonance may be Fulda. a little lown roughly h3){way Whatc\'cr the \'erdict of history on 5<'ptima : nulla cnmnmmlla pul«la suanl loll owed by anolher in GrJiI and ,A'JiI, but if between FranUurt and Erfurt, he ap· ,\datu's lUusic, his trcatise on lUusic similcm IlC r'« Ia lli te(tui hallel ill ani 6: lhai. Ihe comflOKr wishes 10 SUlKl;lule a diuimillU' certainly has something of the "gothic" ~ quadilM: t IJerl« la Sualll diuilllilclll perft'e' IlI: rl«I t'omonance, then alter the unUob 11':1 parently spent most of his conlier life tam digne imilari hallel IlC r(n:la. ut poIt ulli­ him plate] a liltb and aher 1I lilll! the octavc. m South Gennany. Thc manuscript in it. J'rob3bly one should not be too s.o ntllll diallCllte. I'lIs l dial)c IIIC diap:uun, of his treatise is dated No\'ember 5, Sllt'priscd to find this, since Gennany 1490, and identifies Adam as ducnlis - fmm both 3 musical and general cui· .,,,uk.u in the sef\'icc of the Elector of tural \'ien-point - was hardly in the OCI.,,'OI : Iicet IIlilll ,'clt'ra ullra tres a ul Rule cisht: The ancients did not pennil more Ihan .hret! or four illlllcrlect consunances Saxony. Earlier in the sante year we fOll!frolH of artistic d~ \'elopmcnt in Ole quatllllr imperfect;!., )e S("(llii (!IlIncs prohibt'r­ fifteenth century. Cllt, IIiIS lamen nUldt'rniorl'5 IIUII prohibelllUS, ill succession, bUl nuwada,., we alluw lonser know tlmt he was tempomrily resi· praCJcr.im dccimaa . cllm ornahllll redd.anl. slIccessions, especiall)' trlllhs wid. an orna· dent at the Benedictinc monastery in \'lICe lalllcn jlllerlllcdia. menlat middle vuice.14 Vombach, ncar l'assau on die AUstri3n THE TREATISE border. Gerber"s manuscript source, ,\danl's MluiclJ is organized in four .. ccording to Eitner, "lag eiust in Strass· hooks. cach ""ith its o""n compartment· Nona: d ia tea:aroll nUlllquam "oIa poncnda Rute nme: The I~rfect fourlh is by $I meanl lmrg,",3 3nd another copy under the aliZl.'t1 subject mattcr acconJing to fif· aC, nui :UII IJerf«tam a UI illllJer(eclam mod 10 be used alone, Mililcr i'l IlI:r(ttt nor in im. title Ad"tII; d~ Wlllrln ,\(us;ctJl~ is in teenth-cenlury com'cIUion: Book one is ereillr: std 6: ncc limut lUCt'ndt-rt', nn: limu' pt'r1ect lime: and neilher In lUCenl nor in Bologna's IIibliolecn U"iven;/or;tJ. dc:M:ellden: Iicenti:ulI habet. nisi sil, ul Pr.lelae­ descent is it permittni unleu il be in (#,"_ rather Ceremonial and contains Adam's tum CJI, '.II/;f bordol/, quod quill:uII liclum in bou,den. which places a CUlain false thins in From 1492 until 1498 Adam heM a (ratlter his predecessors') basic defini· hypothesi pulant, &. ill hYllcrbulculhesi lieri iI,'policts; (below] and Cln abo be made ill jack·of.an·trades position at Torgau as tions of IUUSIC, its mythical origins. and IlOue; It'd hoc mtiu no" suadct, qllia contra I'YI'"bol,olicts; (nbu"e)i bUI lor thb rcaJOn It court poet, civic historian, composer. its effects, The longest of the four, book praeccdentem ~ cI rcgulam, i. 111.11 recommended .ine.: il is cuntrary lu die ami music teacher. After an unexplained two, is 3150 the most important (or tJlis preceding mle.ls period of four years, his name appears suuJ)' and contains Fulda's set of rules as a lecturer at the University of Wit· for counterpoint. Book three is a treatise Decima : d isc3c olllnis COIIIJlonens conlna tcnberg wherc he dic..-d of the pl3guc on lUensural notation, while book. four 't'llorem in hypot!at'1o i, scitker ill sr.r.vibus flU­ Rule .en : All cumJlOICn . 11.1111 place apinsl in 1505, His path crosses that of the is a short 3ud simple proportional tius l)Crf« laJ IlOliere coruunantw, quam im· the tenor in ic,'p",hlfi (te. below) perfect treatise. per(ecc;u, delllta tertia cum cius acquDon.a. r:uhcr Ilran imlJerlcct eonsonanca. that is the )'oultger Matlin Luther sc\'cral times: qui ",nus COIIWIl3ftli.ae pari emore tempera­ Ihird and tenlh, whkh fOund ia moderated by Luther's scminary studies 3nd first Two important themes emerged in lur ••• all even tount.! ul cunJOnanCe,l'

4 THE DIAPASON Chapter fifteen of the second book Sapu Claor •• I: maCieale1 I: OriJullalu .. conlains another little poem, ascribed ~I- M ''''.111. /¥. Ifr. again to Guido, attributing various P...... OIopao.L ~ Soaoo ...... ft. 0.._ l!nn affections to the eight ecclesiastical modes: ...... [)qldlitoa. ~ talricN ropaucde r old. EpicKW dbbfptrllo\eoa. t :. 0 IlDpufeda.- DioplnGL & h<", pri_ ...... ""L ~ E,...._ dWJ1Mrl>tL t~ e Olllnib~ I!It JKimm, led 5: ;aller, trUlibua • ! aptul: ...... """,x<,t1,,,,,_ Epitrite dilltypntdcoa. a ~"• ! 'I: ... 'i: - •=- Tertius iralus, quartus dic:itur lieri blandua. if u • "• . Quinttlm dOl laetn, ICXtum pielate proNli., P"...... 01 ...... uld_ ntdJcatMa. Nctc .,paboltoa. ~ !- - ~ e!:- Septimus est iu,·enum, Jed posln:lnus "'Ilten- ~ ~ jISsta prima. uakntillin. ,. PlraMtr lI,pabo~1L o. lr · ~" tum." i ~ -" - IUlpt,feaa. clZlilon.lam cam dltp prima excc:lkntiu .. , Tricr b,paboircHL ~ n 1 II. " • The first [mode] contains all afrcclion., but g " ~ P.... Ub. OiaptOtL ~ uWml lcuunlla. L Ncte dialNptrlon. :OM: "- the second is suitable for IadnCN: f ~ ..B · TIle third inciles to an!er, the fourlh i. lor SemidilfpaanUa. Obldfl,oll. I ~ IIIXU primam lCUUrum. P.nnnc dlezlNlmcaOL ~ < ,.. r- .. Oallery• ii i~ · The mtlt brings good cheer, the .ixth pitlY. Imptrfraa. Semldiionut. " pdma IcutuUm. 0 Tril. dineulmman. -"p - ~ "' ~ The sevenlh brings the pleasures of )'OUlh, Lut I ~ b.K" iusu mtdlam. , P.mnKt"e.. f~ " the last wisdom. ~ - i! z::~ l " Pttfclt.l. ~ Uni(onut lIetIJm. ~ 1Iledia. L Mere.. , • ~" " • '- e-,...!!. : Although thc tlleme is a recurrent rtrfcdL Ol'p.zron. ~ ~ dulds drca mtdi'rn. G. J.Jd\incn meron. - one in rtI",ficn ,fpec1l1aliva, the exact G-~ o' ancestry of these lines is obscure. Vari­ ~ 5 drcumfenntLI medii. F. P,d1rpile mc(on. 11" " g~ - ous writers ha\'c amplified and altered ". -• !mpafeaa. Tonus cum dupcntc. b." fonant iaf.. mtdlam. ~ {- E- Urplee lac(on. ~~ " " the original tcxt - whatevcr it lOa)' Pcrfctb.. Olapcnte.. ~" " ha\·e been I The underlying idea is that • ~ dllicit inter prirKipM1.. 0 LktunOl brpa:ton. ?~ ;. f- L..... J " ~ - -~ the four mantleriae or phlllOngoj cor· " .micUQ'"ocmIcb DiMdf.nGll. W titn prineif'"" prmcip.dhJnl C. P~brpile "rplton. ;;- ~• • • respond to the ancient medical doc­ ~ i! I" llI:nelb. OitonlH.. "~ pcJnaps principallum. ~ Jlrpaee bJpaCorl. trine of tlle four humors and the tem­ ~ 1 ,.. pcr.unents that are characteristic of ~ lIalaifita. .. Prosb ..~ ~ .. • each humor.'1 A greatly elaborated PmeaL Unitocult. ~ gray", 1'0'111,.. ,. H,.ponDIDtftOIl. c:...... \'enion of the same passage ar,pears in ~ Mwictl Practica of Ramis: rom the hb ebord. Z IJnrieaicL F. H,pelulaplthDft. similarities it is obvious that he and Adam were promulgating a widely·OlC­ ccptcd doctrine. Both agree on the fol ­ lowing set of corrcspondences:

Riemann's praise seems hanlly just· olhers disal!lree, aurihulinl mnre to others, [ uillt! fthuicae Rhy,IImicnt!.' 4 This poem (see Ex. 2 helow) Hied. Interesting as they are, these rules shall not waver; (nr I prefer In imilale the evidently stmck a responsh'c chortl, for learned carelcullcss n( BM lhillJ and Guido it had an amazing circulation through· Ramis' ,'ersion reads as follows: arc much less speci£ic than tllC two ralher 111,,0 the auclcss care 01 olbers.n 5Cts out Medie,'al Europe and is paired best·known or rules by his con­ For the fint modI" , accord!ns 10 St. Louis, temporaTies, Tinctorb 11 and Ga(ori.'6 with the Micrologus in virtually all of Adam's reliance upon Rocthius' thc i8 known manuscript sources.H In i, "exible and suited In all affct'linns and it Ihe~(ore desirable (or sinl!lins. The Ktnl1:1 Adam docs not support his precepts " learned carcles.''lUcss'' is c\'ident in addition thc first thrce Iinc5 appc.lt with musical examples, and thcre arc chapter six of book twO, paralleling close­ mode is hca.vy and doleful "nil mosl "rJlropri­ (sllbjl.'Ct to minor variations) in many ate 10 lhe miserable and lary, III in threnodif.s only a handful of musical passages cited ly the celebrated passage in Boethius other Medieval music treatiscs,j:6 "nd the Lamentalions o( JCl"C"miah . • • Ocu· elsewhere in the treatise. His prime which asserts thc superiority of the Other less familiar passages :Ire dearly t ~rus !,!ciles the c:holer and "nn'ok" a n ans,)· concern seems to be that the fledgling theoretical branch of music O\'cr ,hc dhpouhon , . , Its plasal (Ihe (ourth model composer might forget the basic princi. practical: "Fnr phy,ical skill Obc)'5 lik\.· tnt(cahl l:: to John Cotton or AffJiJ{" it &aid In I.e enlicins, d«cilhd, sreatly suilcd pies of musiall notation, and tl\C~ rules - a handmaid while rcason rules like a IIIcnsis (who iJi named three limes In til flauery, tina: ml"n an: wnnt tn mollify despite the few enigmatic passages noted RliSlrcss."'2 Adam rontinlles to para­ the treatise) , 21 Odo, Aurelian of Rome with naut'"ns wonh ",-hen nne is Ilrntnl bUI aho'·c - add lillie to our knowledge of phrase his source, enumernting the d c: Muris, tlnd Isadorc of Sevillc. Sim.c eriticiu: in one', DhK-nce •• • the musical style of Fulda's time. The threc I)'pes of musicians: the instru­ the works of all of the abo,·e wcre widclr drculaled throughout Europe, The autllC"nlie third varM-ly (mode live) general feding of this section is of an mentalist, the singer/poct. and hc who has conlrol over the blood. TIlal mode is u.KI exhorlation rather than a practical man- judges their skilL It is the latter whu it seems unlikely that any conclUSions can be drawn from the particular com· (by Ihe blcssctl Augusdne) Iu be dclilhtlul, 11011 of collnlerpolnl. Only in the last rccch'cs thc highest proise, sincc kno\\ I· rnodenole, and merry, <"I"erinl ahe ...d and four rules do we find sOine indications edgc and the ability to evaluate out· bination or authors known to Fulda. anx'ou.. TCvivins Ihe sllirib o( the lallen .nd or a more practical approach, and even rauk all other accomplishments. To ,\dam's classification of intervals dC3pernte • .. Its plapl h pinus, IachrymMC. these arc somewhat old·fashioned. thc singers, whose shortcomings arc draws upon Ihe Bocthian classi£icalioll suiled 10 Ihose easily broughl 10 lC3n be­ cause o£ ils characler, ... it were • " But Adam milkes 110 referencc to the somewhat mitigated by thcir intuithc of melodic intcrvals (mod.). cited fre· qucntly throughout the earlier Middle Ihe authenlie fonn u£ 'ttrardru hllll a share prilcticc of singing "supcr librum" feeling for music, Adam remarks joc­ of playrulncss and pleasuTC and at times in­ which features so J'romincntly in the ularly: "Pardon Bocthius. therefore, for Ages but archaic by Fuld;a's ti~e. This citi .. , 10 '·arions 1(""!IilllS, represenlinl Ihe hab· rules of Tinctoris.' Also it is obvious. ),011 too arc a poctl"'23 taxonomy of musical intervals \VtlS ob­ its of youell .•• . Its plagal u sweet, .Iow, by virtue or his complctely olltdated Anothcr cliche from (he literature of viously dcvised for monophonic mu~ic "nd wlnewh"t morose, accordinlJ 10 the man' explanation of (he basis for mus;ca mll,fica s/Jt!ctdativa appcars in the saml! and is more suited to successive ratbcr ncr o£ the discreel. as St. Ambrose laid. chapter - three lincs of Latin doggerel thall. simultaneous pilCh reI3tionship.s: Therdore Ihe 5I:vl"lIlh ""d eishth mnda arouse. fiela, that Fulda had not gh'cn serious the melancholic: with their lOund, namely thought 10 a coU\'incing rationale for that tum up with astonishing rcgultlr­ the aUlhentic by iucitin! "nd the plapl by the chromaticism he must ha\'e obsen'ed ity in theoretical treatisc5 from the cheenlls.-- in the music of his rontemporaries, clc\'enth to the fifteenth ccnturies: (sec Ex. I below) The conclusion is itlCK.3pable: one must Shorter venions of the same passage not expect to lind in Adam's writings MUlicorum A QnCorum masna Cit dastanda: can be found in Cotton" and de Mu­ lIli dieunt, isti Kiunt, quae eompanit mlllica. [n a latt't discussion of intervals, ris.3 4 The general idea of "fourncs,s" mud I In the way of new and penetrat· N,,", qui facit, quod non sanit, dilfinitur bcstia. ing insights into the basis of Renais­ J\dnm adopts a more modem point of was often stlpplemenlcu by Biblical ,·iew and classifies the hannoOlc in· sallce contrapuntal practice. Thout;h "Creat is Ihe dulalJCe between composinl!l and quolations, frequently a pair or FSillm he recognizes the significance of Ihe tinsins: tervals in accordance with fifternth· vcrses fcaturing a fourfold repetition music of contemporary romposers, One UlYI. the olhu l""u.'J what music is all century conventions: the Pc:rfcCl fifth of lhe word "I'sallite." The climax of Fulda's primary concern is with the aboul. (dinperllt!) and ocla"c (dltlpason) are this theory of the correspondences oc­ pre~rvallon of treasured scraps of in­ For he who ere"l" wilhoUI know1edle is like considered pCrfett consonances, thirds curs in later Renaissance diagrams - formation from the p3.st. all alliln"I." and sixths are imperfect consonOlnces, elaborate scllt!mns linking the modes, while the perrect fourth (dinlessarotl) is Icmperamcnts, planets. muses, colors. Ascribed incorrectly by Fnlda to the a semidissonance for "it is regul:!:tcd by seasons, parts of thc body. points of the ADAM OF FULDA AND THE TRA· M;crologlls, these lines begin a long perfect or imperfect consonances, and compass, sit;tlS of the Zodiac, mctals, DlTION OF MUSIC'! SPECULATII'.i treatise in verse which appears in the it makes consonance not by itself but animals, etc. in fantastic pauerns,.u second volume of the Gcrbcrt Scri/llores with respect to other intervals."29 All A hallmark of Medicval literature is under the title Guidouis Art!lini Reg· other intervals arc considered dissonant. (continut!d, p. 20) the concept of knowledge as a single, unbroken tradition, char.lcterizcd by the gradua.l accumulation of supporting Ex. I evidence and commentary around a ven­ Inten.. l OaliS luten·al Name Tromllaccd Modem Equh-alent(l) erated idea which was annotated, ex­ plored in depch, iUustl.l.tcd, and related unisonae unisouae unison unison to other traditional principles. In this process of sllccessi\'c accretions contr.l.­ :aequisonac equal·sounding octave, fifteenth dictions wcrc few, and authority carried consonae consonant perfect fifth, perfect fourth tremcndous weight. Adam's deference emmeles melodic the lone and "other species to various earlier writers and tradition· nonunisonae------I Oil ideas demonslrales vividly the ,'la.· of inten'als" bility of Medicval scholarship. dissonae dissonant unspecified intervals that It sometimes comes as a shock when "roughly tlSS3ult the senses" one re2lizes the extent to which ea.rliet caneles unmelodic trilone, diminished (ifth2& Mediev;d scholars made use of the writings or tl,cir predecessors. E,·ell Bacthius' monumental treatise on mu· Ex. 2 sic. generally acknowledgcd to be tIle most influential document in Medieval The "i\lannrnae" The Temperaments The Dominating Humor music theory, is at least 00% based proUtS (modes one phlegmatic phll.'gtn upon but two sources: tlte Erlcl!ir;dion and two) of Nichomachos and l'tolemy's Har­ monics (botb second century A.D.) .20 deuterus (modes choleric yellow bile Adam', debt to his predeccssors is freely threc and four) acknowledgt-d in the preface to Book 11: ltitus (modes fiye sanguine blood and ,ix) II is COnll"n")' my purpose. to adhere 10 the tctrardlls (modes melancholic black bile b;uic: principlC3 or Boethius and Guido. Even if sc,·cn and eight)

APRIL, 1972 5 A Concert Organ for Royce Hall, U. C. L. A.

by Robert L. Tusler

'Vhat does one do with a non-rune­ sary funds [or the restoration to begin ing. That it cannot be taught by talk about local music company, professors, and tioning pipe organ. especially in the in the Spring of 1968. But let us re ~ it, That the art itself is much more impol'"' organists, all urging their favori~ Unilcd Slates where some in authority turn to 1929. tant than its history. The upshot was that we detenninrd not to have majors in th..,e hui1der: and all answered by thought. believe "if you've seen [heard] one From thc diaries, datebooks, and cor· del,artments. fut and cordial letters. The following you've seen [heard] them aU'? respondence o[ Ernest Carroll Moore organ companies supplied specifications, 1 numcrous suggestions, lists of insta11a· In 1965 the University of Cali£omia at the story unfolds. These sources rc· Hence it comes as no surprise that this Los Angeles was faced with the prob­ veal that thc new campus. located in tions, and recommendations: Austin. lem of the concert organ in Royce Hall. 'Vestwood Village, was indeed being man of taste would want and work for Cassa\'ant, Fra1.Ce. Hall, Hook and Hast· an organ worthy of the new Royce Hall Should it be restored, rebuilt, Of sold? ings. Kilgen. Moller, Robert Morton. de\'cloped by a sensith'c and learned which was acclaimed for its beauty and Opinions were expressed from a multi­ man whose concern and vision would splendid acoustics. The answer to his E, M. Skinner. Spencer. and 'Vurlitzer. tude of sources, some requested and lay the ~ fol1ndations for an institution wishes was to come somewhat unex· The competition was spirited for this others ton generously given. "The in· of higher learning with pOSSibilities of pcctedly: was an important installation and an stnllncnl is too romantic; get rid of greatncss. Ample proof is prm'ided by economically secure one. Organ firms it!" the [ollowing:::! "We need the space for storage: May 6, 1929 (Monday) • • • I h..,itated ha\'c always been good barometers or and besides. there is too much conflict about going to the California Club (or lunch economic conditions (witness the fi· m'er rehearsals. Sen iU" "It should be Friday, February 15, 1929. Went to the hut finally decided to go. In the wash room nancial difficulties of some of our rna­ rebuilt so that it will be more useable Dl'ethoven Concut. The best we have had. was Mr. lIano'ey Mudd who said 'I want to jur firms during thc past two years) in choral, orchestral and chamber The Concerto No. :3 Jupl'rbly done by Mr. ba"'e a talk with you.' ~ we stood over and were fccling thc uneasiness of works." And a few. impractical and Drailowsky. neighboring wash basins, I told him the ",pre­ March IS, 1929. Went 10 the Symphony the Federal Resen'e Board which had somewhat sentimental characters stated, sentative of the Skinner organ co. had told begun early in 1928. Loan rates upon "it should perhaps be restored, after Concert, The great Brahms 1st but with a me that be had designed the organ loft in '"rima donna' conductor yet it was a great Josiah Royce lIall and that $50,000 was which organ firms arc frequently de· all it does have some beautiful rank~ program. ellough to buy a good organ (or it. Mr. Mudd pendent. were 8.6% and more. The of pipes." While the chalter continned March 22, 1929 (Friday). Wenl to The Wo­ said, "Mrs. Mudd, my mother, will provide specuJath'e mania continued on Wall and the wind blew, an in·depth study of mans Committee of the Philhannonic Orches­ the organ." I could hardly cat (or joy as I Street in spite of the direct pressure the instrument was made of which a tm and made a talk • • • My talk started have worked 12 yrs. to get an organ • • • of the Federal Rcserve Board. Sped· portion is presented in this article. with Snl'ddens Producers and Consumers and said that if we were consumers of music only £ieltions were being submitted regularly The final decision was made to le· that pl'rhaps was enough yet there is Gibbon's Thus the fint step, and what rna)' throughout the summer and autumn un­ slore the Ernest Skinner organ buHt warning that in the arts the Greeks were the have, at thc time, seemed thc hardest, til as Iatc as NO\'ember II, 1929 when in 1929·1930. The restoration would re­ prodUl::ers The Romans only spectators. That was accomplished. Before thc week wa:; that of Hook and Hasting's Co. ""as quire a new fOllr manual movable can· our nation will not be safe and healthy until ovcr Ernest Carroll Moore records: rcceived. The final stock market crash sole to be built by M. P. Moller, and we foster the making or music and to do that was October 24. 1929 but the churning we must relate all these young people to the May 9. 1929 (Thurs.) ••• I bl'gin to lee complete cleaning and releathering fO orchestra. undercurrent leading to the debacle 'Was be done by the finn of Ken Simpson, that it is going to be difficult to select an TC\'ealed in the offers of the variou~ organ. The Skinner company submitted its companies. Monster organs were almost Los Angeles. The general supervision specirico.tions today • • • A man came tonight of the restoration would be by faculty And ;mother jotting which iUustralC!> a spccialty of the twenties. not only in the growing problcms of the campus: to urge me to consider a Casavant organ in· organist, Thomas Hannon. The cost stead or a Skinner. I must look into it. the United States. but certainly not (or of restoring the $53,100 instrument May 10, 1929.••. Then the Casavant 01'"' thc price of $50,000. Promises of bigger would amount to around $65,000. Just March 28, 1929 (Thursday) ••• Later in gan man came and to my question could he and bctter, marc ranks. more gadget!. as Ernest Carroll Moore. U.C.L.A:s the morning The Course of Study Committee write specifications he answered by p~ and one e\'cn offered "tracker action aslr.ed to come in and told me that wbile they dueing some he hlld written. • • • first director, "Chancellor," succeeded found the work in Home Economics sawfac· touch may be installed at discretion of in a difficult time to accomplish a mir­ tory for a major in Letters and Science the organist." acle, so the new Chancellor, Charles work in Mwic and Art was not • • • Ire· And so it continued daily with pres· To be sure. our "Chancellor" W3!'1 E. Young, was able to assure the neces minded tbem That an art is II doing or mak· sures Cram a Chamber of Commercc. n finding it "difficult to select an or· gan."

May 28. 1929. The organ committee has presented a .econd rt!port closing with a rec­ ommendation that its chainnan voice Ihe or­ gan and again I have sent it ba~k with • re­ quest that they leave IhelDlClves out o( it, Thai they ha\'e promised to do • • •

Theil, of course, the donors must be satisfied as wen as the president of th£' University and the Board of Regenls. During the summer the decision was made to seek proressional help from off campus and out of state. "Cham:cl· lor" Moorc would go East to visit the most progrcssivc and rapidly expanding school of music in America, Eastman School of Music, Rochester, New YOlk; then on to Doston and New York City. Moore was detcnnined to have the lin· est organ possible for "his" young cam­ pus: consequently, he sought qualified advice. In Boston he would consult with J. Wallace Goodrich. dean of the New England Conservatory and organist with thc Boston Symphony. Goodrich was also known in academic circlcs for hb excellent translation of l'irro's J. s. Bac11 and llis Jl'orks lor Organ (1902), and his own valuable study. The Organ In Fra'lCe (1917). At the Church of Holy Communion in New York City, Lynnwood Farnam scf\'ed as organist. certainly the first American organist to be internationalh' acclaimed for his \'irtuosity and artistry. If not thc first. he was one of the few organists in Amcrica or the world at that time to give complete recitals o( Bach and his forerunners. In The A-h,· sical Times ror 1923 Lynnwood Farnam is interviewed and is quoted as stating:

We Mked Mr, Farnam as 10 his predilection in the matter or organ mwic. " Well," he rt!plied, "Bach i. an easy fint, evergreen and inexhawtible. The longer I liye the more wonderful he becomes. With what Royce Hon, UCLA, In 0 1930 pho...,.. ph other composer or, indeed creative artist of

6 THE DIAPASON , any kind, does one let Juch • creJCcndo of ing association that continued until 'Vhat then are some of the diller· enee and experimcntation with borrow. enjoyment throulhout lifd Too often it it • Harrison's dcath. Harold Gleason was a ences? To compare with the Royce ings and cxtensions to assist in gaining steady diminuendo! ...... dose friend of Ernest Skinncr amI Han organ 1 have chosen representath'c distinction. worked with him (requently. l'et for specifications submitted by Austin and (see Chart II. p. 22) Without doubt Lynnwood Fnmam had this instrument Ille idtas and goals of Kilgen: Ihe Casa\':lInt org:m in the ]\[311· mucb to share with an Ernest Carroll Skinner's young associate were more in ison Avenue Presbyterian Church, New Again. with OJ. cursory glance one sees Moorc who would later "'Tile: L:ecping with the souncb the designer York City. built in \926-27;" the Er­ many 19th century dtaraClcrislia. some hoped to achieve. The result was that nest Skinner org:an in Immanuel rrcs· found more in American organs because April II, 1930 Friday. A remarkably rine the Royce Hall organ was probably G. hyterian Church. Los Angeles, Cali· o[ technological achie\'ements on elec· concert - nu t to die lu t one which is lou trical engineering and "more efficient" b~ d as t cannot live withnut these o:periencn Donald Harrison's fint major instru­ Cornia, built in 1927·28;" and the or· of music. Today we h:ad the 7th Beethoven ment in the U.s. for which he W:1~ to­ gan o( Pcterborough Cathedl'3l, Eng· design of consoles. Note the following: with the Great March in the 2nd m ovement. tally responsible for scaling. wind pres· land, rebuilt in 1929·!lO by Hill &: Sons I. stnndard ped31 compasses of 32 t must get th3t ;Iond play it ovu. sures, and voicing. To my knowledge. and Norman B.: Beard Ltd.13 The first notes. except (or the English innna· the final and determining 'Ioiee in aU chart summarizes some general facts: mcnt; In Rochester. New York, the East· pre\'ious instrumenu on which G. Don­ and the second deals with the pedal 2, considerably more spenking stops man School o[ Music was burgeoning. ald worked, was that of E. M. Skin­ divisions in more detail. Sp3(C doclO than ranks; In the most publicized and highly· ner. I dte the large organ contracted not nllow at this time to deal with cru· 3. dominated by 16' and 32' tone; touted The Complete Organ Recitalist [or in 1927 by Immanuel Presbytcrian cial issues in any organ, sc.a.ling and 4. hea\'y reeds with emphasis on SliP­ (British and Amt'rican) (1927). one Church. Los Angeles. A few change5 \'oicing; therefore, the following charts port and grandeur: reads: were made by Harrison and some were and discussions indicate changes of o1.t· 5. thc conccpt o[ thc pedal dh'ision insistcd upon by the new organist of titudes and surface: stylistic trailS whiCh as a complete and independent organ • • • The £:ulman School it organized on Immanuel. Clarencc Mader. Ne\'erthf:' ne\'erthcless predict the coming mnlls. docs not appear to be part of these a rompreherui"e acale. a 12.slory building is less it remains to this day a splemJid designs: beinl adMd for the OPCI1I Department and (see Chart I. p. 22) 6. impossihle 10 fonn a plenum (16' for praclice room.; a Gymna.ium will abo be example o( thc best o( E. 1\1. Skinner_ included. The Ro)'l'c Hall org::m points to thc At a glance: one recognizes romantic + 8' + 4' + Mixlure) with IlCdal In the Organ Departml'nt there arc 13 two­ on· coming twentieth century classit~m. traits such as: rOinks: manual orraru of 11 lIopt each (with 4 du· Here thcn. we find those elements in .. l. an cmph3sis on 8' lonc strongly 7. a 19th century s),mphonic concept plexed) and 4 three-manual orpA' or 18 beginning stagc which will rome to supported by 16' ranks amI undcrginled of the bass: Jtopt (with 6 dupkscd) .11 by Moffer except fruition in the instrumcnts for SI . by powerful 32' stops, ulemions i( fI, extensions of pedal ranks; one by Skinner. In the Kilboum Uall it a John's Chapel, Groton, thc Germanic not indcpendent ranks; 9, borrowing of enclosed 16' ranks Skinner four·manual of 100 speakinl .lop'II; in 2. frequent heavy wind pre"mres; and occasionally an 8' reed frolll the the tht2tre is a fOur-lnanual and echo OflIan 'Museum (now rcplaced by a Fiene-rop. 01 163 .pea"'inl .torn, by Austin. There is Wh),??), Hananl. and at St. Mary the 3. more divisions than ma.nuals, made Solo; Illso a Wurliuer Ol'lan in the .uceninl "iegin Church, New York City. possible b)" electrical enginccring; 10. extension o[ borrowed ranks (most studio. Thus Westwood Village was to hnvc .. . a solo division (an orchestral con· frC(IUelltly done in American organs). The Head of the Orsan DeplU'tment, Mr. in Ro)'ce Hall an organ whose desisner. cepl) : Where docs the Ro)'ce Hall instru' Harold Gle:uon (born Jefrenon, Ohio. i,. in consultation with two of the m05t 5. orchestral simulations, especiall} ment dmcr and how docs it point 1892). In 1920 Iae became private orxanist t ~ string and reed (amilies; toward the n ~w? Thc V-l'3uk mixture Mr. GCOrBe E3Itm:ul, IIf Rochester. lie hal dedicated artists of the time, sought to made extensive reci131 loun , and i, well bring unheard sounds to the WC1 t 6. (ew .. ' ranks and e\'en less 2'; in the pedal di\"ision stnllds out im known as a designer or modern organs.' coast; an organ that would have color 7, few mutntions; mediately, almost in a bewildering but at the same time more balance ;lIld 8, scarcity o( mixture ranks; (ash ion. This mixture makes good sense Accompanying this extensive state­ clarity, whose stops would blend and 9. a pedal dh'ision rarely conlain· whcn the horrowings '1Od extcnsions ment is a photograph o[ Harold Glea­ could fonn ensembles. The new uni· ing any independent mnks other than arc carC£ully studied, for only in this son, the only r.icwrc in the section on \·crsit)' was to ha\"e an instrument suit· 16' and 32'; instnuncnt can an organ"m plenum he "American A usical Institutions." A able (or the interpretation of the great 10, a portion or the Grcat organ is fonned in the pedal wiUlOut resorting truly remarkable accomplishment by organ literaturc from the seventeenth usually under exprcuion (none arc to coupling. Thc plenum can be fonned the new school nnll its organi5t in its centur), to the prescnt. Such goals were fJuite like what Cl:uellcc Dickenson had as follows: 16' Melal Diapason (Crent) six year history (original endowment by not those o( the majority or perfonm:rs built in Ihe Bricl:. I'ersbyterian Church, + 8' Octave (Extension of Pednl 16' George Eastman gi\'cn in 1919. second and builllcrs of thc latc ninett.'Cl1lh cen " New York City) _ A closer look rC\'cals Diapason) +4' Super Octa\'e (Exten· entlowment in 19'_~, school opened tury and first thiny )'cars of the that in relntion to Ule tol.:1l number o( sion o( ]'ct.!al 16' Contra Bass) + 1921) • twentielh century. rnllks the Ro)'ce Hall organ (onlnins a Hamlonics V. This. derh'OO from stutl)" Ernest Carroll Moore had had lunch Earlier, I mentioned "monster" or­ smnJln percentage o( 8' :mll W' ranks iug the specifications. can only be provo with the Gleasons at the City Club. gans. meaning instrumenls that ha\'e nnd a I3rgcr percentage of mixture cn by It."sting the instrument; thcn It be. Los Angeles, on July 25th, 1929 nnd had become so large that their size may de· stops. It should be repeated that such COllies apllnrent how carefully these hccn SUfficiently imprCS5Cd that li b stroy any innate artistic \'altle, espe· a summary re\'eals only surface material unenclosed pipes were positioned and trip East W3S 10 uke him first to R(k.h. cially in the h3nds o[ organists whn and that the facts shown in no way voiced in order to make what is pos· ester. He records in his diary: have not learned to listen. One inune· gh'c the complete picture. For example, ible 011 paper becomc a rcality in diately thinks o[ the Atlantic City Con­ included in the number o( mixture sound. October 13. 1929 (Sunday) ••• Got of{ in vcntion Hnll. but lest ,\merican's be· ranks arc Cornet stops, \'arying {rom The designcr and builder of Roycc's Rochester and went 10 II hOlel Dnd ClUed up III to V ranks; however, a (inc Cor· organ nchie\'ed, again by means of bor· I'rof. de CaUl[ and Prof. Harold Gleuon. Had Iie\'c thc)' were the only ones to cre­ .uPllOSed tlaey would cune me lor askin! nte such "biggcr nnd hetter" instruments net V is a\'ailahle in thc Choir organ rowings, extensioll!i, positioning. \'oic· them to see me on Sunday, but quite die con· I cite the following: I. St. Ceorge's I [all of Royce lInll by combininJi the indc· ing, nnd without recourse to coupling, tl1lry. Found that Mr. ond Mn, Gleason had organ, Lh'erpool, England. 1931. Wil· pendent ranks: Orchestral HUie 8' + more possibilities for a 4' solo line lived for 9 yean in P:uadena. They insisted lis.' 2. Dom zu PaSS3u. Germany_ 1924- Travcrse I:lute 4' + Nazard 2·2/3' (canltts finmu). In the Peterborough that] .tay lor tea and go with them to Mr. 28. Steinmeyer.6 3. Saint Sulpice, Pa1'is. + Piccolo 2' and Tierce 1-3/5'. The in· Cathedral organ Utere is no 4' tonC' £:utman's Sunday C\'ening concert and .upper France. 1857-62. Cavaill~·Coll,> ... La Paz strument at I'eteroorough Cathedral available without coupling. The Casa. but I pleaded that my train went at 6:22. 4 offers no such possibility. Theil they s.:Iid, "We will uke you to his Cathedra.I, Peru. 1952·37. Balbialli. vant is the only onc among this group 5. Ro\·al York Hotel, Toronlo, CanadOl. Returning to Chart I, the Royce in· to have a -I' pednl I'3nk. howe and you ahall meet him" which they strument has also a greatcr percentage did and Mr. E.aUm3n .howed me his picturct, 1928·29. Cassa.vant.' ,Ve need not con· (See Chnrt 111 below) a Tintoreuo - 2 Rubens - a CfH'Qt etc. Mrs. demn: for organ builders and organi5u o.E .mutations and speaking stops con· Gl~.on look me over to the Eastman School are also part or their esthetic milieu. slstmg of two ranks. Such JI·rank stops In similar fnshion. tllC possibilities of Mwic ••• which is continuallr, in nux. We need (Viole Celestc II, Swell; Kleine [or H' solo lines are increased. Thc Casa· only to remember tiC Requiem by BI:(­ Erzahler II, Choir: nnd Ethereal Celeste \'ant null Hill instruments cach ha\'c Upon his return to Los Angeles there lioz. The culture which produced an JI, Solo, a favorite o( Lynm\'ood Fu· one H' pt.-tlal rank which were consid· was no further doubt in Emest Moore's esthetic desirous of a "sympIKJn)f of a nam) would l>c: immediately frowned on ered a wnste by lIIany org:lIlists of the mind who should IJc responsible tor thousand" and at the same time de· by some purists. espccially those not too period. the organ d("'Sign and perhaps become veloped the tl."ChnoWgy to make pos· well ;lcquainted with 16th and 17th (see Chan lV below) the unh'crsity organist. I-iarold Glea· sihle such extravagances would certain· century instrUUlClllS. Ne\'crethclcss tlley son. The energetic student of South. Iy find the abo\'c installations thrilling, are pr0r,erly placcd, oc3utiful, indh'idu- ,\ud finally. with regard to UIOS<: ern CaHrornia's ErlU.:st Douglass, Edwin Uut. there were those who objectcd OInd 011 in c laracler, and in no way belong differences in the six pedal di\'isions Lemilre. Joseph Bonnet and Lynnwood even with dC\fastating humour. in "the stokehole." Thc uHlIalions are (and they ha\"c, hr no me3ns, 311 heen }o'arnnm would bring into the somewhat classic in their concept and function in discussed). note the exr.eriment o( chnotic situation order. and help to ••• At Much Hadham, in .ddhion 10 the innumerable way.s; where one COIn only fonning complete flute c mirs by ex· pro\'ide V.C.L.A. and the W'est with ulestial orxan (in the tri(onum' there will wonder nt the reasoning behind the tensions. ~otc the cxtension from 32' a grent musical instrument. On Novt!ln. be an infernal organ (in the Stokchole). Here Scptiemc 1-1/ 7' in the Casavant Great Sub Bus through the 4' Flute and also ber 16, 1929 Moore statcs, " ••• then to is the specilicaotion:- division. the one from the borrowed 16' Bourdon Mr, Mudd 10 gh'c him my report on Leaving these general observations. (Swell) through the 2' I'icc:olo. These The Organ. He $;lid let us decide on INFERNAL ORGAN (in the stokehole) it will profit us to examine the pedal nrc auclIlpts to bring into the pcdal a Skinner and asked me to wire Harold Monslrum JlOrrendum 64 h. (in ICpal'Olte divisions of the six instruments in more org"olll more indh'idual ,"oices. more flex · lIorttSco rderens 124 ft. cales) ibility. and more independencc. Gleason 10 come out and help with the Hon de combat 1 root (clubbed) detail. For, willi in this org.tn. Roycc specHic:uion." The die was cast. Pulex irritant three I1In'" Hall leads the way toward indepcnd· (conti'lIlcd, p. 23) On November 29th Harold Gleason Mnunted caviare too rank (much) 3rrh'ed in Westwood Village to begin Taurus malnw 1 Ittt work. ncfore any spccirication could be Vaix diabolique CHART III agreed upon the location o[ the in· Most of these apeak lor lhem.eh'~, and in no uncut:roin fashion. I mi(ht explain. bow­ strument Jl:ld to be settled. It was ob­ n'er, Ib.t the Vois: diabolique is a dl'OlWitop Awtin Kilgm Calson.mt Skinner Hill Royce \'ious lh:llt the two cham ben. one on tbolt rnakn all lhe oUten JOUlld It chord 01 Super Octavc Flute flule Flutc Super Octave c;lch sille of the stage. were inadequate the diminilhed lCVuth. You rnaT imaline Tubn Clarion Cl3rion .'Iute (or the size of thc instrument intended. what a thritt die man in the pew will lei So(t Flute And, more imponant, it was Gleason', when he hean a rapid scale panale played Clarion contention that artistically an irutru· on it!1' ment dh'ided in such a manner was CHART IV musically unsatisfying. Hence, the only place available was ahove the prosccn· EXTENSIONS I'ROM PEDAL RAN KS (SOLO \'OSSIBILITIES) mm which would require providing a , false front (for Ulis situation an opaque AtuUn KiI~n Casavant Skinner Hill Royce painted burlap was employed) • The or­ }"Iauto Major Octa\'e DiapOison B3SSO Flutc Octave Octave Ocl:IVC gan 10(t was finally pronounced "per­ Violoncello Bw Flute Gedeckt Gcueckt Bass Flute Principal fect" by Ernest Skinner on January 2. Tuba Magna Echo Flute Tromba Cello Trumpet Flute 1930. Cello Tromba Tromba By the middle of December Gleason Tromba had consuhed with Farnam and in a leuer o[ December 14, 1929 mentioned EXTEXSIOXS fROM BORROWED RAXKS his desire to have Ernest Skinner'S new associate G. Donald Harrison, who had Hauto Minor Camb. I Still Cededt Dolce Soft Flute joined Skinner's firm in 1927. to u­ Gedeck.t I I Gamba list. Thus begon a &iend.wp and work- Trumpet

APRIL, 1972 Johannes Kepler's Excursion into Political Proportions

by Ruth Hanna.

Contradictory c\'alualions of Johannes doubt to Kepler's masterly compre­ in reality only a superficial one, is matter quite apart from numlJcrs per se Kepler 35 theorist proceed from two op­ hension of numbers per ~ e which no posed by the musically rhapsod ic nature to which superstitious significance has posing schools of thought: 011 the one disa\'Owals on his part seem able to of Kepler himsclf who so often uscs hecome attached.'i hand there arc those who would prove negate, and. pn.!sumably. to a la(k of his amazing knowledge of the World Although he docs not pose a5 either him an adherent de facIo of l'ythago­ familiarity on the part of crhics with and its attendant multiplicity of inter­ Suciologistic or Political Scientist, the ras, and. on the other. there are the ntHl);. III of World HarmmlY' which preters as points of departure in fa\'or importance with which Kepler views more venturous who would pro\-e him lIlay be interpreted as a declaration of of harmonic proportions as distinct Social or Political Science may be an aggressi\'c Anti.Pythagorean. This un· War, both astronomical and aUditory, froUl arithmetic aud geometric fornlU ' gauged by the number of pages which equal anomaly. applied to a man al· against " Pythagorean! who tried to lac. Proportions imprc..'gl1ated with so· he devotes to the subject - 17 extensive ways in search of Truth. is owing, no beat me down." An additional hurdle, ciological significance are for him a Olles in all. He takes his initial cue from Jean Bodin:! whose concept of harmonic proportions as applied to gov. ernment intrigues him. although. as an experienced mathematician, he himself must take issue with Bodin on many details or the numerical scaffolding I, " erected in support of the ideal. as well as on Bodin s basic philosophical ap­ proach, He grants that scmantics and diff~ rcnt mcans in the indication 01 proportions may playa disquieting part. Mindful or the uninitiated student. Kepler, true to pallem, illustrates the: three basic proportions at some length, flit., the arithmetic", the geometric, and the hannonic: corresponding, roughly. 10 [he Popular. the Aristocratic, and Monarchical fonns of government, but applicable as well to social situations within the three divisions. The arith­ metic may be defined iU the addition of a given number (the same reward or punishment) to other numbers (vari­ ous persons) without regard to their magnitude (whether rich or poor. whether good or bad) ; the en· circled figures helow indicate the arithmetic medianl!l (i.e., the mediant is that number the slim of whose nu ~ merical differences with the extremes of t he proportion equals the numerical difference between the extremes):

3 9 5 10 17 38 (disjunct) : 3 3 3 3 3 3

6 12 8 13 20 41

3. (6) • 9 (oonjuuct) : 3 3 3

6. (9) , 12 I 38, (41 ) • 44 ' ; r 4 . ~ .-. -;! or 3 3 3 Z4. ~ _+ • • • 'S. zoo 30. _ 41. (44), 47 4 ·6 r _ , .~ When the comparative magnitude "cTaDi";~ ,

Kepler, Harmonlces Mundi, Book 3, Ch. 3, p. 30 (1e8 footnote 8, p. 19) 12. (18) • 27

8 THE DIAPASON change of money) . However, when man­ riage of poor p:ltridan men with rim The striel arithmetic pro;POrtJon is BodIn mistakenly denies harmonic functions (piuing the authority o{ the ner of dress denotes identification, Kep­ women from the plebeian clas.s. All such onc of Law, the geomclnc, one of devices Bodin insists mwt be tempered Equity. In the Popular [onn of govern­ "Ancients," ::u he doo, against the ler would apely the geometric formula authority of the ear). There are, Kep­ (:1.5 in our military set-up. No mention with Love and Friendship. both young ment, since there is no respect of per­ and old profiting by association. the sons, there follows equality of duties. ler summarizes, numerous forms of is made of suitable dress (or men and hannonic proportions which he him· women as such. but Kepler would no IClmed and the unlearned likewise. propertics. honors and offices; no dis­ men and women, Strict spiritual scgrc· tinction under the Law of the noble or self has ddO"ibed musically in the fint doubt lenn our contemporary styles a three chapters of Book III. Some are "Bodinian admixture.") g:uion he considen sterile :l.nd finally ignoble. of the rich or the poor, of Major space is devoted to the intri· destructive of the respublica. He agrees male or female. If there is anything to purely arithmetic, some are purely ge. ometric. and some are neither. In any cacies of Crime and Punishment, and with Bodin that some things should be be divided among the many, the People Bodin perceh'cs the need for an :l.ddi· 'ft!SenJed to the Itrong. lOme to the gift· wish lottery to be resorted to, the bhnd case they are not a "Bodin admixturt!.' He hastens on to their sociological :l.p­ tional element in the judgeship. vi:., ed, some to the prudent, and some to and Impartial judge. The conupt arc the hannonic deviation in accordance the experienced. He would prefer hi, not to be distinguished from the up­ plication: with circumstances :l.nd persons in· own concept of the solid figures' to right. nor virtue from vice. On tlie The harmonic ideal of Peace Bodin valved: intent, age, sex, etc. It was form­ symbolize the many sided facets in­ other hand, just as in Geometry where applies variously to tile Popular and erly the custom of :1.11 peoples to exempt voh'cd. the excesses of numbers an: ;u.slmilated Aristocratic forms of government, individuals of high degree from the Note is taken of "one excellent ex­ by the numbers themselves. 10 that the through the :l.gency of the Monarchy - death pen:Uty. and the Nobility from ception from the numerical equality of larger the number, the larger the ex­ lest the Popular set up within itself death by hanging, a dtoice in the man­ commutation" in Bodin's own words: cess, and the smaller the number. tbL a competitive species of Aristocr.acy ex­ ner of death being allowed this class. "In charging for services, luch as the smaller the excess, 50 in the Arist.ocr.ltic tending down to the lowest level, and It is argued that Ihe criminal of high remO\'a! of a kidney slone, the doctor fOnDI of government there is respect o{ lest the Aristocracy strive more and rant is more severely punished through often receivCl (or ralller demands) 500 pclSOOI in birth, duties, rewards, of­ more toward the cre:l.tion of a Mon­ the disgraceful forfeiture of rank (by gold pieces from the rich. while 10 or reserved fices; and the "plums" are iUchy within its own ranks: in which geometric formula) than the one who, 5 from the indigent (or ratllt!J'~ tloliling to the Aristocracy. while the People case there will no longer be a respublic4 lacking sucl) standin~, is punished by at all in accordance with 'ht! llipl'!'cra. take the bindmost. but a regality of citizenry. W'ith Bodin, public Dogging. Bodm casu aside the lic oath): now following the anthme­ Bodin. whose mathematical judgment Kepler advises :l.gainst a multitude of teaching of Aristotle who advises the tic and geometric analogies to their log­ in the maller Kepler not only questiom, laws, these ine\iiUlbly leading to a mult­ geometric pattern in the apportioning ical conclusions. either the patient but relegates to tbe category of "hal­ itude of lawsuits. The Law must bend of rewards, but the :l.rithmetic in the would die of his ailment or the doctor lucinations." defines harmOniC propor­ but not break. no matter which fonn of meting out of punishments. A situation starve to death, and 50 each would tions (Peace and Love) as a moderate government prevails. and oompronlises arises whidt entails the more severe profit from the harmonic adjustment in admixture (con/usa) of arithmetic of (onnulae made witbin the variouJ punishment lo be dealt the assassin exchange of health and money (certain­ and geometric amuogies: E.g., given the component parts based on the consent of a Prince (or one of the Electors) or ly not with idt!utical exaditudt!) ." Note: p~porti~n 2.5 . or, . doubl~d. 4.10, the of all concerned. For only a good reo a free man. than is de:l.lt the murderer the interpolated comments are Kep· arithmetic mean hemg 7. I.e'., 4.7: 7.tO, 13tionship among classes can secure sta­ of a farmer or one in bondage, the first lc:r'L el(ch'U1ge the parts by Bodin's prescrip­ bility. In pmct}ce Kepler prefers the involvement being a crime against tl,e Not all of Dodin's suggestions, ad­ tion, thw: 7.10: 4.7, the mean bcwming simple h:l.rmoDlc fonnulae: 2.5.4 or State. "Nowadays," among Christians mirable as they might be in France, tbe extremes. Kepler holds that there is 1.2.4. Where dissonances are indiCited to the biblical anthmetic La.w prevails. ~' ould be applicable in Germany: For here no actual change in relationship reveal relationships as in Bodin's 1.5.9. Bodin relaim the harmonic adjustment ms~nce, the idea of. supplementing ju­ of the parts. The problem. a fruitless or 5.5.7, he would transmute these. into whidt permits the judge to determine dicial fees by exactions from the liti­ one according to Kepler. is to find the Ut8 and 5.5.8, respectively. This, he the manner of death {or the Aristo­ gants themselves. "For with us Ger­ number to w'hicll 10 bears the same re­ observes, is exactly what the Creator cracy. In all such problems tbe welfare mans, trials in malters pertaining to the lationship 35 4.7. This turns out to be docs in planetary adjustJDents. of the State and not of the individuill BfK1y Politic are pre\'cnted from this 17~ (thu. 10.17~:4 .7 .how. by the Although the King is closer to the is first to be considered and Kepler kmd of lotte,·y, and it is not permitted multiplication indicated a di(£erence of Aristocr.atic division, he, nevertheless. as would offer an harmonic fonnula whid. to make exactions o\'er and above the 70.70 or !5.l15. or 17~.I7~ . Sine.: in the one to whom all rights are reserved, has nothing \0 do with geometric or uw." Bodin's scheme 7.10 is as 4.7. wl­ must act only in the publiC interest and arithmeti~ , ~nalogies. "a most dulcet Kepler, feeling as he does that Bodin late the numbel'l 7.10.l7!-1:. or, dou­ for the citiunry as a whole. Otherwise hannony: VI% ., has 5Om~hat denigrated Courts of Jw­ bled: 14.20.55. This, according to the he is not a King but a Tyrant. It fol­ lice, WOUld, through closer studies and "Ancients" with wbose ~nua.sions lowl that In :1.11 tyranical dictatorships 5 '+ 6 discussions, more dearly delineate the Kepler Identifies Bodin. resulb in an ""hether of King, Aristocracy. or Peo­ respective prerogatives of the three Po­ harmonic relationship. 20 being termed :t ple. either turnover within the gov­ r--I"::"""11"1 r--l litical Bodies, vi:., Legisl:l.tive or Repre­ tbe harmonic mediant of 2.5.'" This ernment itself will be precipitated, or 15. 20. ~. ,d. sentational. Judicial. Executive. He harmonic concept Kepler char:l.cterizes a takeover of the State by enemies out· alJlees with Bodin, however, that when ~ "vain" wd frustrating," viz., the dif­ side its borders. The best relationship I I dISSOnances do occur. as they often do fen:nce of the mediant to el.dt of its of King. Nobility, and People, Bodin 15 in inner sanctums. these sometimes two extremes must result in a ratio expresses in the respective proportion serve as a poker to Itir tJle embers which equates with the ratio existin, 4.6.7. The People (7) .re ,hu. disso· He has already criticized the master just as in musical systems, and should between tbe extremes: nant with the two luperior classes. AI· not assume an importance out of all tllougb neYer submitting to the tyranny formula of Bodin for its repetition oE 2 and for three termini withm termini, proportion. The identification of Ma­ of numbers per st! and repeating their jor and Minor scale stnlctures by Pto­ inadequacy. Kepler would .u6stltute ,u5l,lCcting the '·weak. persuaaion of the or 2.5 anocull": lemy with War and Peace m:l.y be ap­ the geometric fprmula 4.6.9. in which plied with equal appropriateness to re­ 6 symbolizes :I. harmony with 9 while 4 lationships Within the various groups. with 9 does not. The Nobility, thus, are 1 2 2 ~ Kepler considers th:1t in so far as Bo­ closer to the People. fomnng a lint. din has touched, albeit unwittingly. between them and the King. For. Kep· I Innl I upon Kepler's mwical bannonic pro· ler observes, Nature loves "an in·be­ ,. 4. 6. e. 12. portions in his interpn:tation of the tween_" World as Archetype, already delineated He reports that 20 is not the The government by Aristocrats in by Kepler himself in his JUyslerium harmomc mediant .toce, actually. the which the division of classes is all too ./.'----" '+ 1 Cosmographicum and Dk. IV of his Epi­ auditory sense rejects its relatiomhip strict, and instability the result. Bo­ 1:- tome ifstronomiae CopernicantJe as the to the ex.tremes in accordance with his din expresses by the geometric formula 9 Work of God the Creator, 10 this degree own theory of duple harmonic pro· 5.6: 5.10. The taUncy here is that these who are dedicated to three numbers he may be said to have adorned his pordons through sectioning of the numben taken together picture a com· own work. He compliments Bodin on Chord,' all parts of which must be only.1I Drawing :I. distinction between posite barmony. Kepler considen Bo­ "proportion" and "concordance", he his. acceptance of the Pythagorean-Pla­ in humony with each other :lfId with din more successful with the numben tODl~ TemctYI.: 1~.3.4 . in which Unity the Whole. An original medi:l.nt which argues that this l::ut is a quality. not-a U: 9.18 dn.. U and 9.18 do no' syn· quantity of the (irst, and has nothing is King, the vlcanous representative of u dissonant with the twO extremes chronize musically, the nine-angled fig· God in the Republic; 2: the Sacred Or. thus pr~udes an harmonic mediant.' to do with a mere changing of number ure "not being demonstrable." Bodin position. In other words. nothing to do ders; 5: tlle Military or Knightly: 4: Thus in the given proportion .f.7:7.10. 7 offers as a stable hannonic solution the the People, to which cJ3.SS are appended: is dissonant with both 4 and 10. with Bodin's "admixture." exchange between the Nobility and the In matters perlaining to theft, a gre:l.t the Agrarian, Ihe Scholastic, the Mer­ Kepler acknowledges tltat in the People, involving, respectively. honon chant, and Artisan subdivisions,l o The above illustration there is a ceruin ad­ deal should be left to the penuasion and lucrative positions: 4.6.8.12. Again of the judge. certainly not in arithmetic spiritual world does not yield to arith­ mixture 7 but "if canlusa is what Bodin he i.i mistaken since 4 is not to 8 35 6 metic and geometric an:l.logics, but only wants, he win .." He proceeds to attack proportion, taking due care that lax is to 8. It is true that 4.6.8.12 or 2..5.4.6 mitigation does not encourage the thief to the harmonic proportions as demon­ the Bodinian hannomc concept (which makes a common musical concord:mcc strated by God Himself, "the super· he IUSpects is derived from the "An­ who robs another of only a little by although 2..5 is consonant in another choice and the one who robs another existent and eternal geyser of Geometry dents'1 viz., "In ea raliones tJequalu manner than 5.4 or 2.4 and !J.G. Sbeared and Hannony." Plato presents the four el .imilium sint modice conlusa:' at of little simply because bis victim of geometric or arithmetic considera­ proved to have only a little in his po'. cardinal pillars: Justitia. Prudetdia, For· what he considen to be lUI ~ rooUl: tions there is possible a musical sbed· titudo, Temperana"; ::md in his accep· (1) there are many kinds of non­ session. Account must be taken of CJ(. ding of light (t!.g., considering 2..5 III tance of these. Bodin, "released from his hannonic numbers which lend them.- tenuating circumstances luch as hunger musical fifth, 5.4 as fourth, 8.9 as ma­ and love of children, with rehabilitation arithmetic and geometric analogies, be· 6Clvel to moderatt! conlw;on through jor tone: 2.3:5.4 or 8.9, the difference of comts the complde musician." equality (arithmetic) and similitude, the ideal. But jf the aiminal conducts a whole lone; 3.4:4.6. difference of 8.9; himself like a ocast, then he should be In the works of Providence. the pby. (geometric) , but this docs not mean that 2.5:5.0, dUfcrence of 5.4) _ they are in harmonic proportion; (2) treated as a beast. Cold premeditated sical and metaphysical, there are per­ on the other hand, there are copula­ A lim pte social situation involving crime falls in a different category from turbiltions of Spirit. mysteriOUS cosmo­ tions of harmonic numbers in which aU three proportions is cited by Bodin: crime committed under sudden pressure. graphical examples of wrath and divine there is no equality or similarity of ra­ Two noble students, one a man full The harmonic proportion should be venFnce, the Devil in the midst of tlos: (5) there are also harmorile pro· grown and the other of dwarfish size: art: obsen'ed in pubhc social events. such Rationale, eclipses in the sky; and all pordons in which there il a. simple clothed in.appropriately, the one in a as SC:lting at games. etc_ Particularly of these dissension. may be compared geometric proportion as in 1.2.4, and very short tunic, the other in a very at banqUCl!i. Kepler holds, the willy to the variety of celestial movements. even if these are legitimate :lfId identi­ long tunic. "rhe lirst would like an c)(­ should be extended the privilege of God. the Supreme Moder:l.tor harmoni· cal, they are not particularly Jatisfying change. The tutor, however, orders each lightening Ule spirits of the serious, ously directing all thinG' to .. good end. taken by themselves and, moreover, Kep. to keep to his own possession accord­ thus saving themselves from the temp­ ..Bet..... een earth and tuf:l. is clay; be· ler DOtes that Bodin himself excludes ing to the law of the Penians, not the tation to indulge in questionable jokes, tween metal and precious stones, copper them.; (4) then:: are, on the other hand, Medes. Here is where hannonic arbitra­ while the women, the sight of whom glebesi between roots and stones, coraJi haJ"IDoDlc proportions involving simple tion should rome into play. If the tutor would please the men. would profit, between birds and Ush. Dying fishcsi arithmetic proportions, such as 1.2.8i would suggest an added payment of in tum, from manly guid:l.nce. Although between men and brutes, simians, or 2..5 ..fi and tllC5e. Bodin taken off his money for the longer tunic, each pa~ Bodin would oppose indiscriminate 50· women according to Plato; between guard (sui oblitw). recognlus as har­ would be benefitted. Inste:l.d of Bodin s cial integration. he has many sugges­ beasts and angels, Man, mortal in body monic, :uthough they bear no anaJogy "admb::ture", Kepler would apply either tions in the field of harmonic propor· like the fint, immortal in soul like the whatsoever to any geometric admbc.ture. the harmonic geometric proportloo tions. t!.g .• inter.marriage of ridt ple­ StCOOd; between the celestial babita.­ tions of tIle BICS$cd and the Lower There are also proportions IUch ill I.U (lall m>n. long tunie) or the har· beian men with women from the Pil­ U.5: • .5.6: U.5. and 2.5.6. '0 wbich monic arIthmetic proportion 2.5.4 (ex- trician class, and, in tum, inter·mar· (conlinued, p. 12)

APRIL, 1972 9 An historian must have perseverance in order to penetrate into the secrets of (he past. On one hand he may be able An Historian's Good Fortune: to bring already known facts into new light through exact analysis: on the other hand, he may discover new New Ught on Daniel van der Distelen Senior and Junior sources thanks 10 a sharp intuition. Out­ .Kkrs are inclined to I:lbel such in· tuitive finds :tS accident .. 1 discoveries, by Nlaarten Albert Vanl .. and thereby minimize the flair and ingenuity of the scholar. Nevertheless. it occurs, lhat a dClecti\'C is confronted with new d3~ in 3. totally unexpected I:! August 1493 ment, since tl,e majority· of the older fixed not later than Augwt 149.5, the Forllma Reynor Cocx, cabinet-m.aku, and Hf'nrick archives of Tirlemont were lost in the date of the above·mentioned document.. way: the benc\'olcnt mllse will \'an der Dilen, haUer, bolh livinl in Louvain, sometimes intercede and oppose the bad city fire in 1635. Uncertainty concerning the exact date vouch Cor Daniel \-:.n df'r Dislelen, organ the father died will naturally continue luck which the scholar often experiences builder living in Louvain, .on or Ihe lale Three conclusions can be dra.wn from because suspected data cannot be olgan builder Daniel; who ( Daniel junior) has this seemingly insi~nifiQnt document: to exist: it is not impoS!loible that some traced or hilS vanished. negotialed a eonlnaet h'ilh Ihe municipality of the proof of the eXistence of two organ works before 1493 must in fact be at· TirlelD onl ( flemish:Tienen ) , actinl as the builders called Daniel \'an der Distelen tributed to the son. Only another dis· My musicologist colleague Antoon high church wanJellt of the St. Gt nnanu5 with an ap{lroximatc date of the divi­ covery, which would more accurately fix Deschrc\·e1. (rom Edcwallc· Ha"zame in Church of Tir-Iemont. Cor the comtruclion of sion of thclr works, the mfTection of the date of the father's death, will solve Belgium, rco:ntly experienced an exam­ a new organ in that church.l the dating of the organ in the St_ this problem. ple of such 3. fortunate discovery. Germanus Church in Tirlemant, and Onchrevel has searched for years in It is an apparent accident that a a new estimate of the date the slider SHond condwion numerous Belgian archh.'cs and, thanks document conccming a new organ in chest was introduced into the Low Organ cases from the go~hic period ~o his pcncver:tncc, has wrested numer­ the St. Gennanus Church of Tirle:mont Countries. are extremely rare. The northern Low ous secrets of Flemish orgalt history is not in lhe city ardlives of Tirlemont, Countries - the prescnt·day Nether­ from the past. One of his contact.s, but rather in those of LOlI\ain. But Fint conclwion lands - still posst'SS a lIumber of them: Monseigneur Jean Cass:art, was tracing apart frolll this inconsistency, the ex­ The first conclusion, rectifying earl­ those in the Koorkerk of Middleberg family trees in the city arcl,ivcs of istence of this guar.mtec in Lou\'ain ier statements, is that there were two (c. 1480, previously in Ole St. Nicol3as Louv;lin (Leuven) ami came upon a is 110 accident, since Daniel \'an der organ builders named Daniel va.n der Church of Utrecht), the St. laurens documenl, the contents of which Di!i telcn junior - one of the central Distelen: father and son. Until now, Church o[ Alkmaar (1511), the Roman seemed interesting enough to pass on to figures in this organ histo rical study I had no suspicion of this, so that I at­ Catholic parochial church of Jutphaas Deschrc\'e) who, in tum, most gener­ - was in any case a resident of Louvain, tributed all the activities of Daniel van (c. 1520. signifiQnlly aherro, (ormerly ously gave it to mc. In shortened [onn, and perhaps even a citizcn of that city. der DistcJen - from 1472 to c. 1507 - in the Nieuwe Zijdskapel of Amster­ and in modern Englid., the document But it is indeed fortunate that the to one man, The separ.llion of the work dam) . the Rijksmuscum of Amsterdam rods as follows: archives of Louvain conta.in this docu· of father and son musl Ihere(ore be ( 1529, fonnerly in Scheemda) , the church of Kreward (1531 ) ; and some fragments of the organ case of the St. :Martini Church of Groningen (c. 1480) , the St. Jacobi Church o[ Utrecht (c. 1510) . the dturch of N iehove (c, 1530). etc. In the southern Low Coun· tries - the prescnt-day Belgium - there is only one gothiC organ case, namdy that in the St. Gennanus Church in Tirlemont. Attention has alrcady been given sev­ eral times in the organological litcra­ ture (0 this organ case in Tirlemont, bllt it is qUite striking that the art historians, 10 my knowledge, h3ve never given it auenrion. The first person to rder to this ruse was Arthur George Hill,2 who daled the case at about 148D; in his second volume, Dr. Hill wrote:

TIle organ in the church of St. Gennaln, Tirlelllont, Belgium ia ~murbble o.s a very late example of IIII:diaeval won, and belollp to a period when the .tyle bad well ni,l! Riven pla!;e to nella_ nee (arms. Though no de­ tails other than gutllic are nmnirat. yel ev. idencc: of the coming ehanxe is .N!II il' the circular plan of the choir orpn (i.e. the chair urgan or Ille nlekpositiv), .nd in the somewhat Jleculiar treatment uf the tUituld­ intJ.. The pipe .hades allJlur 10 have been replaced by oillen of A debased kind. de­ .igned in feeble imibtion of the orilillul •• TIlere arc consideruble truces of lildinl lind colouring, and the whole case was, 00 doubt at one time decorated in this manner, thoush at praent the p~"Ailinl tone it a yellow brown. The orsan may be astixncd to the eartiest yean of the s&xtcCQth ccncury,' Dr. Hill's description is important not only bcclwc of its manifest compet· enre, but also because it concerns the state in which the orpn was before the: important cbanges made in 1891. Both the Belgium music and art his­ torian Floris van der a-lueren" and my­ se1f5 have given insufficient auention to Hill's observations. It is to the credit of Deschrevcl that he pointed OUl anew the authenticity or thls organ cuc:, not­ withstanding its later transformation.· Moreover he made alt attcmpt to date the case. The Unancial rerords of the church wardens, from 1516 preserved at the arcl1epi5COpai archives in Malincs (Mechelcn) and published by me, reo port that Quiryn van den Ee:khoute, organ builder from Malines, maintaine:tl the organ on a regular basis.' Oesch­ revel deduced b·om this that the same organ builder had made the instrument shortly after 1500. The recent discov­ ery proves that the instrument was com· pleted in 1493/4 by Daniel van der Dis­ telen junior; the name of the cabinet· maker who built the cue is unfortu· nalely unknown_

It is now possible to make some or· gan historical additions to Deschrevel'l art historical comments. During the conflagration of 1655 the Tirlemollt church did not escape unscathed: the organ also met with some dama.ge, enough so that on :May 9, 1642 the church wardens instructed tbe orgal1 builder Jan van Ween to "place (the in­ strument] in a proper state. Just as Tirlemont it was before the troubles in tbtl dty." (continued, p. 14)

10 THE DIAPASON t

C()'Sf:l Vh NT

([esenant frtrg~ ST-HYACINTHE, QUEBEC, CANADA Regions, the starry sky: to which may in 1619. The refen!nces in litis artide are 10 be added from the beginning of this the original wition. lB.,., op. elt. Bk. [II, chap. m, p. 31: "JllIt Book the two mediants. air and water as the S.nariw does not derive from the crea­ between fire and earth: etc," tion of the world in lix daYl, neither docs the Having thus impregnated the fabric T.ruriru derive .ignuiCance from the Trinity of the Cosmos with harmonic medianll of Persons in Deity. Whenever the human mind in consonance with Bodin, and having encounten a related .ituation, being ignorant extricated himself from the thorny er­ of causes, it goes outside itJell and makes a ron of Bodin ("For the soul does not marvel of that which is in reality onl, a coin­ to cidence. Brevil.,. Num.rw Aie I.rnariw no" lend itself numerical calculations'! ell effielem cawa Harmonia",m, s.d ./ledw Kepler hastens on from Bk. III to his ipsiw; s.u ./I.da. Aarmonia. comel; Non in· HONORING THE 90TH BmTHDAY OF own specialized profession: the appU. formal Aarmonw, sed .s' forma. rupl.nd... cation of Musical -Proportions to Astron­ e.nliG." omy. which is nothing more nor less 'Six livr.s d. la Republiqu. 1576. Refer pri­ than "the philosophy of everlasting maril, to Bk. VI, chap. 6. Available also in SETH BINGHAM polyphony." His battle.cry: "The boun­ Latin (1586) and in English (16(6). ·Op. cil. Bk. [II, chap. iii, p. 28: Kepler dary posts of invr5tigation should not describes the method of the "Ancienb" in (b. Bloomfield, New Jersey - 16 April 1882 ) be set up in the narrow minds of a linding their hannonic mediant: Given 25 few men,"11 has echoed through suc­ multipl, each by the fint number, and the ceeding centuries. To musidaru he be­ accond by itself, i .••• 2x2, 2x5, 5.5 or 4.10.25. quests this vision - the earnings of a Add the resulting mediant (10) 10 each: dedicated life: "It is not to be wondered 14.(20).35. 14.20 (7.10) is dissonant. as is aho distinguished organist, composer, teacher, at that Man, the Ape of God the Crea­ 20.35 (4.7). The master mwical proportion of the "Ancients" is 3.5. and by the method de­ tor, should finally have found out the Kribed above yields scholar and gentleman art of singing polyphonically which was unknown to the Ancients, namely that he might play the everlastingness of aU ~ 5 creakd Time for some brief instant by ~r"'. means of an artistic concord of many or 12. 15. 20 PERFECT THROUGH SUFFERING (P66348) ..$.90 voices and that he might to some ex­ lent taste the satisfaction of God the Workman with his own works, in that Mixed Voices and Organ (Piano) sweetest sense of delight elicited from LJ this Music which imitates God.l !2 At nib happens tn coincide with Kepler'. har­ Lent, Holy Week, Concert last, Nature who is never miserly, has, monic concept. (See fn.8 of this article.) afler an incubation period of two thou­ IKepler defines "Part" in the sectioning of sand years delivered to you in these last the Circle as "never &rcater than a ICmicir­ generations the first true models of the dc." and "Residue" as "never less than a UT Q UEANT LA.,(IS (P6289 ) ...... _. .. 1.25 universe. By means of your concords of H'micin:le." "Chord (or the number express­ various voices, your ean her confidante, ing it)" is applied to the entire longitude in­ volved in elicitins, for instAnce, wund. through she has made known to the human motion. "Consonances are infinite because Organ mind, the chosen daughter of God the demonstrable figures an: infinite. But arbitrary Creator. her very Self and the inner­ application ad in/ini.um to the human car is Hymn to St. John the Baptist most secrets of her being. Follow [my tyranny because the potentiality or the ear is teachings], ye modem musicians, and not infinite. Musicians are man:hing beyond pass judgment on the maUer according the Pythagorean concept, even widlOut men­ to your arts which were unknown to tion as yet of the colTCSponding evidence pre­ sented by celestiaJ harmony." Axiom II[ (Ok. anti9,uity."13 (Kepler guarantees the 11[, chap. i, p. 12) "frees" the integrity of C. F. PETERS CORPORATION pubhcation of a six part motet as a re­ consonances "which I have lUiMtituted in re­ ward, with text selected from Saip­ pudiation or the abstract numben of Pytha. 373 PARK AVENUE SOUTH NEW YORK, N. Y. 10016 tures.) goms": Corollary to Axiom m: Chart 1: "As Seneca. says, the )Vorld iJ a picayu· nish thing unless there is revealed in Dissonant From the Whole (212) 686-4147 our quest of it a world amply consti­ P..... or Total tuted for the quest of men in every age."14 1.2.3. 7. 1.2.-4. 9. Kepler is his own best spokesman and 1.2.3.4.5. lI. in We Jight and darkness of our own 1.2.3.4.5.6. 13. time and of all Time he affords an 1.-3.-5.· 14. arresting perspective. A staunch advo­ 1.2.-4.--7. 15. cate of the universality and indispen­ 1.2.3.45.6.7.8. 17. sability not only of harmonic propor­ 1.---5.-7.- 10. 1.2.3.4.5.6.7.8.9. 1•• tions but of Music itself in the physical d sic in inlin;,um and social fabric of the World, he was in its finest sense A Man For All Sea- Ok. III, chap. i. p. 21: .ummary of 8 Propo.i­ jOns. tiOni accruing from 7 Asioms:

Consonant Consonant Dissonant Dissoruuat Respect to P.", Residue Pub Residue Total 1. 1. 2. 1. 2. 3. 1. 3. 4 • 1. .t 2. ... a: 3. 5. 1. 5. 6. 1. .t 3. 5 7. O. 1. a. 3. 9.&:7. 10. 1. a: 5. 11. a: 7. 12. 1. I: 3. I: 5. 7. 15.13.11.9. 16. t. .t 3. 7. I: 9. 19.17.13.11 20. 1. I: 5. 7.5:11. 23.19.17.13. 24. EI Cet.r.

NOTES '11le same dissonant .ituation arises from 10. Doria neUman in her informative Eng­ the proportions: 1.6; 1.8; 3.4; 4.5; 5.6; 3.8; lish translation (London and New York 1959, and 5.B. Abelanl-Schuman) or Max Caspar'. German TA lour d. fore. of numbers not mentioned biopph, K./JI.r calls attelltion to the penis­ by Kepler yields through collation the perti­ tant error of commcntaton who render Har­ nent 14.20.35: (1) addition throuSh multipli­ monieu Mundi in the plural as "Harmonies cation AI indicated: (a) with 7 u mediant of the World," wbcrc:u Harmonie.s it the and atremcs: 4.7:7.10 = 28.70 or 14.35; senitive o( the Greek word (or '·harmon'... 7.4:10.1 = 10.28 or 35.14; (b) with 4 AI me­ Harmonu. Mundi (Wd' Harmonil) is. there­ diant and er;tremes: 10.4:4.7 = 40.28 or 20.14; fore the preferred Domenclature. Caspar'. 4.10:7.4 = 28.40 or "".20; (e) with JO as biography itself is certainly one o( the nwter­ mediant and atremes: 7.10:UU a 70.40 or pieces of its .pedes and, without heiDS "aca­ 35.20; 10.1:4.10 = 40.10 or 20.35; (2) lub. demic" in the derogatory feme, luccessfully traction throuSh multiplication as indicated: SCHLICKER interpreb the evolution of Keplerian thought 4.10:4.7 = 28.40 or 14.20; JO.4:10.7 _ 70.40 and innovations in mation to and apart from or 35.20; 7.10:4.4 _ 28."0 or 14.20; 7.4:10.10 the relisioUl.political wues of the period which culminated in the Thirty Yean War. [n other = 70.40 or 35.20. (Proportional addition is words, it reveals the p-atDCSS of the man eUec:ted throuSb multiplication of second mean for excellence of design, the finest of quality materials, and the hirmelf. Conceived in Graz before 1600 Har· by CltIt atreme. In reJation to multiplication moltu. Mundi was published in Lim, Awtria, (continued, p. 19) highest order of craftsmanship in mechanical and electric action pipe organs. I·-~CA~ -··· D.S. WENTZ, INC. I ORGA~i8f ·. Buffalo, New York 14217 Pipe Organs INC. P. O. Box 222 1530 Military Road NEW SELECTIVE Worth, III. 60482 ORGANS REBUILDING brochure available member APOBA P.O. BOX 238 WA 5·0534 GI8-0534 Hollidaysburg, Pa. 16648 814-695·1613

12 THE DIAPASON &olian~~ftinntr .. .the organ. Kennedy Center Installation Completed March 1972

AEolian'Skinner Organ Company,Inc. Pacella Park Drive Randolph, Mass. 02368 (617) 961' 2('05 From the stipulation that the restora· correct: Daniel van der Distden (the lion had to be Onished before June 22. oM master Daniel) worked be/Me Au­ 1&12 - thal is to say, within SIX weeks gust 1495; one must therefore dale the - onc can conclude that the dotmage document at least 10 y~ati earlier. was n :latively sUght.1I This conclusion is ,It first gl3nce not tn 1671, the municipality of Tirlc­ very important. but as one pays at­ mont - again as high churth wardens tention to the ("oll'en' of the aJocument of the St. Germanu! Church - resolved it a5lumes great signlficance. The lext to ha\'c a new organ buill, "since the of the document spv~ks of three typt.'t Dill instrument elll no longer serve the of wind ches15: art [of music]," They entered into a contracl9 with Jan Dckens. organ build· J. The blokwelk (the 8!9t organ. cr from H33eht.01l MardJ'28. 1671 with but wilhout stqps and no possi­ the condition that this new instrument bility for change or registration) would be placed "in the old case in 2. The positive (chair) organ, with which the [prescnt1 org.m slands." The a double chnt: new instrulllent had the following SlOpS: (a) the front chest, on which the 60" Principal stood was able to be GREAT (C. D - c'. 48 nOles) brought into use by means of a 16' Bourdon "wind stop" (which would permit 8' Principal the wind to enter the chest), and 8' Gedcckt (b) the rear chest, on which the 4' Octave stops Positie (Mixture) and Cym. 4' FIlIIe bel stood, and which eQuid be 3' Quint Flute brought into use with sliden. 2' Supcrocl3\'C I' Sifflet Although Daniel called the slider 5 rk. Mixture chest "uncertain and untrustworthy," 3 rk. Cym"'" he had to use it anyway in order to 2 rk. Sesquia:lera (divided ba55/trc· obtain grraler registr:ttion possibilities. ble) In other words: the use of the slider !i rk. Cornet (trehle only) chest, the introduction into the Nether­ 8' Trumpet (divided has.o;/treble) lands of which I bad continually helel 2 nighting31L'S, drum, trcl1lulant 10 be at lr~ or shortly thcreaher, was already known before August 149~. CHAIR (Riickpositiv, C, 0 - cl , 48 The undated lext contains, moreover, oOles) instructions on organ registration 'It 8' Gedcckt that time (i.e. berore 1493),11 4' Ilrincip:d The ability of Daniel senior is es· 4' FIUle pecially obvious from the undated doc­ 2' Octave ument rrom 's·Hertogenbosch. but there St. Andrew Lutheran Church, Cape Girardeau, Missouri I ~ ' Quint Flule is also da13 available concerning the Rev. Louis H. Lounhardt, Pastor I' SUperoct3\'C capabilities of Daniel junior. We em I' Flageolet presume that the organ at Tltlemont 3 rk. Mixture of 1493 was a particularly good one, 2 rk. Cym"'" if only from the [act that it was used SEVENTEEN RANKS ;, rk. Cornet (treble onl)') until 1671. however much it was na­ oI' Trumpet (divided bass/treble:) turally altered berore that time. In l'erm3nently coupled pedal of one 1505 Daniel junior undertook the con­ FREE STANDING octave s(nlction of an organ for the Onte Lieve Vrouwe Brocderschap in the Thank.o; to the wisdum - Of' was it Onze Lieve Vrollwe Church of An­ WICKS ORGAN COMPANY/Highland, Illinois 62249 thrihincss? - of the - municipality of twerp: the description or this instru­ Tirlemont in 1671, this Cl$C is preserved. ment, with 115 three manuals and ped­ Pipe Organ Craftsmen Since 1906 The organbuilcler Ste\'ent from Duf­ al, is such that one must conclude that fel built ::. new instrument in the old Daniel belonged amongst the most in­ cue in 1891 and in the same year the ventive masters of his time.I'J cabinet· maker Daems of Tirlemont al­ tered the case ill an unfortunate man· naniel junior did not see the com· ncr. pletion of this organ at Antwerp; he was "in a,.,.ea,.s" ("acl,tergebleven',. Is Third condwlon it not symptomatic and characteristic While a long series of financial ree of the uncertainty of the histori.. n that Northwestern University ords - rrom the beginning of the 14th he ha.!l dHficulty with the intc!preta. century until 1629 - report all sorts of tion of the words "in arrcaru' Did data about the IIIustre Lieve Vrouwe Daniel fail through his artistic anll School of Music Brocderschap (the Illustrious Confra­ technical inability, or was he physically ternity of Our Lady) in the St. John's no longer capable of completing hi! Summer Workshop-July 24-28, 1972 Church of 's·Herlogenbosch (Bois·le. instrument? I suspect that the latter Due) . Netherlands and its musical ac· i~ the corn:c;t interpretation, since Dan­ tivilies, posterity is quite poorly in· iel junior seems 10 have died in MICHAEL SCHNEIDER formed about the activities of the 1507/08. chapter and wardens in the $tme (Cologne, Germany) church. The church financial records NOTES begin first in 1630, one year 3her it lLouvain (LeuVl:n ), Sl:wIaardlkl, IUtII,.riI, No. 7779, (01. 54 reelu Organ and Choral Music of Northern Gennany went from Catholic into Protestant .lArthur Geu'Be Hill, The Or,1Ut CtlJes a •.,1 hands. There are, though, a few docu­ O"tlltS of 'lte Middle A,e a .. d R•• aiuanr. Lectures, Demonstrations, Intepretative ments prescrved from the years .. round I. London. 1883. p. 41 1500, in which many interesting thing.\ .ll6id".., II, Lundun. IMI, p. 55 Problems of Music for the Church concerning the large organ are men­ tFloris van dcr Mueren. Het J",tI ill J. tionct1. I published the majority of NtJ"ltJ"J.", Brusscl/ Amsterdam, 1931, pp, 70, Four hours daily-University credit available these documents in 1942, albeit not al­ 85·87 1M. A. Vente, Di. B,ab."'er O"d. Am­ ways \'ery accurately tran.scribcd.10 Ilerdam, 1m (1963 II) , p. &5 For information write: Concert Manager Two of the older documents an: IAnl.,.,n DdChn:vd, Hd ""elm.. lul ill d. dated, namely, the contract January 25, Sift' Ge,m... .ubrt 'e Ti.fte.. , BlIlletin van de School of Music 1499 (old style 1498) with Henrick Koninklijke Commiuie van Munumenten en Northwestern University van den Houwe from J\bJines (MCf.he­ Landsc:haprcn XVI, 1965/66 pp. 191-198 len ~ and that of Fcbruary 10, 1505 (old "l(. A. Venle, P'HV. Vlllil ,nil ,.~'t.riM," Evanston, Illinois 60201 slyfe 15(4) with William Baets van vu de .'rhjptt/;. betr,Ui.. , 'ubb".d. ., Ie" N.l/e".Julse or,.1 e.. djll mlll"s ,,,' om· He)'St from ·s·Hcflogenbosch; the ",ub 1630, Bnwel, 1956, I" 143 third document, which speaks of llle .,.. J. Gerib, O".lboMw.r Ja .. VII .. W.er' old "'lUlu Dml.iel, I had dated berore (XI'I/e e,.w). E.. bijll,4,. '0' zijrs 'ell." e" 1505 anll after 1499. This dating is in. wt,t, Eisen Schoon en de Brah.ndcr XLIX. T onKe rI 0, 1966 • p. 165 ••••••••••ORGANERIA ESPANOLA (Madrid) 'Bnwel. A1semeen Ri;luarchicf. SeA,,,,,.,,i/- NOEL P. MANDER. oraan builder from London. /i,t ar,,,,,Jw,mlll'" Leuven. No. 2088 11M, A. Vealc, Du.uulol/,fC to' ~. " J,lti,tI,. No one - YES, NO ONE - builds organs BETTER Ihan Ihe DEDICATED F.a.lu4. will btl ,hltt.. Ute U.B, dlKla, UWl • Jut WMIr of AprU. H, .m "- plllued to 'hit N" hUI "" Ntd"la"dn "'ttl i,. II, 16. ft,,",. SPANISH ARTISANS. We are slill VERY COMPET'TIVE. Send us your Anuludam. 1!H2. pp. )lB·I'U old Amerlnn trltlld, and mite new acquaint . • specs or desires - ALL TYPES - We will '!uole and perhaps surprise U M. A. Vente, Di, Brab"n'" Or,r/. ".e., Inte,. To .mop for , ,bit. letten lboUld yOU. D. Whiling (AGO), Represenlolive. 609 Soulh Grand Avenue, p. 22 • rrac:b h1III b1' "prU IT, 1'72 .t the toJ'-'nc ~ "1, A. SleUfield, Br"""," '0' d, "ldi,II,,,i. Los Angeles 90017. N. P...... " . L .... SL ..,t"", Ortu w., .... J,r AII'w,",,,.d. C/a!:i,im6rl· ell "r"lbovw,rJ IL A' .... "_b., RIM, • ,..t.,.. i" tI. XVI, '" XVII, Antwerpcn • L.,. .... E2. 1EII,'a,,1I .,"W'". •••••••••••••••••• 1942, pp. '5, 46 CHOIRMASTER CONFERENCE JULY 3-7 JULY 10-14 DR. STANLEY VANN, PETERBOROUGH CATHEDRAL WJlLi~ ADDRESS: Warren C. Mln.r, Christ Church, Shahr H.ighh, Ohio 44122

14 THE DIAPASON Tire Allen Digilal COIIIl'II/er Orgall, Syslelll bOO, ill co,/{'erl willi lire Na/iollul SYIIII'I/(JIIY Orclreslra, Allial Dorali, Musical Direclor, ill Kelllledy Celller, Waslrillg/cJII, D.C To an orchestra that plays at A442 or A444, an organ pitched at A440 can present a problem, Not so with the AU Tuning new en CompUter Oigan This instrument can be repitched to any "standard" in seconds, and, once done, will remain accurate to that standard indefinitely. The organist also has a choice of "tight" accurate tuning, or "chorus", where slight discrepancies are deliberately introduced to make the tuning more like organs as we normally hear them. Long term stability and "instant" pitch adjustment "Atlm ORGAN COMPANY of the entire instrument are two advantages of the MACUNGIE. PA. 18062 Digital Computer Organ over conventional oscillator ©1972 instruments. Most remarkable of all - mutation, frac­ tional, and mixture stops enjoy correct tuning, free of the errors encountered when fractional pitched stops are obtained through unification. tI= 6 in a series, entire series available on request. These excellent attributes are shared by every model of the Allen Digital Computer Organ, even the smallest. EX!. 2 I< 5. Fo!. 69T. Fr,om Arts Image ••• Avenir H. de Monfred THE NOM PRINCIPLE OF RELATIVE MUSIC Introc:Judlan by Nichola. Sianimsky Foreword by Joseph Ya •••r

RICHARD HESCHKE Louisiana State University, Baton Rouge. "Rich registration and smooth playing • • • fine tech· nique • • ." (The Clarion-Ledger, Jackson, Miss.) "••• excellent rhythmic drive ••• stylistically and musically satisfy· "A stimulating presentation of the new ing • • • a stunning perfonnance diatonic modal principal which Siv" contro\·ersy. Since "the idea of writing Certain other considerations lead us • • • If the local concert season compose, and performer freedom '0 music for a specific instrument was to suggest that the Faenza pieces could comes up to the level of this re· interpret a given piece of music in an just as foreign to the 14th and 15th have been perfonned with two instru· cltal, we will have quite a year." Infinite variety of melodic and har­ century musician as the idea of using ments, one or both of which possessed [Fort Wayne News·Sentinel) monic combination • ." - ASeAP Today one 'correct' spelling for a word,'" the a keyboard. The first is that when music of any particular instrumenlal this music was copied into the manu· " ••• a lustrous performance •••tI "A composing or improvl.ing technrque, repertory is never actually identified as script. the churches throughout Europe [Rochester Times·Union) mod.l. of whkh can be found from such in manuscripts of this date. In· would have housed organs with prioti. Bartok back to Beethoven." - Th. struments are never assigned specifiC­ live keyboards. A surviving example of Piano Quarterly ally - perhaps these pieces were per· this kind of keyboard is found on an formed upon any available instrument." organ from Norrlanda. on the island of "Th. author'. lincerity and depth of Thus the possibility exists that some of Gotland (Sweden).14 In the middle mu.ical thinking bring a fre.h DUtlook the secular music could have been ages Gotland was a major commerdal on some of today'. confused aHltude. played on a keyboard instrument. and center. which gives credence to the pas. about the .ssential nature of mudc." Charles van den Borrrn's suggestion that sibility that similar organs stood else· - NIALL O'LOUGHLlN, Musical Timel, Landini might have written a compo· where in Europe. An instrument with London sition or two himself cannot help but three such keyboards and a primitive pedal was built in IMI in Halbentadt, 226 paS"; 191 mu.ical illustration., suggest the organ. Part of the music may be intended specifically for or· Germany; and at least part of the pipe· 63 modal ",uivalence, scat. "rudure work of the organ at Sion, Switzerland. and key .iunature table•• Appendix of gan. since the codex contains the earliest 9 bas long been recognized to date from 397 NDM .coles and their conversion •• known example of an organ Mass. 1390, U though the organ was provided $15.00 The excerpt shown from Non ara may pieta questa mm dona, through a com· with a stop action and a new keyboanl CHARLES SCRIBNER'S SONS parison with ill vocal original, helps to during the 18th century. The Norrlanda organ, however. proVides a probable 597 fifth Avenue, New York, N.Y. 10017 show how this music might have been performed. Since the instrumental ar· representation of the kind of ieyboard rangements in the Faenza manuscript wllich all of these orgaru once pos. FRANK SPELLER generally preserve the bass lines of sessed. A pbooograph of this keyboard is University of Texas at Austin. their originals, and since the bass line shown on p. 17. "••• puts forth a solid performance of each vocal part was often taken by A second consideration concerns &ome at the organ console •.• precision an instrument such as the viol,lO should of the instancell of part.crossing which and rhythmic energy • • • finely STEINER it not have been reasonable for the a1· occur in both liturgical and secular worked interpretation. He Injected ranger to limply exchange the vocal pieces in the Faenza Codex. the necessary excitement .•• com­ upper parts for ornamented single. bines exemplary technique with In· line instrumental renditioru? Support. [See Ex. 4, p. 18) terpretive ,ntelllgence and excite· ORGANS ing this notion is the fact that when the organello was employed, the left These examples are rather awkwanl to ment to produce a fine musical Incorporated hand had to be used to pump air ex~erience for his aUdience." [The perfonn on any instrument baving a Daily Camera, Boulder, Colorado) through the instrument, leaving the single keyboard, unless either the bass right hand free to play. or treble line is displaced by an octave. The most puzzling aspect of aome In considering the usc of more than DAVID BRUCE-PAYNE of the Faenza pieces arc the long IiUC' one keyboard. it should be noted that now on his first foreign tour with cession of dragmas caudate, transcribed up to the lime of the compilation of stops in Canada, the Mid-west, as !2nd notes (Exs. 2 and 11 . Indeed, the Faenza Codex organs were not pro­ East and the South; Westminster the technical dexterity required for the vided with stop action and the use of Abbey assistant perfonnance of this mUS1C would not multiple keyboards represented the only only demand the use of a highly re­ possible way to vary the tone quality BRADLEY HULL sponsive instrument. but again raises of the instrument. The three keyboarlb SI. Bartholomew's Church, New the question of the role of the thumb of the Halberstadt organ. each baviug York, assistant in the perfonnance of keyboard music a compass similar to that of the single prior to the 16th century. Two minia· keyboard of the Norrlands organ, GEORGE McPHEE tures, one of Johannes de Florentia in probably had similar key dimensions Scottish recording artist and the Squarcialupi codex and the other as well. ThUll we do not have the likeli· Paisley Abbey organist on tour of an anonymous organist in the codex hood that tbe Halberstadt organist, here this autumn hal. 568. folio Ir, Bibliotheque Na­ could have played upon a separate key· lionale. Paris, dearly show each per­ board with each band. JOHN ROSE fonner with his thumb resting on a Cathedra I of the Sacred Heart, key of the organetto. Hans Buchner According to Apel. Newark c. 1525) fonnulated the first basic Durins the 14th century, alon, 'With the rules for the use of the thumb of the development of church orpDI, there ROBERT TWYNHAM the left hand:l1 the fastest notes for appeared a parallel development of smaller. Cathedral of Mary our Queen, the right hand in the Buchner example more nfined, and more tractable lDstruments are the equivalent of our 16th notes called pom;v,s. The positive had a DU1'OWCI' Baltimore, and catholic Univer­ and more manaseable keyboard. which wu sity, Washington and these can be perfonned easily with· undcntandably favored by performers. Poai. out the thumb. In 1555 Juan Bermudo lives began 10 be placed in the chaDceI area MALCOLM WILLIAMSON described the use of both thumbs in of churches to assist the lingins of p1aiDSODI' British composer now on recital THE FIRST UNITARIAN CHURCH four-note groUps.12 But wen:: these by the dUKY. Soon afterward lOme orpniIts and workshop tour here theorists perhaps the fint to put into bcpD to piau a positive orpn dOICI to the 322 YORK STREET words a practice already in use in tbe keyboard of the srcat organ.11 LOUISVILLE, KENTUCKY 40203 14th century? The positive is an organ small enough Willi Apel discredits the idea tbat to be moveable, while the organeuo @ Tracker adion - 56 nole/32 nole these pieces may have been written for was even smaller, enabling the per­ manuaVpedal compa... s. two non-keyboard instruments. in lao fonner to carry it. The pn:sena: of vor of the assertion that they do rep­ part aossing in the Faenza manuscript. Recorder Board Combination. - 5 resent music which is trul] idiomatic especially that found in the liturgical gen.,als, 5 divi.ionolt in Mlch divi.ion. to keyboard presentation.' However. music. suggests that if positives were 21 Regist.,., 28 Ranb, 1352 Pipes. the case for combining a viol or other brought into proximity with the Ita· Arts Image melody instrument with the organetto lionary church organ, certainly porta· FACTORY; 1138 GarvIn 'lace has already been presented. But if lives were also used in combination Box 1047 P.O. lox 1195 these pieces were intended for more with it. Perhaps the long, IUStained than one instrument. why were they notes of the lower pan were played on Newark, NJ. 07101 louIsville, Ky. 40201 copied in score fonn rather than with the great organ, while limultaneously Phone(201)~6021 Ph... (502) 583-5032 the more common method presenting an assistant imp'l"Ovised a treble part on each part separately? a portative limilar to that illustrated at

16 THE DIAPASON Ex. 5. Keyboard of the Norrlanda organ. Note that Bb is still grouped with the natural keys at this date. These keys are about twice the width of present-day organ keys. the beginning of this article. Though board. Indeed. that the composer might the keyboard of the Norrlanda organ have been working under the restraint was much too rrimitive to lend itself of some unmentioned obstacle. is sug· to the playing 0 the treble parts of the gested by the grace with which these Faenza compositions. it was developed simple means of ornamentation are ex· SUfficiently to render many of the ecuted (Ex. 6, p. 18). With the two bass lines. and therelore probably lep· organs the assignment of each INSTALLED BY ALTENBURG Tesents one answer to this quesuon of would have remained clear. In the per. the manner of perfonnance (Ex. 5). fonnanee of liturgical pieces. the use IMMACULATE HEART OF MARY This keyboard suggests a possible of the chureh organ with its large keys explanation lor the question of why together with the organelto with ill nar· Roman Catholic Church, Wayne, New Jersey these 1iturgical pieces. having been rower keys. gives a plausible reason for Rev. Msgr. Edward J. Scully, V,F. written for instrumental perrormance. the differences in the technical require. should be almost wholly devoid of ments of the bass and treble lines. ornamentation in their bass parts. Even Write, or call collect for In sum the Faenza Codex is another imy information you may Mr. Robert Simpson, 110, marc the composer wished to do welcome addition to the An Nova require regarding any of Director of :Music than to merely parrot the lines of the repertory. However. it poses as many the milgnificenl standard or Gregorian chant. as was nonnally done questions as it gives answen. It tells custom designed Rodgers with the organ. His indication of two us that instrumental music received Orgiln5 directly 10 bass notes to be played together, round more attention than has been previously Mr. 0110 II. Altenburg or sporadicaJly in the Faenza manuscript, assumed. but we are still uncertain Mr. Wilham 5. Wrenn. happens in a context such that these for what specific instrument(s) it was may be easily performed - using ooth intended. It points to the fact hands - on keys similar to those of the that the music of Jacopo. Bartolino. Norrlanda organ. Note must be made. Landini. Zacara and Mamaut enjoyed however. of the primitive forma of or. wide acceptance. but the instrumental namentation which exist in the liturgi. cal pieCCll. Repeated notes and rhythmic arrangements do not help us to under· variations all lie within the realm of stand the application of the comple- the Norrlanda key. (continued.. p. 18) Exclusive Dealer in New Jersey and New York

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~ORGAN COMPANY / liox 486 AD / Lawrence, Kansas 66044

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APRIL, 1m Ex. 4. fol. 2r mentary accidentals in their vocal counterparu. The paucity of ligatures in the (enon of the F;u:nt:l r.aisn tht: question why it was necessary to t'nt· ploy ligatures in the untexted tenors of the vocal originals. The presence of :It.:I:g:l:1J:J:n:n:tl:I::.:':rn:J:J:J+:'j:Jr:ll:tJ:l:®F:I:JJ:.i:J:i¥+:'I:::~J:J:P::):J::: heretofore unknown rom~ilions tells 115 that mOlny vocal originals have not been preserved, or havc not as yet come to light, or that the instrumental fol. 44r-44v versions had no voal anl«rdenlS. These arc a few thoughts which rome to mind. But if one ponders for a mom· ...,- ent a line from lhl! Sequt ntia sancti I 7 •q p J J Jij Evtlngdi secut,d",n Lucnm, II, "Petite + • • el accipietis, quaerite ct invenietis, pul. satc et aperitur vobis ..• (Ask and you IE} ;.; ../ , :. will rccch'c, seek and you will find, 'I I: 10 : knock and it will be opened you •. •) hope for solutions is Cl'cr present. Col. 52v and fol. 74r NOTES SA phQlopaphie rrpmduetion of the en­ tire coda I1'\:lY be Ken in All &"Iy Fi/,,,"'Ie­ C .. II'''". lI.Ii,,1I S""U. 01 Kqbooftl AlII"~, No. 10 in the Mtuitol"rit41 S.,,,Ij,. ....11 Dfu­ ""'tilts. Dallas: ArMOQn Institute or Musi­ cology. 1961. 'For an inventory of thcse entries see Gino ROIK:.allia, "InlonlO ud un codice eli jol,annes (at. Mv and fo\. 95v BoMdks," Alii .. •W .. m"';.. ddl" IIctoJ,m;" IIi Iti.. ,,:.., I.. "" .. .. d ",t; di M"t1..,.", Serie V. Vol. IV (J939), PII. 51-43, and also F. Al­ berto Gallo, "Compendium musicae meNuna­ ltilia artit antique," C",pru .uiJtl",.m d.. m ••ic", XV (l97J), pp. 61-73. SDnagan Plamenac, "KeybCl:llrd Milsic of the 14th Century in Coda Faenza 117." J.""II41 0' ,A.. A", .. ,uIIII .\hl;''''.rit. So­ dd),. IV (1951), 185. Sec olso Kurt VOII Fisclter, St"Jicrt z", ;,ali.. ";StIe,,. MlUi" J ..s T,.ce,,'o ""J /,Il.. A,,, Q"oU,otel'ltfJ. Pt:ro ~ Paul Haullt, 1956. 11. 98. Ex. 6. fol. S9t 'Charles V3n den BOfTen. "k Codex de jollannes Bonatlies, musicien du XV- Itccle," R .. vu.. b,l" d'a,cJllo'''ri.. ., d'leiJloj,.. J .. ,'.,1, X (19fO) , 259. An irntrumental com­ position ddinitdy QUriooted to Landini, a.tst. 11 /o,.,i"U", is preserved io the Reioa codex 1:111l1t1: ).'11; : ~ :.l !l1j :J! J fj I ( Paris, Bibliotheque N,lIIionale, " .•.{r. 6771, fol. c;' :,m, 85r); the ootation usrd is .imilar 10 that or the Faem.:t. 1CMi~, t:.'CCI'fII ror the diltribu­ tion of the mr:uurc lines. sFilCher, 0". cil., 1"" 77.78, lisb 21 com­ "miliom whicla wc~ "coo Sacchetti ern-ihnte, bis heule aber unhckannte Kompmitionen," j 'Dr.tgao Ptalllenac, "Favclllina," Lih" ~:; :JJJJJI:: "'T'Hftl:Crrwrrrr I:JJjJjHJlj I omi,o,lIm Chari" t'fl''' d .. " D"".. II. Antwerp: Lloyd Aovenois, 1964, pp. 145·164. See by the same author, "Aleune ouerv.u:toni lulL. ItntUura dcl codke 117 della. Bibliolec:a Comunale di FaenJoa." Com .. ". di C .. "elJ,,: L'tUS II(tUO j,aliana Jt' I'u.... '(t. III (l969). 161·115. 1WiUi Ape), "Performance. Ptacticc," II.,. JJJ ) !)j iJ ,J ,l [r uo,d Dit';"Jla". (t/ Altuit. Cambridse: Har­ ! !J 1_; I: :: T W' ;'1 vard Uoivenity Pras, 1969, p. 658. 'Gilbert Reaney, "An Nova in Fn.nce," Tie. N,w 0~/o,4 Hul.". "I M...,k. III Lon· don: Odord Univenit,. PIUS, 1961, p. 25. 'Dragan Plamenac, "New Lilht on Codes Faenza 117." RISM, (Utrecht, 1952) , pp. 310-326. r(tf""" ItSee johannes de: Crocheo'. D. MlUi,. in ao Enslith lr.Iimial;gn by Albert Sea,.. Col­ orado Sprio,.: Colorado CoUetfe Press, 1961, "" 1:1 ;-L~ p. 19. 101 97r USee Arnokl Schcrinll, Cu.. Aid,. Jer M.· Ii" i,. B .. iJ"id.... Wicsbaden: Drtitkopf und Hirtel. 1931. pp. 18-79. USee Robert W. Scevensoo, 1"." n.rm"J., The Hasue: Nijboff, 1960, p. "9. lIWiJli Ape!, C"sthitle,. J" Or,"- .. "Ill KI."u,mw;1; his 1700. Kassel: B5n:nrtiter­ Verbg, 1967, p. 25. ltlne Norrianda orpn now . tands in lhe Swednh Historical Museum in Scock.llolm (Illv. 12910) , It is dated 13;0 by Duti1 Wester in his G",is" R ••"i", ; SU'JlSl. O'rla,. Stock­ hnlm: (knenabtabc:ns Litosrarub Arutalb Fi5rlas, 1936, p. 169. lIArthur Geol"8e Hill, Til. Or'''JI-CfJI.' a"d O,rall. 01 ,h .. Middl .. A,.. , ~"ul R.Jlaus"" ..... Londoo: David Bosue, 1883, pp. 4s...%. lJWiI\i Apel, l'Orpn" .,. "jl• • pp. 616-617.

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Your "one-stop" supplier for all pipe organ supplies and components. DURST ORGAN SUPPLY CO., INC. P. o. Box 1165 Erie, Pennsylvania 16512 ~~'NC. MANUFACTURERS OF QUALITY ORGAN C(IMPONENTS BERKSmRE ORGAN COMPANY ANDOVER ORGAN COMPANY. INC. Felix Schoenstein 110. 36 68 So. Boulevard, West Springfield, Massachuselh & Sons Pipe Organ Builders Methuen, Mouochuseth 01 W Member: In.emotional Society or Orcan Builders SAN FRANCISCO, CALIF. + modern mKhankol actlon 18 THE DIAPASON (cont;nll~d from p. 12) gl'Ometric." Kepler was apparently SUlln. of fint m... an by Il'(:ond ~tTeme : the ,urn of with De Rtrum N",",,, 0/ Lucretius (c. 99..J3 musical fifth and fourth yields the octave e.,., B.C.) 2.3:3.4 = 6.12 or 1.2. Proportional Jubtrac­ I'For Plato', concept of proportions lee NE\N DRGAN lion is efll'1:ted through mulliplic:ation of ex­ TimrltlolS (Lotb Clasl. Lib. pp. 60-71 e31-"l. tremes in relation to multiplic:ation of means: P.76: "And he let in order the Heaven ("",- the diU"'rence between lifth and fourth yields 1osmon) • • • of that Eternity which abides the whole tone, e.,., 2.3:3.4 = B.g. in unity he made an eternal imaSt', movins MUSIC 'Bk. Ill, ch. iii, p. 30: In the following aa:ording to number. c:\'cn that which is nalM'd diagram Kepler pruenls ,Lx pairs of musical lime," Also, see Aristotle, Physics {Loeb Cl." . harmonic medianls based within the octave Lib. Dk. VI, p. 185 (240). Kepler Epj'. me on 3.4 (fourth), .... 5 (maj. third), 5.6 (min. Adronomi"e CopensieaJUfe, Dk. IV (T. the 97-5018 HYMN INTONATIONS, PART 11- third). Beyond 5.6 the numbers are returned Re"der) often mention, the Me,,,physicl, and, to the smaller units. although he often takes issue with Aristotle on Ted Beck ...... _ $3.75 matten concerning the Cosmos, deplores the (See facsimile, p. 8) lact that it is nol always included in the aca­ A collection of 47 short introductions demic curricula. He asb thai Ferdinand II of commonly used hymns for the fes­ Kepler comments tbat only No.4, i.e., "Platonic in philosophy and Christian in re­ 10.12.15.20. coincide. with the hannonic defi­ ligion, will never prefer Aristotle the Master tival half of the church year (Advent nition of the "Anci... nts." (I'd... r to fn ... of 10 the truth of which Aristotle was ignorant." this artide): lIEpitome ••• op. cit.: "Nee enirn ligen­ to Pentecost). Easy-medium. dae ,unt indagationi Matae in paucorum ho­ 2 • , , 5 minum angu5tis inseniis." 97-5019 ELEVEN COMPOSITIONS FOR UHarmo,.i" Mundi. Bk. V, chap. vii, p. ORGAN- ,-....,-.... 212 (213). 10. 12. 15. and 12. 15. 20. UlbjJ., p. 208. For Latin and alternative Charles Ore ...... $3.50 trans. with comments reler to "Kotplcr', Celes­ Contemporary sellings of old chorale I'""'--- 2 ,I I' 51 tial Music" by D. P. Walker in }ollrrud 01 the W",burr "nd Cour'rndJ lrutitNtcl (1 967 1 tunes exploiting their harmonic and 'Bk. V I ch. ix, p. 214: Praisins God as the p. 233 , fn . 27i pp. 2-19.50, fn. 92. Walker constant Guardian of Order, and the fount, characterizes the trans. of Ok. V (H"rmoJlice rhyth;;;ic possibilities. Medium-dilll­ eternal and supernatural, of Geometry and Mundi) by Charles Glenn Wallis in Bk. XVI Hannony, Kepler holds that " IMIt of all can of Grea' Boob DI the Wn 'ern WorlJ as "poor cult. it be said that this most subtle Work of dis­ on the whole." I consider this a rather Iweep­ tinguishing in the celestial hannonie3 the two ing Itatement. An alternative tran,. by Wallis 97-5042 SIX TRUMPET TUNES FROM THE St'nera, major alld millor, ClIn have come of the passages here cited is 01 luperior liter­ "ITALIAN BAROQUE" - about by mere chance without the ,pedal ary q ll-ali ty. providence of the Crcat(l1' •• . ,,' hie inq"a", ItEpitome • • . op. cit. The original wli. orr. S. Drummond Wolff ...... $2.75 ~o"es'iNm Opi/ex ;'Jlw;mllS. lIarm. nic4f pro­ of this passage is to be found in the Ii~ portiONes, ortas ex /i,uris planis Fe,u1a,iblll, chapter (No. 7) of Seneca', auest;•• " Na . Suitable voluntaries for service use, "JjNnxeril "J IDlidas qu;nq"e /irNrtU ferulorel, tllrchs: HMuha S3l'(:ulis futuris cum memoria excellent for festivals, weddings, and exq"e u',"que cltUJe, "num per/tctwimum ntlSln cxolcverit, rescrvantur. Paui/l" reI mNn­ a,dlet7pu", co". rum conlormal1er;t," Also p. dus el' niJi in illo qllod qllaer,,' omnu mllndlll other joyful occasions. Music by 241: "For when a aelection is to be made lI"bea'" (Homines omnium act.atum A: laeculo­ among a divenity of elements, these them­ rum). CI. mnl. by Thomas Lodge (London Franceschini, Carelli, Garbrieli, Vi­ selves essentially incompatible in Telation one 1&10): " Many Ihinp are rcfened to the asCI to aoother, then the superior are to be pre­ to Glmc when as our memorie3 shall have valdi, Manfredini, Torelli. ferred separated from Ihe baser in aa:ordance been cxtinguished. The world is a little thins 97-5045 NINE CHORALE PRELUDES- with n«essity. and the Yoice known as the ClEupt all men have IOmewhal to observe in Cosmos would Yerify this. Just as Jill' com­ it." Also, tran,. by Wallis: "The world is II David Schack ...... $3.50 pared 10 inanimate matter, by so much does petty thing unleu every one finds the whole the Hannonie ado,nment cxcel the 'imple world in that which he is seekins.1I Fresh and intriguing sellings of well­ known German chorales in a mildly contemporary slyle. Medium.

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APRIL, 1972 19 Closer 10 Fulda's lime, the honth­ Dut unlike $Orne of the more famOUI .nd HaN Joachim Moser (K.. I: BJI'Cft­ Gilfan', reiter.Verlas. 19'30). THE TEMPLE piece to the ),(96 edition of polemicists in music history. Adam·, Prac';cD. mltJ icne ilIu5tral~ :1 similar wrath is 1I0t directed broadside at the 'MGG, I. 8. 'Leonard Ellinwood. "An musica," Sp.,. Cleveland, Ohio 44106 set of correspondenccs in gTapbic composers of his day. He give! ample 36 ~l~m, 20 (1945). 290·299. form. A three-headed serpent forms credit to the more skillful of his con· "Hugo Riemann. Gelt:lticlt'e J.r Mwik· the Vertical axis 011 which is marked off temporarie!'i ::md praises their accom· Iheori, im 1."{·:aX Jahrhu"Je,', 2nd ed. the musiClI gumut with the names of plishments for Ihclr subtlety and use of (1921); tr. of Books I Ilnd II (Polyphonic The­ DAVID the scale steps. inlenals, and the eight decoratioll. Contrapuntal complexity ory 10 the SlxleC!nth CCIIIUI'l') by Raymond II. modes; each step corresponds (on the /J~ ~e is not the 510: "If a composer HaUh (Uncoln, N~b.: Uni\ICrlity of NcbraskA left) to one of the muses and (on the works out a c:mtiJcna in canon, he Pres" 1962) , pp. 270·212. right) to one of the planets. The base ..,houW secL: more that it he peru.ived JlThis is an appropriale platt 10 acknowl~ GOODING .:dA'e the e.xpert auilLllnce 01 P",t James for this musiClI "trec" is labeled with J than to be obscurcd ... • Alnd further: Tyler; he and I .re joinll,. ra~~ble tor the names of tJle fOllr clements: eanh, all tr.uubtion, unl_ othcrwue IlKhc:atni. THE ClEVELAND ORCHESTIIA Since amons composen il has become the water, fire, and air. The correspondenc· UVirsil. eustom 10 compc:.c canonk: cantilenas, in MUSICAL HERITAGE soclm es cited are identiClI to those in Ramis' ,II agree with Riemann and HaS8h that hy which many (composen) think that the en. " articulos" Adam means " melodic intervals," discussion: tire art is tied u" all in a knot, and 10011 RECORDINGS De Mum also usn this tenn, but it was not in common use. In II, 7, Adam lisa the twelve interval. within the oc:tave ( GS,III, !H9), Mode Temper-unent Planet ;\(usel1 calling them "modi .ive ,pecies aalluum." HAn important cllntenlJlOrary technique, I phlegmatic Sun Melpomene cit~ also hy Galurtus in Tlte PrGc.ita ma.· 2 phlegmatic Moon Clio "rlle D/ Frur Ai,.lu Ca/.,i., (I"96). Ir. ;uwI Harpsichords 3 choleric Mars Er.tto nt. Irwin Young (Madiaou: Univu1ity of Wis· ~ choleric Mercury Calliope cumin Pft:SI 19(9). p. 135. Of•• lso the tr. hy i'i sangu!ne Jupiter Euterpe Ckment A. Miller (Dallas: American In,ti. fi Venus Illte of MusicoloBY, 1968) . san~utne Terpsichore " For Adam's views OR the! perfect lourth, 7 me ancholic Satum Polyhymnia Clavichords ICi: below. 8 melancholic Earth Urania I'lletc I take e.xception to Rieman', in~ terpretation (RaUh, p. 272) 01 this conllu· iIIA' passage: hb verlion .eenu to he based As in many other areas of Medieval believe in the lools, Df whom very many. ulmn a misreadins, .ubstituling "conlm· tenorelll" for "contra tenorem." If I am cor· thought, the final rcsult Wa.! D. unique while they wish 10 confIDe othen, cnnfound thenudvts 10 much lfult thef themselves, one­ rcef, Adam'. lenlh "Ik may indicate his synthesis of various idea·streams: mag· awan:nesl of the developmenl 01 a real bAlJ.J ieal clendaric .sp«uJation and astrol· eyed, can ICtraly lee .1 noon: for Ihe-, are usin, alieR lOunds and unmUlal cadenca, pari, fonnins f!'ftluent oc:tava and fifths with ogy. GreeL: medicine and physical sci· and in a DUller Qf no In-at purport thC!y .in, lhe te-nnr - .n odler words, the rooa nl ence, the traditional modal names and :t Ions time!, or they display the smallcst lriadl. thdr cmotional effects. the purely nu ~ phantllSy in many mealures, all if it wen: the uJollann~ Tinctor:is, Liher J, Ar'. Co""a· l1IeriClI concepts of "foumess" and rule; &0 these I would lay: "II you wish (luner;, tr. AllJert Seay ( Dallas: American In· "cightness," and (in later stages) the w forlt:i t the n:J1,ect oC future mwiciaDl, stitule or Musicology. 196t), Pl'. 132·141. iO be it!"" no". cit., pp. l:n·137. Boethian coucept of tbe threefold c1assi ~ lILoc. cit. Accardinr In Tincloris, srealer fication of mu~ ka in~tnltnenlalis, mu· ,\dam admits fr~ly that he himself rr1!cdom is pennitted when singing sMp.r Ii· sien J""lIana, and mllsica mundana.3D has been guilty of this "obscurity" in the h,w," (lit.: "above Ihe book"). evidenUy a n:re-rence 10 pup improvUation as opposed In In his Didrm:alion, an early twelfth· past. Throughout the treatise :l certain centuty guide to the arts, Hugh of St. practical, "common sense" altitude per. the .tricter 'lyk required lor res 'acta {Le. a coml~ piett}. Viclor st:nes one such synthesis in gen· ,'ac.Jes his admonilion! to thc compo5Cr: crOll intellectual tcnns, claiming a physi. ;lIJI(!alvin M . Bower. Beet";.s' Tit. P,;nnlties 01 M.,ic, inlrn., fr. and comm•• Ow. Ceorwe cal basis fot Jluu;ca lIumand - the It i.1 not enou.h lor a c.mposer to be a lingcr. but he mUlt abo be :a perfect mu, P('abody ColleRe lor Teachen 1966, luwim. corporeal harmony: sician who, .... hile he wilhes to compote lor IICS, III, 3.f2. othen what they may . ing, lIugbt also him· ttQlh'e-r Strunk, StJIlru Readi"" i,. M.rit Sperrhake or tlle millic or man, some is dtar:3.CIe!rUtic sdf 10 know what he is doing, lest he labor lIul~ry (Ne-w York: W. W. Norton, 195D) , 01 the body, some 01 the soul, and lOme! III the in vain; lor Seneca .aid "It is llaamelul 10 say p.85 (BnethiU!l, I, M). bond betwcen the two. It is a chamcteriJtic of one thing lind to think Ilnothe!r, but it is IIGS, III, J.t8. Harpsichords the body partly in the vegetalive power by bme to do one thing and to fed anolher, 1'05, II, 25·34. whieh it srows - a l)Ower bdonsins 10 wi hecanse the lirlt can be a liability in the .C~iJo,,;s Ardin; Mit,DlollU, ed. Joseph heinp burn 10 bodily lire; partiy in thwe! liresent, the nlher in the futllre." It behoves Smits van Waesbershe (Danas: American In· flllids or hunwrJ throush the mizture or com· a InUlician IIlerelo re to be hbmelm , I~Ule , tilute of MUlicoloBT, t9SS) . liP. "·71, plexion or which the human body suMisb • ••- 110: is an example to athen, Jot he do anything WJ1ler appear in AlDtgimensis [OS, II, 2331. wlltch he might laler repent." Couae-maku'l Aoonymnus XI rCS, III, 416). Passau IW. -Germany Eric Werner has shown how these T:UUlede rCS, IV. 2m]. and c.tlicw [CS, IV, ideas persisted and developed in Me· Despite his tendency to reduce all 3721 IU well as in Tirtctoris' Dif/i,.i'oriwm m,., Box 532 dieval Judaeo·Arabic literature. link· qucstions (0 their simplest terms, we lira, [eS, IV, 186] - alto in a ncw ed. and ing the (our temperaments and the cor en find many similar nuggets of tr. hy Carl Parrish (New York: The Free Press practical advice sprinkled throughout 01 Glencoe, 1963). responding four properties of nature nail Johannes or JCJhannem llapam. (hot, cold, moist. and dry) to the Ac.Jam's treatise, and we call be grateful !!,(}S, III, 349. octoecho;.·o Beyond the obvious rela· for whatevcr light thcy shed on his mu· -as, III, 351..352. Adam', views on Ihe G. F. ADAMS tionships suggested by groupings o( sic and that of his contcmporaries. lourth :u-e virtually idenlical tlJ thme of Tillc. fours or eights, it is obvious that some Through his devoled cwtodianship of ton.. or the lenns used to describe the \';trious somewhat shopworn but still influential -as, III, 356. " Sourca for Ihis doctrine include Ihe wril~ Organ Builders, Inc. lllooal affections arc taken over from Medieval ideas, it is clear that the thought patterns of the Middle ilill included in the! Jliztf'OCRUc: coUutfoa. Gret:k sources where tJle names Dorian. Ages esp. AII&i.", Meiui•• , Nal.r. 01 Mall, II.· Lydian. and the other "tribal" acale5 were still viablc. Intellectually a Me· mo,.u, .nd the three Re,imCII trQtixs [Loeb 204 West Houston Street meant something entirely different than dicval man, intuitively or Renaissance ClllUical Library. It" W. II. S, Jones, Harvard they did to musicians of the Middle composer, Adam was a worthy repre­ Univenity Pres'IIL Polybut. Plato·s Tim",IU [ef. New York, New York 10014 Ages. It seems highly probable that sentativc o( his fifteenth·century Cer· particularly the commentaries by A. E. Taylor these specific affections were transferred mall colIcagues - he was both DieMer and Francis M. Clmlordl, and Galen'. 0" and Meisler. ,h. NtdMnd FtI&vlljer [Loeb Classical Library, without much thought as to their mu· tr. A. J . Brock, Harvard Univenity PteIt]. sienl suitability: the unfailing daims NOTES eMJUicG PractktJ &"o/o1llei RtI",i de Pareitl, for the supremacy of Dorian and Us 'A helprul list Df Ihe mmt 5iltnilicanl ed. 'Juhannet Wnlr (WiesLr.den: Breitkopr und appropriD.teness for all emotional states trealUcs lrom tbe fiflh IhrnuSh the. fifteenth liarld, 1968), pp. ,56.67. makes more sen5C in tlle context of the cenl\lMes .ppean in Joseph Smits nn Wa~ "'GS, II, 2·f1. Greek lanai system where the Dorian her'f[he, At.u;i,,:irltMlf,: Ld,,. ,..Ii TA,e,;e "GS, Ill. 217. lonos reigned supreme. And likewise "" MtUi/r i ... MiunGlle" Mwik,eschiehte In -Cl. the ·ilIustrative diagrams ii, Rnbert E. H. HOLLOWAY the "lasciviousness' or "(rivolity" im­ Hildern, Band III, Lis. 3, ed. Heinrich Beucler Fludd. UlrjlUq~. Ces",i Moinri Jciliu' " puted to Mixolydian modal structure and Werner Bachmann (Leipdg: VEO minor; MctaphYJie., Ph,.in, a'q.. 'eclt,.ittJ DellUcher Verlag IGr Musik, 1969), pp. 195· Hu'ona (Oppenheim, 1(17). indicates merely the low esteem in which 198, Fur tile en,pus or anonymous Iilel'3tllre. MGaluriut. op cit., I. CORPORAnON the Mixolydian octave series was held d . the entry "Anonfloi" in MCC, I, -191·503. arfhalia. the muse uf comedy, is apparently by the Greeks.·' 'Martin Gerberl, Scrip'ort>s ecelesw'ici J. cxduded by convention from Ihis select Cd· Builders of musictJ, faa. ed. (1784; rpt. Hildesheim: Cenrg 10Wlhip. In the illuatrauon, 'he is pla«d at Olnu Verbgsbucbhandlunl, 1963), 11[, 329· the very base of the venicaJ uis underneath MAXIMS FOR THE COMPOSER 3111 lhe earth and ib comportenl four clementJ. Troelcer and Eledro-pneumalic JUllicc cannot be: done to Adam with. IRolJert Eilner, Biographikh·BiblioJt2pbi. "St.runk, pp. B4-&5 (8octhius, I, 2). See out a rew samples of his homely, naive. Wid Quellen·Lu.ikon (Gr:u:: Akademisdte also Manlred Bulobu', " Speculative ThinkiDIJ slicler chesl organs. )'et (orceful personality: he reveals the Druck uncf Verbpamtah, 19S9) , I. 97·38. in Medieval Muaic." S/lct~l.m, J7 (l942) , 16:5· existence of a sultstalllial "generation tHarlll Joachim Moser, " Leben und Lieder 180. INDIANAPOUS. INDIANA gap" hctwl.-en himself and the young des Adam VOR Fulda," /ahrbMd. J.r s'tJtJ'­ -Jerome Taylor, trans., The Diwtalio" a/ composers and is easily sidetracked into ',che AltJJe",i. I ~.r Kirch".· ,..,.. 1 S&hul"'JUii. HUI. 0/ SI. Vielnr (New Yorkl Columbia ret 637.2029 Po O. lox 20254 long homilies bemoaning the fact lhat 1 ( 1927-1928) , pp. 7-48. Univenity Pre:u, 1961), p. 69. By coincidenee IWilheim Ehmann, AJam 110" FvltltJ Ills true learning and musical skill are nor one 01 the earliest manutcri"t lOurus for the Ve,'rcler Jn . ,slefl J,..'sehe. Kom/lo"isl.",u. Didtuctdio" was produced at Fulda in 1176- res~ed by those around him. His tralion (Berlin: Junkc.r und Diinnhaupt Va. 1177 (Leiden, Univenitr Library, P1I Vulcan· attitude towards the dilettante sbows lag, 1936). ianw -46, f.13O). some of Ole self.righteous "unionism" 'Hcnricus Gfananus. DnJ"achnrJn.. trans· -Eric Werner, Th. Stln.J Bril,. (New pas &VAN LEEUWEN Iated and tralllCribed Clemcat A. Miller of the lUeistt:T~;tlger guilds. Finally his York: Colwnbia UnivcrlilY PreD', 1959). p. PIPE ORGANS indignation can no longer be contained, (Dallas: American Institufe of MudcolosJ, 392. ami he bursts out: 1!J6S). II, 2SJ. Ol~n is responJibte lor the u"'.lo'. ICOndelllnalinn 01 Ibe IIIUydian ALKMAAR, HOLLAND c:omposjdort oC the Latin lext which, GIll he ' •• os ia Book 1 01 TJa. R.,,,,,,~ (tI'. to StnKlk, Johann ....,.pfn&c admia, leaves JOmelhinl to be desired! For op. cit., p. 5 ) iJ but one celebraled example.. 3020 Oakwood Dr1v., S,E. 0, if Boethius We!n: alive, certainly he would the music d . II, 328·330. cr. abo Warren D. AndcrlCln, Blhos .,." EJ· Grand Rapid., Mkh. 49506 ratJlU deplore the present nate of muaic: in. TM'mer. pp. 7·16, Moser'. concbe account MC",jO. ill Creek Mwie (Cambridse, MatI.: 'lead of presemng it. And not only would of Fulda'. li~ and the lOurces for the Harvanl University Prc:u, 1968) and Edward you say, 0 GuidoL ,that thc lingcn are (oolish secular wnp that can positivel, be .I~ A. Lippman, Mruit;al Thou,,,. in .A.rint' TE DECET LAUS but you would consider all leachers: for with: Inouted to him L. accompanied by art edi· Greec. (New York: Columbia Uaivenity out leachen they adopt whatever notions A Hymnal for the t-4usltlan tion or the various anangemenb of "Die Peas, 19M). Since many o( the sUI'Vivins Irq. they wish. • • • Th~ I would compare 10 wcltlichen IJedl!au da Adam von Fulda menb of ancient Gredt music are in th. a.',d by CO'i!IIOSC... tI a, "cr.m. d, I.­ no one mo~ Ihan &0 a drunbnl who indeed enm •• " Priced to ,. chllu:h m"Ilef.n', nemt aileD wichtisen:n Bearbeitunsen durch 10,..'. it would appear that its low JDnr.i pune at $5.40 postPlild. Stn' on approval it. looking .for his hoUie hilt does not know Tonmeilter des 16. Jahrbuoderts," pp. 19-48. ehancler did not inhibi, the Greeks' enjoy. on adeqlN', kfentllkatlon. by what path !}e. ahould n:tum. But eveo a Other modem editionl include Du Chorwn•• ..... 1 millstDne occ::a.4ohaIJy produces Il ID",icaJ Ad",,: OfiY., S. &elk, Mlar, vol. 52; HUJD Rie.m.nn, cd •• Hlflllff"ui. ifill taGS, JII. 348. muad by ill! Cl'Cllkin" nevutheks:s it .. local. lII'.r Z.j, ( LeipUl': Breitkopr WKl Hirtel. 4oIGS, III. ~. '.0.... 325, lonta Uncia, CaUl. 92354 Iy ISlHlnlRt of .... fult it is doin.. a milcnble 19(0): aad Du Li.d,rhSK. Ju A,..., Ha "OS, Ill, artl wn:tc.hed artl" r.o. a AkA (Kala, Co 1510) , eel Eduanl BcmouW "Cli, m. m.

THE DIAPASON 860 Moller organs, 30 years old or older, have been restored. It's a world record!

The tone of a Moller instrumem dreds of hours were devo ted to were rescaled and revoiced to a installed fifty or more years ago is. the redesign of the to nal scheme, more Cia"ic mode. unquestionably dated. But it's a pity, compatible with the Church's se­ This patient, careful fusion of if not a crime, to discard a noble rene new building. o ld and new elements effected old organ when there i 50 much Actions of the former organ three happy result,. A magnificent nf real value worth preserving. came back to Hagerstown for strip­ tone. An extended artistic range Superb tonal restoralion is not ping down to bare wood and com­ allowing brilliant performance of only fea sible, it can save up to l1a/f plete refitting. A t2-rank Great works from all eras of organ litera­ tl1e cost of a new replacement! In ­ division (expo,ed) is new and ture. A total saving of $29,000 (the deed, almost a quarter of Moller's many ranks in Swell and Choir old/ new Moller cost $43 .000 as annual income derives from just were replaced. A new Principal against a comparable all -new or­ sllch thoughtful, painstaking and chorus for the pedal complete to gan's $72,000). worthwhile effort. a III Rank mixture was also added And it's all guaranteed, of course. Would you dream, for example, a day when lowering standards that precisely half of the gleam­ and rising prices reign, Moller ing, contemporary-looking is something of a paradox. pipes pictured here first But skills and attitudes 97 sounded whole decades ago? years a-building don't give '19 ranks are old and '19 are way easily. Stubbornly, like new in this pipe organ in the the product they're applied Second Presbyterian Church ;-.-~;;:~s:~~ to, they endure. And a in Carlisle, Pennsylvania. t ..-.::::-;;",,- Moller organ lasts. Months were spent in re­ And lasts. engineering a new la yollt; hlln- Ami lasts.

Hagerstown, j\.1aryland 2 \1-10 INCORPORATED Phone· lOI · 7.Jl ·9tlX) CHART I Grncral Comparison (Only .top. controlling pipes have been wunted) Austin KUgen Casavant Skinner Hill ROt" No. Manuals 4 4 4 4 4 Divisions: Unend. Gt. X X X X X End. Gt. X X X X X Swell X X X X X X Choir X X X Xl X X Solo X X X X X X Echo X X X Strin Organ X PedaY X X X X X X ~eaking SLOpS 112 \07 86 65 89 83 o. Pipes 6911 6704 5221 5857 4826 5195 Total Ranks 107 106 86 63 82 82 32' Ranks 2 2 I 0 2 0 16' Ranks 12 11 11 6 11 9 8' Ranks 52 49 H 27 34 30 4' Ranks 14 12 12 8 11 11 2' Ranks 3 5 3 3 5 3 Mutations 4 5 5 5 I 5 Mixture Stops 4 7 3 3 5 4 Mixture Ranks 18 18 10 14 15 18 Speaking SLOpS of two ranks I 0 0 I I I Wind Pressures 7"·20" 1 3~n-12" 6"·20" 4"·50" 5"-15"

CHART II Comparison of Pedal Divisions Austin Kilgen Casavant Skinner Hill Royce No. of Pedals 52 32 32 32 SO 52 Speaking Stops 25 26 16 14 19 24 Ranks 5 6 8 4 II 9 AUSTIN 32 ' Double Open DiapaaoD (alends to 16' Open DiaPUOD. 8' Flaulo Major, .nd 4' Super PROGRAM (ktave) 32' Contra Vialone (Ci:tcndt to 16' Violone and 8' Cello) 32' Contra Bombarne (extend. to 16' Bombanle, 8' Tuba Magna, and 4' Tuba Clarion) (The audience is requested 10 refrain from applause unlil the conclwion of each 16' Opcn Diapason group.) 16' MloIjor Bourdon KILGEN 32' Contra Bourdon (extends to 16' ht Bourdon and 8' Bass Flute n. Trumpet Tune and A ir ___ .~. _ _ Henry Purcell (English, 1658·1695) 32' Grand Diapason (Resultant; Cl:tended from 16' ht Diapason to 8' Octave Diapason) b. Toccata per ,'E/waziolJe Girolamo Frescoba/di (Italian, 1583· 1644) 32' Bombard (extenck to 16' Tuba profunda) c. Fugue in C Major _ Dietr;ch Buxtel,ude (Danisl" 1637· 1707) 16' 2nd Bourdon (extend. to 8' Gedec:kt and 4' Flute) d. Rondeau: Soeur MotJique _ .. Fran cois Couperin (French, 1668·1735) 16' Violon (Cl:tend. to 8' Cello) e. Passacaglia and FUl,fJle .~_. _ Jollann Sebastian Bach (German, 1685·1750) 16' Ophicleide (Cl:tenck to 8' Tuba Hannonic and 4' Clarion) CASAVANT Bad. is rightly considerN to be the foun· that period. This lively fUlue in lilue rhytbm 32' Contra Bourdon (12 Ilipes; extends from 16' Bourdon to 8' Gedeckt) tain head of modern musical art. It was, how· is played entirely on the manual. until the 32' Bombard (extends to 16' Trombone and 8' Tromba) ever, the work of tbe great musicians who dosing measures. 16' Open Diapason (ntends to 8' Buso Flute) preceded him tbat made possible the (IO\ver· 16' Lieblich ins of his colossal senius. d.} Couperin waa organist at St. Gervait, 16' Violone Pari., and one of the founden of a musical I ~ ' Quint a.) Purcell was appointed olT-mis t at West· line Irquivalent to the Bac:h family in Ger. 8' Cello minister Abbey in 1680. His works are remark· nlany. TIle rondeau it an old fOnD in which 4' Flute able for their freshneas and vitality, the principal theme alternates with contratt· SKINNER in! sectionl. 32' Diapason (12 reaultant; Cl:tended from 16' Major Bau to 8' Oc:tave b.) Fracobaldi was orpnis t at St. Peter's in 32' Dombanl (extendl to 16' Trombone and 8' Tromba) Rome. The teml toccata (from rO&&are, to e.} In thi. immortal Pa~caglia we find Bach 16' Bourdon {extends 10 8' Gedeckt nnd 4' Flute} touc:h) originally desisnated pieces in free style at his Breatest. The tenn passacaglia orilllinal. 16' Violone (extends 10 8 Cello) and might be ex pressive or brimnnl. This ex· Iy designated a stately dance in triple time HILL traordinary loccata was wriuen 10 be played written on a constantly repeated theme i,l the 32' Double Open Diapason (extends to 16' Open Diapason II) durinl one of the solemn momenl.J of the bass. The theme waa borrowrd from the 32' Conlra Trombone M ati. Fftnch composer Raison (16? 17 ?) and is de· 16' Open Diapason J {extends to 8' Octave} veloped into a ma!nificent structure tlarough 16' Open Diapason c.) Buxtehude probably exerted the stronsest twenty variations crowned by a thrilling fugue 16' Violone and deepest influence 01 all the masten of on the lamc theme. 16' Trombone 8' Principal 11 8' Trumpet a. Chorale and Variations: Everymau __... EduJlJrd Royce ]J Mixture (12 and 15) b. Canon in B Minor ___...... Robert Schumann (1810.1856) ROYCE c. Sketch in E Minor . .. .. __...... _ ::-_ --:: Ernest Douglass 32' Sub Bau (resultant 7 pipes; extend. from 16' Bourdon to 8' Flute and 4' Flute) 32' Bombard (12 pipes; extends from Hi' Trombone to 8' Tromba, and 4' Clarion) d. Choral;n A Alinor - ______... _ .. ___Cesar FraPick (1822. 1890) 16' Diapason (extend. to 8' Oct:lve) a.) Mr. Royce b a teacher of composition at it a channins example. In tbit lirict fonn one 16' Contra Bast (atends to 8' Principal and 4' Super Octave) the Eastman School of Music and has written part imitates the other at a liven interval. V Harmonics (15. 17. 19. Oa,.2I, 22) these variations in memory of hit father, Josiah Royce, for the dedication of the orxan in the c.) Mr. Dou!lau, a ftJident of Los Angeles, Borrowed ranks and their ex.trruions: buildin! named in his memory. The composer is one of the foremost American musicians. says: This sketch was written for this occ:asion. AUSTIN The eollective title Everyman rises from a 16' Minor Bourdon (Great) extends to IlPh' Quint and 8' Flauto minor somewhat unusual d rcnmstance. The theme d.) Ahhoush born in Belgium, Franck lived 16' Quintalon (Swell) extend. to 8' Gedeckt of these Variations I wrote many yean ago 16' Metal Diapason (Great) his artitde life in Fromee and is known WI the for a perfonnance of the Illay E veryma". founder of the Modem French School. Hil 16' Contra Viole (Choir) The words are the last ol the play and are 16' Tuba Profunda (Solo) music is a st,..nge union of the c1auic and .ung by an angel off stagr. The idea of this romantic Ityles, and like himself displa)'l a 16' Waldbom (Swell) play Will most aympathetic to my fa ther - 8' Tuba sonora (Solo) mrstical and spiritual quality. This chorale u. the words accmed to point the way 10 Ihe one of three of his last and greates t worb KILGEN musical development ""hieh has now taken for orxan. An agitated introduction leads inlo 16' 2nd Diapason (Great) extenw to S~' Quint piau. the quiet chorale theme and then into a beau. 16' Philomela derived from Grt'llt 8' Philomela and extended to IlPh' Gross Quint The varialions are given the following titles: tiful adagio. This theme is then combined wilh 16' Contra Gamba (Solo) extends to 8' Gamba Herakleitos, Eclogue, Elrgry, Groll'lqlle, Tllre· the chorale theme and devel0IJed inlo a mas· 16' Salidonal (Swell) nody, Finale-'Let there be light.' nificent dima,.;. The agitated (int theme reo 16' Lieblicb Gedeekt (Swell) appean with the chorale theme enteriog al 16" Posaune (Swell) b.) Robert Schumann has written mallY worb intenralJ, leading to the triumphant entry of 16' Fagotto (Swell) for orsan or pedal piano of which thit canon tbe chorale - "A revelation of the infinite." CASAVANT 16' Contra Gamba (Swell) III 16' Contra Dolce (Choir) a. Prelude "Glor;a Dom;,,;" .... ______.... _ .... ___.... ____ 7·erlius Noblr. 16' Posaune (Swell) b. Chorale Preludes .. ______...... _.... -1. s. Rach SKINNER Nun freut euch, Ueben CIIT;sten g'mein. 16' Echo Lieblich ISwell) extends to 8' Still Gedec.kt . HerzlicJ!. awt lIlic" v,;;'atlgen, 16' Waldhom (Swe I) e. 1 occata~ Tu es petTa ___ ..•. _ _,~_. HetJri Mulet HILL Tllou art a Tach, and 'lie gates of hell sllall not prevail againsl tllee. 16' Dulciana (Great) extends to 8' Dolce 16' Quintaton (Solo) a.) Mr. Noblc was fonnerly at York Minster, The theme of the lin t chorale is Jiven in 16' Contra Clarinet (Solo) England, and has ~en for many ~fI lilt St. the tenor with a brilliant accompaniment and 16' Contra Oboe (Swell) Thomas' Church, New York. the second as a 1010 in tbe soprano. Tbis 16 ' Ophideide (Solo 16' Tuba) latter is the well·known melody, "0 sacred b.} "The Choroale was a liturgical chant ROYCE bolTOwing il.J inspiration from the soul to head." 16' Solt Bourdon (Swell) extends to 8' Soft Flute, 4' Soft Flute and 2' Piecolo ideali2e it m)'lticaJly. The organ, taking for 16' Contra Gamba (Choir) extends to 8' Soft Gamba its theme the litufJical melody as given, plays c.) Mulet is a modem French composer. TIlis 16' Double Trumpet (Swell) extends to 8' Trumpet a prelude to tbe dmnt. Tllese pftludes rOnD ","ork is rrom a set of piCClC5, EsqwisuJ B),z.". 16' Metal Diapason (Great) a mystic commentary replete with a mean. rines, whieh are inspired by the BasUique 16' Contra Tromba (Greatl inl' sugated by the absent words." - Bonnet du Sacre.Coeur, Paris.

22 THE DIAPASON (conlinut!d from p. 7) readily verify by leafing through the in Westwood Village, a standard for lI~th DiRIMln. ''''The New Cuavanl Or­ This brief summary of the Royce programs listed in iSSUe! of THE DIA­ which its thoughtful, determined. 3.nd pn in New York." Tit. Or,(lII. VII, p. 72 PASON for any month from 1920 for­ musically aW3.re chancellor had hoped l'My thanb an: utendcd 10 the Aeolian. Hall organ is only an introduction to') Skinner Orsan Company ror luppplying me W3.rd. Not only 3.re the e3.r1y works ~x­ and striven. the historical imporlance of the changes with nroxed copies of SJ)«i£icationa for Im­ ception:tl but, out of th~ eleven in the "Grand Concert Organ Con­ cum· manuel Presbytt!rian Church, L.A.. Royce cept" made by Harold Clc.. son. Lynn­ posers represented, four were stilt liv· September IG, 1930 (Tuesday). Thil day WI' Hall. Dnd othen. wood Farnam. and C. Donald Har­ mg. Of th~ twelve works pcrfonned lWo had our fint aw:mbly or lhe academit! yur. nWm. Lr:slit! Sumnen. Th. Or,lIlI. p. 467 were premieres. When does one attend Mr. Schreiner played the great orsan (or 15 itA CO'IY of the orisinal program is in the rison. The ampli£ication and establish­ minlltr:s, a Bat!h Choral - a Schumann and ment of this contention will ilppear at a concert today when contemporary IIIrchlves of U.C.L.A. and in the c:oll«tion oJ the milhty Pilarlm'l Choms. Then I .poke the autbor. a mon: opportune time. For the present composers are 50 w~ll represented? (or five minutr:s Idling tht!m about the or­ Also lake note that there arc no tran. "'W. A. Roberti. "St. George', Hall Or. we must return to U.C.L.A. in 1930 pn ;md that it w~Jd be pI.a~ twice a lan, LivtTpClOl." Tit, Or,n. Xl p. 129 and to Chancellor Moore's Diaries. scriptionsf To be sure it 15 not just week tor the nut 3 or f hundred yean. • • • for America thal this is remarkable On "~I.y 22. 1930. Thund.y.... A telegram from the Skinner Co. says or­ programming. The following is taken Then we reOld: "Sunday, October Louisville Bach Society, Inc. from an article de3.ling with St. 12, 1930. Went to the Bach rccit3.1 this p" to be in order Sept. 1st. • ," Shortly George's Hall organ, Liverpool (men­ Melvin Dickinson, Conductor therearter we read: "June 2, 1930 .... p.m. 1500 people there. The organ plays tioned 3.bo,,·e). found in Tile Organ, Its P3.ft. . ." And so, at least for 3. pe. presents the a Jeuer from Mr. Gleason says he will XI (1931-52): come to r.ass upon the organ and give riod of time, this young instrument will FIRST RECORDING a recital.' The dedicatory recital was continue to "play its part" and perhaps •• The work or resto,-tion .nd reconslnM:. even for "3 or 4 hundred ye3.rs." EVER AVAILABLE planned ror Sunday afternoon, Septem­ tion w.u bc-Iun by MClIn. Willis in March, ber 7. 1930. On September 5th Ernest of two 1931, and comJ,leted in Octobt!r, 1931. The NOTES Moore wrote: fortnal re-opc:pins toot place on Octobt!r 17th, tAli quotations from the Diaries, Dale Doob magnificent leipzig URalswahl" when Mr. rHcrbcrt F.1 Ellin!rord pYe .ewI Conetpondenee of Ernest Cal1'OlI Moore Today Mr. Gleason .lIowed me to IUk Mn. t .....o rcciub. . •• Mr. Eflinlford'. prograrm m:llr be located in the Unn.enily of Cali. CANTATAS OF J. S. BACH Mudd and Mr. Harvcy Mudd :lind lome otlien arc appended : - rornia, Los Anlcio, Lihr.uy, Sp«ial Collec· i.e. the Deans, the Resents, my lecrcUriel tion.: #69 ulobe den Herm, meine de. 10 hear the organ for the fint time. Its Ernest Carroll Moore, Collection No. 12 .. Seele" voice i, like that or a thousand .ngell in AITERNOON RECITAL CorrcslKlndelice. Specifications for orpnl, #120 "Gott, man lobet dich In uni.an. It could not, I believe, be more per­ I . National Anthem newspaper ciillpinp, Record Group Al, Se­ f«t. We were enchanted by It. Mrs. Mudd 2. Short Speech by tht! Lord Mayor, Alderman ries I. Box 38 der Stille" .nd I rejoiced that we Ilad lone about the E. Thompson Diarir:s and D31e Bools: Microfilm RIVERGATE LABEL 1002 sellinl of it in , uch an upnl employing wa)' 3. Hungarian March, Berlioz My lhanb arc ~Iended to the nephew IIIlld Mn. Mudd uid, 'I laW a bcatinc ex­ ... Fantasia And FUlJlle in G Minor, Bach or Emut Carroll Moort!, Dr. Gilbert Stuart Available from better record stores preuion on Harvey', (ace as he lillened ju.t 5. Sonata No. I, Mendduohn Moore, for allowin, me to quote freely from or order directly from tbeh AI hi. father woukl h .... e bel.' .•• 6. Venus 'hum the 'PJant!u'}, HoItt these materiab. I am inckcd snteful to Mr. Louisville BachSoclety 1. Fantasia a nd FuSUC ('Le Prophele') , LiRt James Minlr. and other penoancl oJ the De· And on Sunday, Scptembtr 7th is re· 2549 Woodcreek Road p;ar1ment of Special CollectiON. Louisville, Kentucky 40205 corded: EVENING RECITAL IAiI quotations rrom Ule MOOf'II! collection 1. Toccata and Fugue in 0 Minor. Bach .rc literal and have in no war been edited. Records $4.50 each, plus 50¢ Today we dedicated the oraan with ~n Spellings, punctuations and other idiolyncracidl auditorium full or people to help u. and Mr. 2. Ban:amlle, Sterndale Bt!nnt!tt postage and handling. 3. Overture, "Tannhiiusu', Wagner have bet!n rt:tained. Horold Glea.on interpreting the m:tlten ;u ITI•• Mwual Timn. LXIV (1923). p. 543 • ALSO AVAILABLE ON REQUEST: Imly he I am persuaded can interpret tht!m. ... Sprinltimc. :lind Canzonetta, Leon.rd BuUer 5. Conct!rto No. 6, Handel "A Chat with Lynwood Farnam." Mr. Mudd .nd hi. mother who made UI Motets by Brahms and Distler this heayt!nly gift were thert: u they ht!ard 6. Air and Variations, Br:st ·Herbert Westt!rby. TA. Gomplde Or,luI (Rivergate 1001) that movins voice tht!)' mwt tuve rejoiced to 1. Hungarian Marcil, Bt!rlim: Red,,,lis, (Bri'lJit oJ1I1 Ameneoll). London, be tht! meant to brior so great a blaaing to 1927. p. 578 so many liI.. es. Considering the programming of Mr. 'W. A. Roba"lI. "St. Ckorae'. Hall Orpn. £JJingsford it comes as no surprise thilt Liverpool." TIr. 0".,.. XI, p. J29 MUSIC CAMP fOR BOYS, 8-15, The dedicatory recital, which was he was also the author of 3.n inOuential 'Emile Rupp. Di. E,dUl,·dl".,f,tJdiele,. tl" rc\'iewed in newspapers and journals, study, The Art til Transcribing for llle Or,ellur,,1..,"I. K61n, 1929. p. 376 Champion, Po. reflects the dreams of the designer and Organ." lWm. Lr:slie Sumner. TA. Or,"II. London, the builder. The organization of the 1962. p. <479 learning and fun wilh the per­ 'Vithout laboring the comp3.rison, 'Robert Steven.an. "Cathedral Orpnl in the program and its notes 3.re still worthy the direction organ playing and build­ Andr:s." Tit. Or,lIII. XLII, p. 42 forming arts. 2 wk. July 16, 30, of study and emulation. It is here re­ ing was moving is evident in H:uold rrh. Or,tllI. IX. p. 116. "nle Organ .1.1 the Aug. 13 $125. produced on p. 22.l4 Gleason's organization and annol3.tions. Royal York 1I0tel, Toronto, Canada." This is not a typical dedicatory re­ A high Imd splendid standard was es· l"'Autolycw." "Recent Invelopmenb in cit3.1 of the 1950s; a f3.ct lhe reader can tablished for that sprouting university Orpn Buildinr." Til. 0,,1111. VI, p. 119 Crafln Choir School Unionlown, Po. (412) 438-9418

HEN COMPETITORS pay us the compliment of copying one of our products, it often W confuses our customers. They find it difficult to decide which is better, the orig­ inal or the cheaper copy. Here, then. are some questions you can ask the competition when you specify a stop-action magnet. o Are contacts solid silver alloy. or just plating that wears off in time to cause poor electrical connections? o Is the hinge pin solid to take a beating wilhout falling out. or is it only tubular? o Are all parts and sub·assemblies American-made. or will you have to tolerate delays in service and delivery? o 15 there a special plastic sleeve on the armature to eliminate noise? o Is a wiring guide supplied. or must you resort to "trial·and-error" installation? o Is the magnet available with or without engraved keys. or must they be pur­ chased elsewhere?

Answers 10 these questions should enable you to make an intelligent buying decision. But. in case someone tells you Ihat those features make no differellce in performance, ask them Ihis very simple question:

DO YOU GIVE-AND STAND BEHIND-A FIVE-YEAR GUARANTEE ON MATERIALS AND WORKMANSHIP? ·Acwally, both magnets picwred are Reisner C3's, but it takes a sharp eye to delBct the differences between a C3 and a cheaper copy. Constructed of heavy-guage nickle-platrJd steel, the C3 is available THE d-~n,eJt in 28 and 4().ohm coils (special resistances to MFG. CO. order), or without coils for manual operation. 0jjJ. 6Jl?~ 0 0 0 ~ INC. Bracket angles are 15 , 19 , 32 , or straight armawre for tilting tablets_ P. O. Box 71, Hagerstown, Maryland 21740, phone 301-733-2650

APRIL, 1972 23 Monday evening. and he will also lec· EVERGREEN SCHOOLS OF CHURCH MUSIC - 1972 ture on Tuesday on the following top­ ics: "~ressiacn·. Livre d'Orgue and Other Approaches to Contemporary Or· First Session - July 31 • August 5 gan Music" and "Baroque Performance Practice Problems." Grigg Fountain. Second Session - August 7· August 19 organist and choirmaster at Millar Chapel. will give a lecture demonstra· tion on "'The Choral Ilhrasc" on Mon­ Faculty: Thomas Matthews day afternoon. Lester Groom Further inrormation may be obtained from the Coneen Manager, School of Wilbur Held Music. Northwestcrn Univenity. Evans­ Layen Sawell lon, 1lI. 60201. The Rey. Karl Spatz The Rey. Dickerson Salmon Wa-Li·Ro Begins 39th Season in Ohio Four generations of students of Dr. Leslie Courses: Voico Production, Choral Techniques, Harpsichord in the E. Spelman were among the partic:ipants of Wa·Lj ·Ro Choir School will open Church Service and The Uttle Organ Boak of Bach the organ leminor held ot Texos lutheron its 39th ycar with iu annual Choir­ College, Seguin, t •• os from Jon. 3 through master Course in Ohio'. Lake Erie is­ Jon. 26. Pldured left to right abo.... or. lands. the wt'eks of July ! -7. 10-14. Dr. For InformatIon, please write the Regislrar, Mr. Raymond Baese, au.oc.iate pt'Df.5$Or of Stante}' Vann, org.mist and master of P.O. Box 366, Evergreen, Colorado 80439 music at Redlands Unlv.rsity, Redlond., the choristers. Peterborough Cathedral. England. will be in charge of music CaJif.; Chris Howord, a ~phOMCHe mU$k t.M tMjor at Teaas LutMran Call.ge; Mary E. and Iraining of the choristen. Robert Ortft, auillan' prorelSOf' of mu.ic at T.. Ch Quade. associate dit«lor of the school. will be directing the music the week of Lutheran CoU~. and Dr. Spelman. Mr. Boese did hi. graduate and undergraduate stuclie. June 26. which is for choirboys only. Warren Miller. Christ Church, Shaker BERNARD and MIREI LLE with Dr. Spelman at Redlands, Mary Orth Heights, Ohio 44122. can supply debils. , did her graduate work wi.h Dr. SfHllman and a portion of her undergroduole 'rain· ing with Mr. Boese; and Chris Howard is presently .tudying with Mary Orth. The LAGACE seminar, which 0110 fea'uNd Robert And.r. IOn, Arthur Poister, R. Cochrane Penick, ORGAN and HARPSICHORD SEMINARS organ builder OHa Hofmo"", and Ken Lis' of the SchUcker Organ Co •• was very suc· July 9-22 ceuful, drawing .tudents from throughout texas, California, Oklahoma and Iowa. Master Classes, Lecture-Demonstrations Newman, Pinkham -CONCERTS- Featured in Northwestern University Conference French·Classlc, Mochanlcal Action, Casayant '69 Write, Anthony Newman :md Daniel Pink· 70 organ sl~enh and their teachers Duncan PhY.fe, Director ham win be Ihe fealured guest pan i­ from c:oUeges and univenitles In the los Choate Music Seminars cir,anu in the Nouhweslcm Univcrsil)' Angeles area ...t at WhiHHlr College milo p. ao. 788 C lurch Music Conference to be held sie deportment. The progro. included sUcie o. in Alice Millar Chapel on the school's pictur.s about organ construction shown by Wallingford, Conn. 06492 r.vanslolt. Ill,. campus April 17 and 18. lawrence Sinz. CChavan' representative, and Mr. Pinkham will ~ r ti ci pate in a 0110 performances by st~enll from fi .... panel discussion with faculty members of the participating IChool.. The workshop CHARLOTTE WILLIAM hom the department of theory and was under the direction of Orpha OchM composition of Northwestern's School and David Britton, memb.r. of the Whittier of Music on Monday morning; the lopie organ faculty. Shown above from left to Oraanlst Flu.lst THE ATKINSON DUO will be "Contemporary NOlation." He right are Michael Moran, Itudent of Ladd FIRST PRESlYTEKlAN CHURCH ARMY AND NAVY ACADEMY will also share conducting duties with Thomal at California Siale College at La. OCEANSlDf, CAUfOltNIA CARWAD, CAUFORNIA Grigg Fountain on the final e\'cning of Angel ••; Rene Marceau, .tuden. of David the conference in a concen of contem­ 8riHon; Dr. Orpha Ochse of the Whittier BOX 785, CARLSBAD, CA 92008 • 714/729-2990 porary choral music. faculty; and Rita Englehardt, Itudenl of Mr. Newman will play a recital on Thoma. Harmon at U.C.LA.

ARTHUR C. BECKER, Mus 0., A.A.G.O. DE PAUL UNIVERSITY ST. VINCENTS CHURCH, CHICAGO

Edward D. Berryman, SMD Warren L Berryman, SMD BERRYMAN GEORGE MARKEY Organ'd.choirmalter Head. Organ-Churdt Music Dept. Records Markey Enterprises 201-762-7674 WESTMINSTER PRESBYTERIAN CHURCH .ALDWIN·WALLACE COLLEGE MlnneopaUs Berea, Ohio Recitals 42 Maplewood Avenue Instruction Maplewood, N.J. 07040

Margaret Melvin MAR IL YN MAS O N CHAIRMAN, DEPARTMENT Of ORGAN DICKINSON UNIVERSITY OF MICHIGAN University of Lo.JavUI. Loukvllle loch $oclely ANN ARBOR "Mia MalOn played wil" au.,erify artd ,eM",e, clemon"raUng anew Col...,. (pi_I St. fro.ciHn.thHieIci. Episcopal It., aX'lOorrlmory '"citify • • ." Des MoMS ae.iller, OctoUr 5, 1964 WAYNE FISHER LARRY PALMER Organ - Harpsichord College-Conservatory of Music Southern Methodist UniYersity University of Cincinnati Dallas, Texas 75222

O.wald G. DAVID HEWLETT D. M. A. MARSHALL BUSH RAGATZ The Con.erva.ory of Mu,(c ProfHfOr of Organ • Christ Church, Fitchbur" Mo.s. 01420 Redlar. INDIANA UNIVERSITY

24 THE DIAPASON son tooL: place in Rutland. England in the rotunda org:tn and finally the main CLIFFORD MfGERLIN 1911. In April of 1915 he came (0 theater organ which was playable si· AmcriCl and immediately accepted it multaneousl,. from two, three-manual NUMC Clifford Megcrlin. (ormer organist of position with the W . W . Kimball Com­ consoles and 3 gigantic (h'e manual the Chapel of the Intercession, New pany of Chicago, Illinois. Mrs. Fleming horse·shoe console. joined her hushand in Chicago the Kimball 1929 had been awarded a York City and the Dutch Reformed in Church of Flushing, N,Y.: also director contract to build and install a large following year. of music in the WiUiam Cullen Bryant DIMITTIS While with the J\.illlball Comp:m)' four·manual organ in the Municipal High School. Ncw York City, died sud· he was HIner and £inisher of man)' or Auditorium. Pretoria. Union of South denly Jo'cbruar1' 8. 19i2. their large ncw installations, indutling Africa. '\6"3in Flc11lill~ was called 11/>01\ SI. John's Cathedroll. Dem'CT, CoJorado; 10 go, The pace of 1m work \\'as a( Nt· 1fT. Mcgcrlin was horn OClober I, Thome Hall, l\'ortlll\"t.'Slern Univcnit)'. iug his health and at this time he 1005 in New York City. He W3! a CORRECTION: Contrary to the Chiogo: The Scuttish Rite Cathedral, reached a decision lIot to make a sNond gr.aduate of NcWlown High School and announcement in our February issue SL Louis, Missouri; The Municipal trip half way around the globe, but, N\.'1V Vork Unh'cnity where he received "Nunc Dimittis" column. Ernst Pcp­ Auditorium. Minneapolis, Minnesota rather 10 join relatin.'5 in Iowa. Here the degrees of An and ,\M and where, ping is ... Ih'c and well in Berlin. His and a (Ilfec manual organ ror the First he entered into the pipe ollf.m bllsin~ after his graduation, he was instructor 70th birthday was cclcbr.tted last Baptist Church, E\'anslon, Illinois which for himself. This husiness was 10 con· or music for sc,'ernl ycars, He also had September wilh a special program was dcsiglu.'tl by thc organist of the titHle sllcce!'O.,fully for the next forty "irlnall), compleled the work for a of his music on Radio Berlin. A dlllreh. Dr. \\Tilliam H. Barncs. ,·ears. PhD dcgree. He reech'ed his FAGO printer's em)f (which reported his In 1927 the Roxy Theater on Sc"enth • Mr. Flcming has OtiC sister, Mrs. certificate in 1934, age as 50 rather than 70). and a A,'elltlc. New York Cit)'. was under Marie Sorci I" illg in Enstbourne, Sus· In mnsic, Mr. Mt'gcrlin studied wilh false report contributed to our error. construction and the Kimball Com pan}' sex, England. The )-' Ieming's onl)' child. C. I. V31.:mtine. Dr. Da,'id McKa), Wil· We apologize 10 Mr. I'epping, his sent Fleming 10 assist wjlh the org;ln Elizabeth. died in infant)' in J912. Mn. liallls, Dr. )'hilip j31111.'5 and Frank lIIan)" friends ami admirers through· installation. This was a lour de force Fleming, who survin:s her husband, Wrighl. He lean'5 a wifc, Alice Rich· out the world. and our own readers consisting of thrt'C organs and [h'c CUll' contilltlt"S to t(.'side at their hOllle in .:mlson l\h.-gerlin, and a SOli, David Meg· Cor this report. And we take Ihis op' solt'S, This included the studio org-olll, Richland, Iowa. ('rlin 3S well as scveral grandchildren. portunity 10 wish Mr. Pepping, one or Gennan}"s most cclebr.lIed com­ po~crs for the organ, "illlnu:r 1I0eh alles Culcl"

BERNARD GERARD KLARMANN

Bernard Gerard Klarmann, organist and choirm3!1tcT of St. M.mhias R. C. Church. Queens. New York City. died suddenl)' Feb. 6 OIL the age or 55. A nalive of Maspeth, Lon~ Island, he was educatcd in St. AloysIUs paro· chial school :uul St. Fmncis Prepcralory School. ootlt in Brooklyn. His interest in organ and church music began at an e;nly age; he bccame org

APRI~, 1972 25 LUDWIG ALTMAN robert anderson CALENDAR SMD FAGO San FroncilcD Symphony Orch•• tr. Tempi. Emanu.E' Southern Methodl.t University APR I L California Palace of the Lesion of Honor Dallal, 'exCi. 75222 1 2 3 4 5 6 7 8 Joseph Armbrust HEINZ ARNOLD 9 10 ~ 1 12 13 14 15 Mu •• M. F.A.G.O. D.Mul. 16 17 18 19 20 21 22 Church of the Holy Comfort.r STEPHENS COLLEGE 23 24 25 26 27 28 29 Sumt.r, South Carolina COLUMBIA, MO. I 30 John Barry ROBERTA BITGOOD DEADLINE FOR THIS CALENDAR WAS MARCH \0 ST. LUKE'S CHURCH 5 April Malcolm Williamson. choral work· Fir.' Congregational Cl.urch Bradley Hull. St. Bartholomew's shop. Plymoulh Congn.'g:uional. Min· Church, New York City 12: 10 pm neapolis. MN LONG BEACH, CALIFORNIA BATILE CREEK, MICHIGAN William Whitehead. works by Uach Christ {nl{ in TotlcdltlmlcrI by nach, and his predecessors: Church of the Karen McFarlane. comi.: SL Mark's Redeemcr. Bf)'n Mawr. PI \ 8 pm Episcopal. San Marcos. TX II am Kathlecn Tholllcrson. workshop. John I:enstermaker. Crace C:ulll'dral. Wm. G. BLANCHARD DAVID BOWMAN Stcphens College Chapel. Columbia. MO 'iall Fr:ludsco. CA !'i pili ORGANIST D.M.A. 6 April 10 April POMONA COlLEGE \\'ouh·Crow Duo. Rumrnrd liS •• Gerre Hancock. first napli t , Wl'St CLAREMONT GRADUATE SCHOOL Alabama State University Rumrord , 1\IE H't'annisport. M,\ THE CLAREMONT CHURCH Da\'id J. I-Iunl Jr. • Trinity Church, 1\b:rilYI1 Keiser. Cuu\'crsc Collegt:. Claremont California Montgomery, Alabama Ncw York City 12:45 pm Spartnnburg. SC Thomlls Day. First Presbyterian, Hart· Malcolm ,\Ti11lalllsoll, PI)'lIIoUlh Con· ford. CT 12: 15 pm gTt-galilmal. Minneapolis. ~IN Guy ]lO\'ct, Calg:uy RCeO, Calgary. Wilma Jensen. K. Ilean Walker. or· ETHEL SLEEPER BRETT Alberta ",ran and percllssion. Central Preshytcr­ Henry Bridges ian. Dcm'er, CO 7 April Robert Glasgow. r .. s:ulcn:l Chapler Organist and Recitalist First Presbyterian Church Malcolm Williamson. Ttcit .. t and ,\CO. CA opcra production, Trinit)' Church, Ted ,\Ian \\Torth, 1:I·cdc.:rkkton, New FIn( Methodilt Oturch, Slu:nmmlo, Cal. Charlo"e, North CarolIna Itrinceton. NJ nrtlll ~ n'ick Virgil Fox. Pahlo Lights, C.,rmichacl Atld .• Chapel Hill. NC 11 /\pril .Iohn Rose, 51. Matthews, Lutheran. John Young, piano red"ll, Tl'inil}, Charlcslon. SC Church, New York Cit}' 12:,15 (Jill JOHN BULLOUGH Carol Murphy W1lnderlc. Christ Jack H. Osscwaarde, 51. lI:mholu­ WILFRED BRIGGS United Preshncrinn. Canton. on R pm mew's Church. New York City 5:30 pili A.I. M.s.M. Ch.M. M.S., CH.M. Uni\'ersity Chorus. James Mack. clir.; Da\'id Bruce· Payne. Sacred I-leaH Furl.lgh Dld;inlon Univenity Bond Chapel, V. of Chicago, Chicago. Cathedrnl. Newark. NJ 8:30 pm St. John's in the Village reaneck, New Je,..y IL 8:30 pm Pierre Cochercau, Our Lady or Victnr Memo,ial Methodist Church Vernon deTar. workshop. Drake V .• Church. Jersey City. NJ New York 14, N.Y. White Plains, New York Des l\Ioinl"S, lA ;\Iarilyn Keiser. master class, CUU\'crsc Robert Anderson. Dallas Symphony C()lI~e. Spart:mburg. SC a rch .• Dallas, TX ~Ialcohll \Villiamson, Chicago Chap­ Petcr Hurrord, U. of Texas, Amlin. leI' l\CO. Judson naptist. Oa&. I'ark. II. ARTHUR CARKEEK EARL CHAMBERLAIN TX 8 pm M.S.M. A.A.O.O. F.T.C.L Contala 106 by Hach. MadriJ!al Sing­ DePauw U niversity Organist 8 April ers. Waltcr Wade. fiir.; Memphis State ST. mPH EN'S CHURCH Worth·Crow Duo, MonCIOn H.5 .. U .. Harris Music ,\lId .. Memphis, TN Gobin Memorial Church MonCIon. New RnlTlswick 8:15 pm Crttllcaslic, Indi;:U1a Mauachu.eHs Da\'icl Bruce· Payne. wor&'shop. St. Wilma Jensen. K. Dc:... Walker, (II'. Paul's Cathedral. London. ant. gnn and pcrcu5.."iion. Centr.. 1 Ilrl..-:o;h)" Pierre Cochereatl, Kenncdy Cenler. (erian, Den\er, CO eruenstdn Award Sponsor WashinJ!1on, DC Robert ClarA The HoflflY Prince :md Tn Plnce of 12 April CHICAGO Relicf by Mnkohn Willinmson, Trinit)' Jack H. Osscwaardc, SI. Unrtholo. CLUB OF School 01 Music Church. Princeton, NJ 8 pm mew's Church. New York City 12: 10 Joseph Kline. all· Bach, St. Mark's ' V Ol\IEN University of Michigan pm ORGANISTS Church. Philadelphia. PA 4 pm Gu)' Hm·ct. Sl. Th(Uuas Church, New Lecture: "O\'crall Form, Tnrha Chor· Yor&. Cit}' 8:30 pm AnamOlY Owen 'Valcs, President Ann Arbor us Music and Keys in Bach's St. In/m Gene Hancock. LOIII;n'ood C:mlcns. Pn.u;n,," by William H. Scheide; Ha\,er· Kcnnett Square, P,\ ford College, Ha\'crford. PA 10:30 am AGO Stuclcnt Group fl'Cilal. SI. .Iallll~ Catharine Crozier, Cah'in Colh.'b~ . United Church o( Christ. Wen Reading. Harry E. Cooper WAllACE M. COURSEN. JR. Grand Rapid~. Ml PA F.A.O.O. Vernon deTar, wor'ahop, Drake U .. John Heizer, SI. John's Episcopal. Des Moincs, lA CHRIST CHURCH W:lshinglon. DC 12: 10 pm Mus. D., F.A.G.O. Picrre Cochereau, Mershon ,\ud .• Cu· BLOOMFIELD AND GLEN RIDGE. N.J. 9 April lumhm. OH RALEIGH, N. CAROLINA Th. Kimberly School, Montclair, N. J. Guy no\'et, Dwight Chape1. Yale U,. The Unknown by Hcnnagin; EKU N"ew Ha\·ell. CT 8:30 pm Concert Choir, Da\'id A, Wehr, llir.; Paul Cal1away. St. BathololUew's Eastcrn Kentucky U.. Richmond. KY R Church. New York City 4 pm pm KATHRYN ESKEY Peter Hurford. Christ Church, Man· Jerald Hamilton, Solllherll lIIinoi!i U .• DELBERT DlSSELHORST hassc~ . NY Carbondale. IL DMA The University 01 Fn:tJerick S\\'ann. Wcst Prcsb}'lcri:m, Binghamton. NY 7:30 pm 15 April Unlv.rsity .f Iowa North Carolina Russcll Field. All Saints Cathedral. Da\'id nnJ ~ · Pa}'ne . T rinity Church. Alhan)·. NY 4 :~ pm Iowa City Iowa at Greensboro Da\'id Bruce· Payne, St. Paul's Cathe­ Nc= w York City 12:o:Iii pm dra1. London. Onto \\'orth-Crow Duo, Haas Aud .• Blooms· Art Song Ensemble. Cathedral of burg. l'A Peter Hurford. Corhelt Thenter. Mary Our Queen, Baltimore. MD !i:30 pm of Cincinn3ti,CoJl SC f\'atory of ~Iu sic . GEORGE ESTEVEZ EARL EYRICH Alec "rylon, Flagler Mem. Church, Cincinnati. 01-{ 2:30 r'lll ch.m. St. Augll5tine. FL " :30 pm First Unitarian Church The Bonnies and The Flying Scots­ 14 April Director men of St. Andrew's School. Phyllis Da\'id Piza rro, Unseh·Reisinger Mu­ CHICAGO CHAMBER CHOIR Providence, Rhode Island Goranson Gould. rond.: Bethesda.by. seum. Cambridge. MA Ihe·Sea Church. Palm Beach. FL 4 pm HailS anD. Melli. Church. Han.·ard Arthur P. Lawrence, 'Vcstmin5ler U .• Cambridge, MA 8:311 pm Presbyterian. Soulh Bend. IN Martha Folts. Whe:uon College. Nor· Chari., H. Ph. D., f. A. G. o. Roger RoueH. organ: Gail Simpson. 1011. MA 8:30 pm GEORGE FAXON soprano: Cah'ary Lutl1cran. Chicago. n. Robert Baker, Crouse "mI.. Syracuse, 4 pm NY FINNEY Pierre Cochereau. 51. Andrew's Pre5' TRINITY CHURCH The Seven WOf"ds of Christ, olher Choltman, Dlvldon of Musk & Art work, by Schiltz. Mold 6 by Bach: The byterian. Kilchencr, Onto BOSTON Ho"-"Ion CoU •••• Houghton,. N.Y. American Kantorcl. Robert Bergt, cond.: Peler Hur(ord, Corbell Theater. U. of H... hl" Wufeyan MethocUtt Ch"rch LaClede Groves Chapel, St. Louis. MO Cincinnati College·Con.servalory of Mu· 5:50 pm sic, Cincinnati, OH 8 pm

26 THE DIAPASON Wilma jensen. First United Metho­ Robert Walker. Trinity Episcopal. dist, Fort Dodge, IA San Francisco, CA <1 pm Catharine Crozier. First Methodisl. Irene Robertson. First Baptist, Los Robert Finster Corpus Christi, TX Angeles, CA 3 pm HENRY DMA FUSNER F. Alan Reesor, St. George's Mem. S.M.D •• A.A.G.O. J5 April Church. Oshawa. Onto 8 pm St. John's Cathedral Virgil Fox, Pablo Lights, Klilgord first Presbyterian Church ,\ud., Brooklyn. NY Denv.r Nashville, Tennessee 37220 Robert Uaker. masler dass. Syracuse 17 April U., Syracuse, NY 10 am McNeil Robinson. T rinity College, . SI. 101m Passion by Bach. Wm. Reese, Hartford, CT 8 : 15 pm du.; Haverford College. Haverford, PA Mass in n mitlOT (excerpts) by Bach. Antone Godding LESTER CROOM 8 pm UTllton Parish Church. \V illiamsburg, Seattle H!mtsvil~c Chapter AGO junior VA 8 pm Olclahoma City University ChOIr Festn'al. H. Kendall Smith- First Gene Hancock. Fine Arts Center. Sa­ Scnnle I~ncific Churcl. of the naptist. Huntsville, AL ' lem College. Winslon Salem. NC School of Music College Epiphany Boychoir workshop and children's Conference on Church Music. Alice Bishop W. Angie Smith Chapel 98119 98122 choir competition, David Bruce-Payne Millar Chapel. Northwestern U .• Evans­ Trinity Episcopal. New Orleaw LA ' lon, IL (lbru April 18) Requiem K 626 b)' Mozart. 'Cantala IIR .b)' nac~l • . motets by Gabrieli and 18 April DAVID S. HARRIS D~vl? ; LOllls\ ~llIc Bach Society. Melvin E. LYLE HAGERT Tltl! BloomslmT)' Mass, Choir of the Dlckmsoll, (hr.; st. Agnes Catholic Church of Our Saviour Church. Louis\'iIIe. KY 8 pm Church or ule University of London; Gelhscmane Episcopal Church Choral Workshop. Alice Parker' First Trinity College. Hartford. CT 8:15 p m Akron, Ohio United Methodist, E\'anston, IL 2:30 Bradley Hull, St. Uatholomew's Minneapolis, Minnesota 55404 pm Church. New York City 5:30 pm Orgon Larry King. Trinity Church. ~ew 16 April York City 12:45 pm Ted Alan Worth, Southold n.s. Aud .• Ted Alall Worth. Lowell State Teach­ Soulhold, NY t'TS Colle(;e. Lowell. l\JA Pierre Cochercau. First PreshYlcrian. YUKO HAYASHI WILL O. HEADLEE Guy Ho\'et. ImlTlanuel Congregational Orange, Nj 8:15 pm Hartford. CT 8 p.m. • faculty SCHOOL OF MUSIC Arthur Wills. Sacrcd Heart Cathedml. M~glJifical by I-Io\'haness, Te Dcum Newark. Nj 8:30 pm new england conservatory SYRACUSE UNIVERSITY by Kodaly, I .eopold Siokowski, condue­ Gillian Weir, First Baptist, Richmond. [or; 5[. Bartholomew's Church New boston SYRACUSE, :'iEW YORK 132IO York. City 8 pm • VA 8 pm Roherta Gilry. Knox l'reshYlerian, Cin­ MUSil Sole",,,is iIJ D (American pre­ ciunati, Oll 8:30 pm miere) hy Uri xi; N.j. Schola Can­ !,'. X. Guy 8m'et. First Baptist. Austin TX lorelll, LOUIS Hooker, cond.; Alice Tully Pcter Hurford. Father Flauag-.Jn 's 110111. Ne~' Y~rk CitY. 3 pm Boys' Home, Boys Town. NE LAYTEN HECKMAN jOOln LIPpIllCOU. FITst United Metho­ WILBUR HELD SM.D., F.A.G.O. dist. Plainfield, NJ <1 pm Holy Trinity lutheran Church I'isila,;o Sepllicliri. 12th century mu­ 19 April Ohio State University sical drOlma; choin of Delbarton Acade­ john Rose, Meth uen Music Hall. Minneapolis, Minnesota 55406 Trinity Church Illy and St. Luke's Chapel. New York Methuen, MA COLUMBUS, OHIO Clly. Roy Horton and Gwen Gould. di­ RoHiIl Smith, Unitarian Church. rectors; St. Mary's Abbey. Morristown. FOIirha\·en. MA 8 pm Nj 4 pm Virgil Fox. Pablo Lights. '\'a1sh Cen­ SAMUEL HILL Pierre Cochereall, 51. Anll's Church ter Gymnasium. Prm'idence, RI Harry H. Huber Ossining. NY • Bradley Hull. St. Barthololllew's St. l'alll'5 Church Crane CollegiOlle Singers of State U Church. New York City 12: 10 pm Chicago, Illinois M. M us. College. Potsdam. N.Y .• Brock. McElher: Carlcne Neihart, St. jolm's Episcopal. Kansas \Vcslcyan University an. dir.; ,St. Mary's Cathedral, Ogdens­ Wnshinglon, DC 12: 10 pm C.uthage College Unh'ersity Methodist Church burg, N\ 7:30 pm Da\'id Bruce· Payne, Holy Comforter Kenosha, Wisconsin Lloyd COISI, All Sainls COIthedraI, AI­ Church. Gadsden, AL SALINA, KANSAS bomy, N\' 4:30 pm Guy Bm'et. master class, U. of Michi· Spring Music Festh'al, Tenth Pres­ gan, Alln Arhor, MI hyterian. Philadelphia. PA 5 pm ":dwill A. Ohl. organ and orchestra, 20 April JOHN HUSTON d. deane ElIIlIIOIlluel Lmherau, I'hiladelphia, PA Carlene Neihart, Chestnut St. Metho­ oJ pili FIRST PRESBYTERIAN CHURCH dist. Lumberton, NC 7:30 pm St . jolt" /'au ;(Ju h)' nach, Wm. Reese, Richard Heschke, Valpamiso U., V.,1- TEMPLE EMANU-EL hutchison cond.; Church of S1. Luke and the Epi­ paraiso, IN phany, Philadelphia. PA <1 pm New York City portland, oregon Church Music Scminar. Valparaiso "'rancil Williamson, St. james United U .• Valparaiso. IN (thru April 23) Church of Christ, Wcst Reading, PA Psalntkotl%erl by Zimmerman. Wm. Schola Pro Musica. Cathedral of Teague, dir.; Century College, Shre\'e· ELLEN KURTZ Mary Our Quccn. Baltimore. MD 5:30 KIM R. KASLING pm port. LA Pierre Cochereau, Christ United D.M.A. C~"cerlo lor Orga". Str;'lgs and T;m- l\rethodist. Rochester. MN 8 pm JACOBSON 1m", by Poulenc; l-Iaig Mardirosian. or­ O,ganist and Chairman, Keybaard Div_ gan. jerly Sapie\'sky. cond.: Reforma­ M.Mus. A.A.G.O. Mankalo State Colleg8 tion Lutheran, Washington, DC 21 April Mankato, Minn. Mass ;" lJ . m;'lOr (cxccrpts) by Bach, Guy Bm'et, Acolian Hall. London, Conco,d, CalifDrnia Recitals - Classes - Consuhations Uruton I'ansh Church, Williamsburg, Ont. VA 8 pili Gillian Weir, Broadmoor Baptist, Thomas Murray. nethesda-by-the-Sea jackson, MS GEORGE E. KLUMP Episcopal. Palm ncach, FL 4 pm Cherry Rhodcs. Trinity Luthcran. J-Illnts\'ilIe Chapter AGO Junior Choir Cleveland,OB 8:30 pm HOWARD KELSEY DIV ISION OF THE ARTS Festival, .First Baptist, Huntsville, AL U~)' chOlr workshop and Children's 22 April Wasltington University D,\Ll.AS n,\PTIST COLLEGE ChOIr Competition, Trinity Episcopal. Victor Hill, harpsichord; \ViIliams Saint Louis, Mo. 63105 D,\I.L<\s. T E."CAS 75211 New Orlcans. L\ College. Williamstown, MA 8:30 pm Da\'id I1ruce·l'ayne, Trinity Episco­ Virgil Fox. Pablo LighL'i, Queensboro pal. New Orlcans. LA 4 pm Community Collcge Theatre. Queens. Searle Wright, Christ Church, Cin­ New York City cinnati, OH 8 pm joseph Kline. all· Bach, St. Mark's J. MAX KRUWEL jay Petcrsen, Concordia Senior Col­ Episcopal. Philadelphia, PA 4 pm ARTHUR P. LAWRENCE lege, Fort Wayne. IN 8 pm A.B., B. MUS .• M.A., B.D. Pierre Cochereau. First Congregation­ Doc. Mus. Arts, A.A.G.O., Ch.M. Noyes Fludde by Britten. Park Con­ al. Los Angeles, CA Second Presbyterian Church gr~ti.onal. G.rand Rapids. MI 4 pm Vesper Concert Organist Saini Mary's College and DIxit Dom"."s by Handel. Chicago The UnivenilY of Noire Dame 23 April Michigan and 20th St. C~~mber Choir, mcmbers of Chicago Chicago, 60616 Nol,e Dame, Indiana 46556 CIVIC Orch .• Gcorge Estevez. cond.; Lin­ john Skelton, St. Anne's Church, coln Park J'resbytcrian, Chicago. IL 4 Lowell, M,\ 4 pili pm ViclOr Hill, harpsichord; Williams CaIJlata 104 by Bach, Grace Lutheran. College, Williamstown. MA 8:30 pm Rh'cr FOfL'St, IL " pili Works for choir, brass and organ. 51. RICHARD W. L1TTERST William MacGowan Ruben Lodine. Faith United Metho­ Ilarthulolllcw's Church, New York City dist, Elgin, IL 4 pm ., pm M. S. M. All Saints Church 9th Annual Rodlt.'Sler Children's Carlene I'Jcihart, St. Thomas Church, SECOND CONGREGATIONAL CHURCH Choir Festival, Christ Unitcd Methodist. New York Cit)' 5: 15 pm Pasadena, California Rochester. MN Thomas Richner, Ridcr College. Rockford. Illinois Dorothy Addy. First United Metho­ Trenton, Nj d ist. Wichita, KS 4 pm COItharine Crozier. First Presbyterian. Recitals and Master Classes Tulsa, OK ALEXANDER BOGGS Organ Consultation Gluri(J by Poulenc. San i\larcos Com­ munity Chorus. brass, organ and timpa­ ni, Karen Md·arlane, cond.; St. Mark's Cathedral Church of Christ the King Episcopal, San Marcos. TX 4 pm RYAN Lawrence Moe, First Congregational. CONCERT ARTIST Western Michigan University at Kalamazoo Berkeley. CA 5 pm

APRIL, 1972 27 Carl E. Schrocd~r . HOi)' Trinity Lu­ 29 April Frederick theran. PA 10 am N&Jel Fluddt: by Britten. Pocono Boy ASHLEY MILLER Haig Mardir05iau. St. Char1C5 Church. Singers. College Concert Choir and Or­ MARRIOTT PikcS\'illc, AID chestra. K. Bernard Schade. dir.: East The Detroit Institute A.A.O.O. The Pl"ahody eonll'l11porar)' Music Stroudsburg Slate College. Ease. Strands· Enscmhle. LeonanJ I'carhnan. cond.; burg. PA N.Y. bctety for EthKal Cultur. 01 Musical Art, Detroit. Cathedral of ~fa..,.· OUf Queen, Balti­ Worth·Crow 0110. I'arkcrsburg H.s. Organist, The Detroit Symphony 2 Wnt 64th St., Now York City more, MD 5:30 pm Parkersburg. WV So lem" Mnu i" If 1)\' fr:UlcL:.. Rich­ E.. Power Biggs. Wcsllninster College. atd Cummins, dir,; Virginia Heights Fulton, 1\10 8 pm B3ptist. Roanoke, VA 7:30 pm Pierre Cochcreau. St. Mary's Cathc· HAROLD MUEWR Da\'id BMlcc·Paync, Elon . Collt-gc. NC dral, San Francisco, CA RDSAI.IND MOHNSEN 4 pm Guy Bo\'el, master dass, Seaule AGO, F.A.O.O. Westmar Callege New f-)aIlO\"cr H. S. Chorus~ . J ane \VA Trinity Episcopal Church Price. dir.: First Pcrsbylcrian, 'Vilming­ Calvary Methodist Church Temple Sherith Israel lOll, NC 5 plU 30 April Thomas Murray. Second Presbyteri. LeMars, Iowa San Francisco Te Dt:I",J by Berlioz. Boston Conse",'. an, Charleston. SC 7 pm alOty Chorus and Orch .• St. joseph's Guy Rovel. Cathedral of St. Paul. Dc­ School Choir, Rouben Gregorian. cond.: troit. 1\.11 4 pm St. joseph's Church. New Bedford. MA Peter Hurford. Central United Melh· 8:30 pm CARLENE dist. l.ansing. MI Yale Ba.ch SociC!ty. Paul Althouse. WIWAM H. MURRAY Alexander Uoggs Ry:an . Emmanuel cond.: DWight Chapel. Yale U., New NEIHART Episcopal. La GranRc. IL 4 pili Ha\'cn. CT 8:30 pm Mus. M. F.A.O.O. St. Andrew's Ipl"opol Church A ChU(1 of Our 'rimes by T ippett. Frederick Geoghegan. Cathedral of Meyer ond Wor.oll Downcn Grm'e Oratorio Society. Mar­ St. john the Divine. New York City La Grange, III. Konscn City. M.... u,i 64113 garet Holl inger. dir.: Downers GrO\c Musicum _ Vocate. John Colman. North H.s .• Downen Grove. IL 7:30 pm cond.: Madl.son A\·c. Presbyterian. New Central CoJ1cgc Choir. Luther D. York City" pm Spayde. dir.: Emmanuel Episcop:tl. Web­ John Rose, Sacred Heart Cathedral. ster Groves, 1\10 11 am Newark. Nj 8:30 pm NORLING frank a. novak Catharine Crozier. Kimball Recital john Charles, organ and choral con­ Hall, Lincoln, NE 5 pm cert: Emmanuel Lutheran, PhiJadel ~ EMMANUEL CHURCH Eileen Turnidge, Cathedr:d of St. phia, PA 4 pin SI. John's Episcopal Church john the Evangelist, Spokane. WA 4 pm Noyes Flllddt! by Britten, Pocono Boy Hanover, Pa. 17931 Pierre Cochereau, FIrst Congregation­ Singers, College Concert Choir and J.ncr CIty Heigh .. New Jeney al. Los Angeles, CA 8 pm Orch.: K. Bernard Schade, dir.: East Stroudsburg State College PA 24 April William Whitehead. St. john's Lu­ JOHN KEN OGASAPIAN Stephen J. Ortlip, AAGO Mmic Sacra of New \'o rk , CCI11ml theran. Boyertown, PA 4 pm Prcsbyterian. New York Cit)· Balladt: for Organ mid Piano by Du­ Gillian Weir, National Shrine of the pre. Cmlct:rlsllick, opus 79 by 'Veber: Soint Ann.'. Church ChoHan_ova loy. Cho;, Immacttlate Conception. \\'ashington, Kathf"}'n Byers johnston. piano. Regi. DC 8 pm M.s.. chu ...... Stot. College Lookout Pre.byte,ian Church nald Lunt, organ; Fint PreSbyterian. Da\'id Drucc.Payne. work5hop. Elan Lancaster. PA 8 pm Law •• $eWDnH Summer Mu.ic Cenl.,. College. NC Columbus Boychoir, Harrisburg Chor. Marilyn Masnn. IIminerd Raptist, Oil Societ)', Harrisburg. PA Chattanooga, TN Coronalion Antht:m.s h)' Handel. or. Charles Huddleston Heaton. Fourth chcstral " 'orks: Cathedral choir :lII1d FRANK K. OWEN rrc..'Shytcrian. Chicago. IL 8; 15 pili members of AllJany S)'mphony arch.; Jack Ossewaarde LaIons _ R«ibb Llo}'" Cast. cond.: All ~ i nls ~Ihedral 25 April Alban)'. N\, 4:30 pm • St. Bartholomew's Church Middletown H.s. Choir. Trinit)' Grace Church Choir. Wm. Self. cond.: St. Paul's Cathedral Church. New York City 12:45 pm Da\'id Bender. tenor; Hamilton Col­ lege Brass Choir: Grace Church. Utica. New York Los A ngeles 17, Calirornia Carlene Neihart. Sacred H c..'art Ca· thedral. Newark, Nj 8:30 pm NYGpm john Rose. St. M:ny's Episcopal. Had . joan Lippincott, Hartwick College. don Heights. Nj 8 pill Oneonta. NY Peter Hurford. Colonial Park niled joseph Stephens. harpsichord: Col­ RICHARD M. PEEK Church of Christ. Harrisburg. PA lhedral of Mary Our Queen. Baltimore, Franklin E. Perkins MD 5:30 pin Soc.. Mu •• Doc.. Gillian Weir. Trinity Cathcdral. Mi. A.A.O.O. - Ph. D. ami. FL Virgil Fox. Fike H.5 .• Wilson. NC Cavenant Presbyterian Church Th. Ladue Chapel Virgil Fox. Abington H.5 .• Abington. Reqlliem by Mozart: Bach Chorale St. Louis, Millou,i JlA Singers of Lafayette. Ind. and Sccond Presbyterian Chancel Choir: Robert 1000 E. Morehead Charlo"_, N. C. University of Missouri. St. Louis Hclen Pcnn. St , Juhn's Episcopal. Washington. DC 8 pm Shepfer, cond.: Second Presbyterian. In· Marilyn Mason. lI1a$tl.' r class. Chana. dianapolis. IN 8 pm nooga. ACO, TN Carl Staplin, U. of Evall5ville. IN ARTHUR A. PHILLIPS Gu)' RO\'et. First Congregational. I:a.rry R. Rootes. Pilgrim Lutheran. MYRTlE REGIER Fresno, CA Chlcago,lL MOO Ch.M. F.T.C.L Pierre Cochercau , St. Andrew's COl­ john Paul. St, john's Cathedral. Den­ thedrnl, Honolulu, HI \'er. CO 4 pm Mount Holy.1Ie Can... St. Alban. CO.I,.. atioNI Church South Hadley, Ma ...cltuMH' 2fi April I I\lay 172-1751. A...... N.Y. 11434 Carlene Neihart. St. Bartholomew's Walter Bakcr. Church of St. Paul the Church. New York City NY 8 pm Apostle. New York City 8 pm Benjamin Van Wye. Bethesda Epis­ Works by Black avant-garde compos­ JOSEPH MARCUS St. John's Cathedral copal. Saratoga Springs. NY R pm en. UB Chamber Choir, julius East­ john Holtz, SI . JOhn's Episcopal. man. dir.: State U. of New York. Buf. Washingtnn. DC 12: 15 pm fOlio. NY RITCHIE Jack Edwin Roqara Da\'id Bruce-Payne, First Presbyteri. Columbus Boydloir, Ohio Chamber TRINITY ' CHURCH an. Mt. Clemens. MI of Commerce Convention, Washington. Rt:quit:m by Brahms. First Presbyteri. DC NEW ORLEANS Jacksonville, Florida an. Dam'iJle. IL 4:50 pm Worth·Crow Duo. Palace The3tre. , Memphis Slate V. Glee Club, jim Marion.OH Dellinger. dir.: Harris Music Aud .• Mary Lou Robinson. U. of EnnsviUe, Mcmphis State V ., TN 8:15 pm Evansvile, IN 8 pm JOHN ROSE Pierre Cochercau. St. Andrew's Ca­ Guy BO\'et. Occidental College, Los RUSSELL SAUNDERS thedral. Honolulu, HI Angeles, CA cathedral of the sacred heart 2 l\(ay Eastman School af Music 27 April Larry King. organist; Outer Space. newark University of Rochester \\,illiam MacGowan. Trinity Church. rock.group; Trinity College. Hartford. New York City 12:45 pm CT 8:15 pm Virgil fox, Dundalk jr. H.5" Dun. dalk, MD Manhattan School Brass Ensemble. Trinity Church. New York City 12:45 K, BERNARD SCHADE Ted Alan Worlh, Hamlet H.s., Ham. pm let.NC 5.M.M. john h. schneider john Weaver, St. Mary's Episcopal. STATE COLLEGE Haddon Heigh15, NJ !!8 April Bradley Hull. Cathedral of Sacred EAST snOUDSlURO, PA. Calvary Presbyterian Church William Weir, Shrine of the Immac· Heart. Newark, NI 8:150 pm W.rkshop' onll Uctu,e, ulate Conception. ' VOl5hington. DC john Rose. H01y Trinity Lutheran. Th. Kodoly Cho,ol M.thad Rivcr.iide, California GU)' Bo\'et. St. Thomas Episcopal. Se· Greenville. PA attie, 'VA Virgil Fox. Morehead H.s., Eden. NC

Gary Zwicky william whitehead OMA FAOO 2344 center street, bethlehem, pennsylvania Eas'e,n IlIlnoi, Unl ••nlly CkarIn.Oft

28 THE DIAPASON 3 May Ev. Lutheran Church Concert Choir Joan Lippincott, " 'estminster Choir (Frederick, MD) , William Sprigg, College. Princelon, NJ rond.; Cathedral of Ma ry Our Queen. JOSEPH SCHREIBER Robert Shepfer Br.ldlcy Hull, S.. Bartholomew's Baltimore, AID 5:30 pm Church, New York City 12: 10 pm Guy 8o\'et, All Souls Church, Wash­ Ind~d.nt P,esbyteria" Church area.itt - Choirma ..... Ted Alan Worth, John Glenn H.s., ington. DC Bi,minghcmli.Soulh.r. con ••• SECOND PlIESIYTERIAN CHUtCH Bay Cily. MI George Ritchie. Dulr;e U., Durham, IneHa.apolis, IrwlJana "''.16(1 Cerlllnu Requiem by BTa.hms, EKU NC 7 pm Birmingham, Alabama R.cilall Concert and Oratorio Choirs and Or· E. I'ower Biggs, Independent Prcshr' chestra, David A. Wehr, die.: Eastern terian. Birmingham. AL Kentucky U., Richmond. KY 8 pm Spring Fcsth'al Concert for chorus,

5OIoists and arch.: Christ Churchh Cin­ ROBERT SMART cinnati. OH 8 pin L. ROBERT SLUSSER Swarthmore, PemuyIvanb 4 May Eastertide Choral Vespers, Mellia". David .T. HunJ Jr .• Trinity Church, MUS. M., A.A.G.O. Trinity Episcopal Cbun:h PIS. II and III by Handel; Concordia Swarthmore ColJege New York CII)' 12:45 pm Senior College, Fort Wayne. IN 8 pill LA JOLlA PRES8mRIAN CHURCH Virgil Fox. P.F. Monroe Lenoir Requiem by Mozart: Bach Chorale Congregation Rodeph Shalom, Rhyne Collrge, Hickory. NC Singers and Scrom) Presbyterian Chanc­ LA JOLLA, CALIfORNIA PhUadelphla el Choir of Indi3ll3polis. Robert Shep­ 5 May fer. cond.: First Methodist. Lafa),ette, E. Power Higgs, Independent Pres. IN 8 pm h}ICrian. Birtningham. AL Ted Alan WOTlh . Vocational H.s .• Pierre Cochcre311. Lewis and Clark Hammond. IN Carl Staplin College, Poellam), OR Jamn L. Jones. Northwestern U. mas· ROLLIN SMITH Ph.D •• A.A.O.O. ter's recital: First Congregational, Cni­ Drake University cago. IL 3:45 pm University Christian Church Unh'ersily Chrous. James Mack. diT.; RECITALS G !\lay 1150 Forty.lint Street, Brooklyn. NY 11218 DES MOINES. IOWA Joseph Kline. all·Bach, St. Mark's Mandel Hall. U. of ChiCOlgo. Chicagu, Episcopal, Philadclphi3. PA " pm IL 3:JO pill Bill)' Nalle. John Dickinson H.5., Wil. James Riihhnalr;i, Emmanuel Ephiso. mington, DE 8 pm pal, La Grange, U. 4 pm ADOLPH STEUTERMAN Orri" Clay/on Stdl.em, II Virgil Fox. New Bern H.5 .• New Bern. Roger N)'quist, Sf. John's Calhl'tlr.1I, NC Milwaukee. WI 3:30 pm Mut. Doc., F.A.G.O. Choral works b)' Praclorius, SchUtz. rrorcuor Mwic E. Power Biggs, Independent Presby. Sauthweste,n al M.mphis or Schelle. lIach: The American Kanlorei, terian. Birmingham. AL Orpnist-ConduClor Worth-Crow Duo, Thornton H.5., Robert Bergl, dir.: Laclede Gro\'cs Calvary Epiuopal Church Harvey, IL Chapel. SI. Louis. MO 5:50 pm M.mphis, T.nn.t... Lincoln Univcnily, Pa, Robert S. Lord. Church of St. Jacques Philip Keil. Church of St. Ignatius. du Haut-Pas. Paris. France 5 pm San Francisco, CA 4 pili Chico Slale College Concert Band. Grace Cathedral, Snn Fr:mcisco. CA 5 JOHN M. THOMAS - AAGO 7 Alay pm FREDERICK SWANN Organilt - Di,ector Carl Weinrich. Dwight Chapel. Yale 4th Annual Festl\'nl of Choirs. La Jol· F,ame M.morial p,.sbyterian Church U .. New Haven. CT 8:50 pm la PresbYlerian. La Jolla. CA 9:30 & The Riverside Church Siaff: University of WlscOMln Cantala II by Bach. Churd. of the 11 am Slevent Point, Wise. 54411 Ascension. New York CilY. II am New York City FOUNDI!R· DIRECTOR Choirs of Bernards High School. Rob­ 8 May "CHURCH MUSIC INTERESTS" AGENCY ert T_ Volbrecht. dir.; SI. Mary's Ab. Patricia Bird. Church of St. Paul the bey. Morristown. NJ 4 rm Apostle. New VorL: Cit)· 8 rm John Rose. Cathedra of 51 . John, Pat­ Roger Nyquist. St. John oS Cathedral. George Norman Tucker erson. NJ 4:!O pm Milwaukee, WI WIWAM Th. Baptist 9 May Ttfw. Bach. Frederick Swann. Church of the Hoi), FRANCIS T.lllp'­ Communion. South Orange, NJ Sonja Foster, "iotin recital. Trinity ST. LUKE'S CHORISTERS Lancaster Chapter AGO Senior Choir Church, New Vork City 12:·15 pm VOllMER Tetnpfe Squ.,. Festival, Earl Ness, cond.; Holy Trinity Worth·Crow Duo, Rhinelander Uniun Kalamazoo Lutheran. Lancaster, PA 8 pm H.5., Rhinelander. WI BOY CHOIRS Bklyn 17, N.Y. Robert Baker. Second Presbyterian. Frt.'l1erick Swann, Bethlehem Luther· Carlisle. PA 8 pm an Church, Aberdeen, SO

W. WILLIAM WAGNER George Wm. Volkel WA-LI-RO LAWRENCE BOY CHOIR SAC. MUS. DOC., f.A.O.O. MT. LEBANON METHODIST CHURCH WARREN C. MILLER - DIRECTOR PiUsburgh. rcnnsyiv:lnQ ROBINSON All solnts Episcopal Church Ch,ist Chu,ch, Shake, H•• htt 22, Ohle Drake College YIR61NIA COMMONWEALTH UNIVERSITY Fort Laud.rd.t. sally slade warner RICHIrotOND. VIRGINIA RoalDA CLARENCE WATTERS a.a.g.o. dt.m. CHURCH OF RECITALS ST. JOHN THE EVANGEUST 51. John's Church Vernon tie TDr Beacon Hill Boston W. Hartford, Connedicut F.A.G.O., Mus. Dec., S.M.D. Church of the Ascension C. GORDON DAVID A. Fifth Avenue at Tenlh SIr ..' J~Mes LeL~Nb New York, N.Y. 10011 HOLLIN_ caLLaa. Juilliard School of Music Union Theological Seminary WEDERTZ WE HR Ph.D. Recitals 2534 West 118th SL Eastern Kentucky Unlvenity Organ and Choral Workshops CHICAGO 60655 RidmlOnd, Kentucky

JOHN E. WilliAMS DONALD WILLING HARRY ARTHUR WELLS St. And,.ws P'.... )'I.nan Cell••• Washington Sial. Uni.,.,.i., "'why FOX CH"'PEL EPISCOP ..... CHURCH Lour ..,"". Pr.III".,",,, Ch""h "'timan 99163 North T•• as stol. Uni.,e"it, ftlx Chopel, Pilbbvrgh, Pa, 15238 Law.. ",., NINth c.,.5fna Denten

George Y. Wilson RUSSELL G. WICHMANN HARRY WILKINSON barclay wood Chatham College Ph.D .. F..... O.O. INDIANA UNIVERSITY • ST. MARTIN·IN.THE.FIElDS FIRST BAPTIST CHURCH Shadyside Presbyterian Cheslnut Hill, PhiladelphIa Bloomlngtan, Ind. Worcnter Pittsburgh, Po. 15232 WEST CHESTER STATE COLLEGE. PA.

Organ Builders and Inc. • Rebuilding FRANK J. SAUTER SONS * • Repairing * Phones: 388·3355 • Contractual Servicing 4232 West 124th Place PO 7·1203 Alsip, Illinois 60658 For Unexcelled Service

APRIL, 1972 29 CLASSIFIED ADVERTISEMENTS

POSITION AI'AILADLE WAN TED - MISCELLANEOUS HARPSICHORDS HARPSICHORDS

WANTED - AEOLIAN' CIIAMBER OR­ FOR S.\LE - NEW 5 ABATHIL HARP­ FLE.~nS1J JlARPSICIlORDS CUSTOM gan pipc:s; B' Fern FJule, ot ' Flute d'Amour, 'KhnN Cunttrlo n. Two manu:ili. FF to 1£. built (rom ZuckeTnlann .IIi ts; very rutOnaWe LARGE EASTERN BUILDER, Ions ot' WRId F1ule, 2' P~o . Ittnd 's·ranlr. Siring Four sets .. rinp: 16' B' of' 8'; lower manual : prices. Roy Crowe, N. Wilkesboro. N .C. 16' B' 16'.lule, B' ·lule; upper tnanual: 8' 28659. atilblbhrd. is looking lor a knowledgeable Mixlure wl chest. A. H. Rcb.on, 6309 Me· penon ,,.jlh hi. r~1 on the ground to Pherson, 51. Louis, Mo. 63150. 4', 8 ':'ule; mama l coupler, pctIal. lyre wilh head up • TRACKER ORGAN DEPART· 5 pct1ab. Lengdl 6'. "",695.00 for $3,695.00. SPERRUAKE HARI'SICIIORIlS AND MENT. a. :an adjunct to our work on WANTED - MUSIC ROLLS FOR AUS­ I'rice illdudcs delivery within -'SO milcs. House da",icllonls. Excellf: nt dependable beauulul. the c:Iccl~pneum 'll i c ly.tcm. lin, 'Velte, Skinner, Aeolian, Duo-Art :lnd 01 Music, Inc .• 711 Elm Sirecl, Dalla., Tc:xas Robert S. Taylor. 8710 Garfield 51 ., Belhttda, UIC of .hde cliett'. e:asework. open lorod Estey pipe organ players. J. V. :&.1ncarlney, 75202. 214/748-0981. voicing and .imt)lest pl11etical action is a 406 Haverlord An., Narberth, Pa. 1'lll72. ' fd. 2OlH. fOl'Cgone conclUSIon. FOR SALE - SABATIUL BACH III CON­ C"lndidalc mu.t be able to take a sped­ WANTED - DIRECT ELECTRIC AIAN­ "THE HARPSICHORD," INTERNATION. {jOilioD and carry it through to completed cert ha.rpsichord. 16', 8', 4' - 8', 8'. Lute organ, and to participate in sala and ual chests - Wkb or Reilner units. Also pipcs SlOP on both upper and lower 8' and 16'. 7 al quarterly IlIr 10~'en o( early IIcyLoard in­ developmental work. for umc U a\'nilable. Send description and pedals. Like new "",500. E. H. Mu~l1cr, M.D., stnllnenls and IIl1uie. Articles, inlerviews, 1"110- Facilitin of our InrBc plant and pipe price to D..f, Till: DIAPASON. 707 Commonwealth AYe., NewUIR Center, tographs and iIIustraiion. by today' , forettlClllt shop an: llv:ailablc. Mau. 02159. a.rtists. $8 per allnum. "The lIarptiehord," An ucdlcmc olll)Orlllnit, ror the riBht WANTED - S-G RANK. UNIFIED PIPE Bux 4323.0, Denyer, Colo. 80201. penon. All rer1lia ,"nfideRlia!. Write B.2, orpn, prel'c.rably with 16' pedal stop. Work.­ llARI'StCHORDS AND C LA\II , design and insbU:aIM>n for S:loolhil " Soli Llil. Findt quality, (ully gun· iud. 2 InllllJlCIJ, ut.oe hOMl , I:l e. Muu male his dknlJ. This telTilory merils (ull·lillle at· :mlecd. La rgesl IoClecl inll anilable (I'Dnl our mtllll fllr incoming equipment. No rc:»nntl.hle It'nlJoII - JMI dilellanles. Includes urhan, sub. WANTED - USED MOLLER I'IPE OR­ gans. G i ~' e cDmplele " lCC i(b lioDl, opus, rob shmvrotlnll. Fi"a"~i,,t Nrnv AVlJlllJb'~. Free: II tren rcfusttl. Mail all inquiries incl. phonc urban and slIIull· luwn :lfC":lJ - sonIc Irol",eI :md price. Alldn:s.s D.5, Tul!. D'AI'ASoN. Calalog. J. W. Allell, 500 Glcn""~y, BrUlnl, 00. 10 lIulIlicr Theater, 133S - 119th SI ., lots of dl:lllenEes, with pm",en potential ror VOl . 2-1201 703/GG9..a396. Whiling, Int!. 4639-1. man with rea l nhility. Interested?' Send re­ WANTED 2·MAN. AND I'ED. REED sume 10: C-5, TuF. O",.I'ASUN. All ~IIlies strict· lfARl'SICIlORD KIT. bUILD A FULL FOR SI\LE _ ANTIQUE PillE ORGAN, Iy confidelliial. organs. Condition JlIII imllortallt . T . J. Mc· Guire, 32 Castle, S:an FralicilCu, Calif. 9-1133. size ccl.licOi o( 01 Fn:ncb 181h centllry harpsi. built 18SO, "aine S"arrow, I'urdand, lIIt1.hogany 415/982·5752. chord, 2 :or.: 8', 1 x 4'. FF·S' , ' . Designed and ca.s ~, Grct'1r. CO'UIlIIllI, 8' high, 5' wide. Price: WANTED - ORGAN BUILDER TRAIN­ made by Fr.a llk Hllhbanl. Single: manual, $600; make uffer. I'. 'Ventwllrlh, Orland , Alaine, ee ror slIIall . hllll in Southwest. Y: service, WANTED _ WURLITL£R SOLO SCALE double manual $860. For brochure, write 0-1-172. !Ii building. Must h3"'e lIIechanical &: mwical TIhia including 16' octa"'e, Tuoo Mirabilis 8'. Frank lIuhhOlrd, I85A Lyman 51 ., Waltham, aptitude &. cxpcricllce, interest in all types or Dill Brown, 72-13 N. Cenlral, IlhOiltlix, Az. Mass. 021's-I . FOR SALE 2.MANUAL, 52·NOTE organs. Send nsume to C.3, TIIF. DtAPASON. 85020. 61)2/277·9418 IIr 943·9532. pedal. 7·rank, ~built Woodberry u-,elr.er. For HARPSICHORDS AND IIEDAL HARI'M­ I,hllto OInd Sfll'CI. write: James.. n, Box -tOO , VIaTOR NANOS AND ORGANS IS ehonls - the weal ilull'\lmenls for organists, Nalick, Mass. 01760. opening new nlall Sillfts Inlln Miami to I'alm AIISCEI.UNEOUS illdiyitluals. and IChools. For luudlllre lend 251 Beach. Will hire orsanqts fur saIL., tra ining, 10 S. Sabalhil " Sun Lid" Dept. 0 , 108-1 11~ fOR SALE _ THREE· MANUAL WICKS abo organ servicem.a n. Sent! tcSUllle to: Victor I'N£UMATICS AND l'()UCHBOAl{US OF mcr, VanclMU'cr. B.C .• Canada. IIrgan INn . 3598). new ill 19S6, in load cnn· l'ianO$ &: Organs, 300 N.W. !t4 51., Miami, :lily ma.ke rcco \'~ rcd \o·illl Polyureth:me Ilwtic. d ition. 32 Stol". 19 rank., '1lIllkey console, r~· Fla. 33127. I'honr: 305/751-7500 . Wrile (or qIlDI:t. lion. Church Oraan Co.. J8 H,\RIISICIIOKD ,\NO VIRGINAL KITS mull" comhinaliull aclKIIl. Beillg r~pbccd by Walton 51 ., Edit.nn, N .J . 08817. llatterncd after 171" ccnlury i.u lnln.cnts .•·ront LUliler urgan. Cunlael: Genrge A. Rundl, $3-1 5. William I'osl Ruu, lIarpsichotd Maker. ChainliOli n. ~rd of TruUer:s, Fint Baplts l WAN TED - ORGANIST-DIRECTOR QUALllY DIRECT ELECTRIC CHESTS 79 1 Tremont St., Roo'" 515·0 , Roston, Mus. fur tntal IIIII.ic pmgrnm ill dlUrch of 1200. Church, 81h &. Uroacl Stn:eu , Lansdale, I·erln~ . lIlade to order, good cleli",crv. Aiken AuociatC'S, O2l1ll. 1!J.H6. 2ISI855.3-I57. Wc:)lminlter Pm liy. Church, West C holer, Box 1-13, Drooklyn, I'a. 18813. I'a. 19380. llARl'SlCIIORD, V'RGINAL, CI.AVI· churd. organ kits. Full sire 11:tIIl!nll aller 171h FOR SALE - WICKS J' IPE ORGAN. 2· ST. CEClLII\ , I'ATRONESS OF SACRED manual, 4 ranks, kll--contahled, uncnd ..ed, "'tiNTED - MISCELLANEOUS tttliury insirulllents, (mm $235.00. Fn:e l.no­ music, seated 01 1 Ihe urpn. I'rint uS famous large sole open loed I,ipe Wild:, bold "uieins, clmre UII request. Jleullr:l KilS, 2 bis, roe Vi· painting by Nanjl'lk. 1 doz. (5ll7) note canis suitOible lur I IIUlII church, leachinl studio, WANTED - BACK ISSUES OF TilE \·)enne. 1'00ris 2, Frollu:1:. DIAPASON: 1910 - AllIrch, April, May, June, And en",e1opes (OI'US # 2) $3.00 JlolIJl3id. chapel. Less tlutn three yean old, "'cry Ittt­ July, Aug., Sellt., Oct., Dee.; 1912 - April, (Sample $.50) Orla n Art, Box 309, IIlIrlitt­ tract;"e price if buyer can IIIII"'e. John Carroll, Aug.; J9H - Allril; 1926 - July; 1933 - game, Calil. !HOJO. FOR SALE - IIARI'SlCIlORDS, CLAVI­ 8500 Old Sllalluh Trail, Tucson, Arit, 8.5710. July; 19-13 - No",ember. Vineer Organ Li· chortls by NeuflCrt, world', finesl, oldest ORGAN SERVICE MEN - WE WILL maker, Ca.talogs 011 request. M3gnamusie, Sha­ brary, ,050 Gladstone l\ve., OIlOlwa, Onl. FOR SALE 1926 WICKS, 2 MANUALS, KIV 3G5 C:mada. reeO\'er Casal'alll :a nd Skinner pouehloo.'lrtls, ron, COlin. 060G9. primary a.nd ofb et IlC1 H.1tI •• Wrile BUnlCSl As­ 4 rank., Uuunlun, Dialla5flll. S:ah..!un:al. Olloc. Recrndy rebuilt. CO lUole beaulifull y alilicllIed , sociates, 1907 Susquehanna Rd , Abiugtonl 1'.1. FINE IIARPSICIIORDS, CLAVICIIORDS, WArnED - " STOI', OI'EN AND REED" 19001 . made ill di",ene confiSunalll'lDS and dilflO,hions. New blower and static ttlulalor. E XInt ranks maglUines flublished during 1920's by Skinner Write, Ilhnne. ",ish SIiOII . E. O. Witt, R3, a\'nilable. $1 .500.00. O. G. Bdtl.lItourt. lIox Organ Co. Address 0·6. Till!. DIAI·ASON. 4m, Santa Fe, N.M. 87501. 5O~ / !)IJ~ .()(i86 . AUSTIN ACTIONS REIiUlL T , ( rRI. Three Ri",en. Mich. -IOO!J3 . 616/2+1-5128. marid and .cellmlarid) will. n~w Illaslic l'l:r­ WANTED - SEVERAL HUNDRED 0[. Dex: male rial. Siale YClur !leech and scnd lor I IARi'SICHORDS, CLAVICIIORDS FOR SALE _ WICKS I'II'E ORGAN 2· reet electric acliun magnets. Auy condition, details. J'erflex II'!Iudln ahll. Fuley. llakcr, Inc., Maglllficcnt lone &. hamb-ome al'l.carance at IOanllal, 7 nanks, Ilock~n l p i ci OInd some toys. but must be wc3ble. Address D.2. Till!. DIA­ Box 66, Buckland Slatim., MandlCller, Coli' rea.sona.ble eml. Maurice de AnSeli, Box 190, J'a.rtially assembled in rdidence. Daniel Coates, rA!!lOH . IIcclicut 06(H(J. R. D. #1, J'ellll1bullf, 1'01. 18073. R I, Forislell, Mo. 633-18. 314/ 327-6996.

CHESTER A. RAYMOND, INC. PIPE ORGAN BUILDERS McMANIS Rebuilding, Maintenance and Additions KANSAS CITY, KANSAS Box 55 Princeton, N.J. 08540 661(M P.O. Phone: 609-924-0935

0 ORGAN LEATHERS R Sine. 1906 )}11J\1f~~~o. G FINEST IN NATURAL PERCUSSION WHITE, SON COMPANY A 286 Summer Street Boston, Mp.sachtl.etta 02210 N Solid 51.. S,mtol 0/ QIUZIit, Calhedral Chime. Electric CHAnVE ORGAN BUIlDING FOR ARTlmc MUSICAl RESULTS P JEROME B. MEYER &SONS Ad~nl I AMPLIFIED TOWER CHIMES Greenwood Organ Company P 2339 SO. AUSTIN ST. E CHARtonE, NORTH CAROliNA 2B205 MILWAUKEE, WIS. 53207 LAKEVILLE S CONNECTICUT 06039 ~ ''THR.EE GENERATIONS OF ORGAN BUILDING"

ORGAN SERVICE -J. E. Lee, Jr. PIANO TUNING DO IT YOURSELI PIPE ORGAN KITS Learn Plana tuning and repair with easy Custom specmallons far church or CONRAD O. DURHAM KNOXVILLE, TENNESSEE 37901 10 follow home .tudy caurse. Wide open resldenc., camplet. ar parh, full In· Box 2061 field with good earnings. Makes excel· "rudions by esteblhh.d oroa" buIlders. Buiklor-Cansuhanl-Tonal Finl.h., lent "exira" job. W,It. COLKIT MFG. C• • P.O. lox 112 Tunln, .. Maint.nanc. - R.building P.O. Box 2125, Tallaha ..... fla. 32304 Am.rican School Piano Tuning HU., St.tlon, luff.la, N.Y. l-tm Consultants 0' Dept. 0 6 Box 707 Gilroy, Calif.

30 THE DIAPASON CLASSIFIED ADVERTISEMENTS det.mu .cI.mk1nv rot"1 pet' word, $.20: ",lnhnu'" ct...,.., $2.50_ box numb.r, additlonol $1.00••• pll •• to box aumben should b...... • /0 Th. Diapason, 434 S. Waltath Avenue, Chicago, 1II.6060S.

FOR SALE - PIPE ORGANS FOR SALE - PIPE ORCAN S FOR SAL15 - 15LEGTRONIC ORGANS FOR SALE - MISC. fOR SALE - AEOLIAN PIPE ORGAN, 500 USED IIOME, THEATRE AND FOR SALE - BARTON DIRECT ELEC­ FOR SALE - E. M. SKINNER 1927 IN tric Xylophone, lLup and Orcl,cslra Bell •• Y. G~.tcr Boston arca . Three-manual, twenty­ t'.'ta:llent condition, 1901 , H stops. St. Roh· church. orpns, ufl to 00% orr. Allen, Conn. HP eompact blower. SI,'le D cOIl5OI~ with 3 one r.anu in playing condition, nc~ some erl'. 1Ia.II, Pomrret Cenler. Conn. 06259. Gulbr.uuen, nIOm:as, Lowrey, \Vurlitzcr. Kim_ manuals. Sins k-manual MotIon rel.:r.y . 3-man· work. Great chest KVl!n, Choir four ne", in ball, Bakl~in , Hammond. Movin, arranged. FOR SALE - WURLITlER. BARTON, ual Killen rc:la.y. GoUfnccl St()PlJCd Diapason. 1957. earl Fnnning, 5-1 Chute Road. Dedham, Victor Pianos I: Orgllns Warehowe. 300 NW Kimball, "ipe organ eollectinn, largest in the 5·lIh St., Miami, Fla. 33121. 305/751.7502. 5117 Lee St., Skokie, III. 1iO~76. 312/676-1-120. ~hass. 02026. West. All must be .old. con",les, electronic and pntumatic rebys, post hom" three trap FOR SALE - NEW ORGAN PIPES, 51lfo FOR SALE - 1924- E. M. SKINNER, 5 FOR SALE - USED PIPES, CHESTS, lets, percwsions. Send sell-addrcued l tamped . polled lII eul, Mil:turd. Sdlar££S, Cymbch, C()nlOl Cll, misc, partl. Ol'1an Suvice, Bo. 2061 , divisions , including harp-celesta. In Uje now, en,,'Clope rOl' catalog. Jay Himes. 55 11 Sunn, Octaves, etc. promfltly available. ElI;eelknt KnoJ;Ville:, Tenn. 37901. can be t«:n anytime, lNyu mw.l ),"nll: by Slope Avenue, Sherman Oab, California.. workmanship. Write 10: E:-:pens on Orpn All ril 1972. Contact Gonion M. BClenbaug.I, 91401. 213/994.2946. Pipes, Gebriidcr Kis, 53 Bonn-Deuel, West Fint United MetJ,oditt Church, Hill Street at Gennany. FOR SALB - WURLITZER ntEATRE Cedar, EI ~do , Arbm:u 71730. FOR SALE - EARLY 1900 KIMBALL organ pam: pipes, CladlS. consolel, toy coun· pille organ, 2-m:an ual, 7 ranks (unified). In ten. perc.uuions. WiI1 sel1 entire lot to inter­ FOR SALE - BEAUTIFUL NEW FA­ FOR SALE - SKINNER RESIIJ1:.NCE liSe: now. $1500.00 or offer. Evansclical Cove· ested party. Also chureh organ slur£. Bernard Ilant Church, Hinsdalc, III. 60521. ca.dc pillCS : 8' Uelhnunpel, 61-notes (copper BlulII, 5223 Jerrenon, Jlhiladclphia. Pao. 19131. orpn, 7 ronks "il.o, including two reed :.tups, boots, soc.Ir.els a nd polis hed hish tin raona· IIblJ electric Uafll. Some uni r~tion .tnd du­ FOR SAL E. - 3M. 17R, 1m .\USTIl'l. Ion). Aho new 8' Krummhom, 49 notes (50% pluillg. T,,·o·manmll dCbched coruolc wilh Dismantled. I'ri\'l:I te oWller. Address: P.O . Box 511OIted). Bdsecker, Box 38, Ray, Ind. 46731 FOR SALE - BLOWERS AT 15" W.I'.: ,.Iayer mechanisms ; olso, complclc scIretinn o( 5:H92. N;uln'ille. Telln. 37:205. ur call 517/ 4!t2.!J313. Orsobln 3 HP, Kinctic: 7Y1 liP. WurlilJ.er ron, . Condition Soud. C()ntu.l: J. J. It~·tkek, styles 260 and 1M rrlaYI and switch .ucks. Uclh3ny Ctllony Lid., 305 Cherry St., SCDn· FOR SALE - WURLITlER I' IPEWORK. " l'encil" Itrinp, IhIlciana. lIIetal HarUlonic FOR SA I. E - ELECT/IONIG ORGANS FIIIIC, Cor Allglag, and $010 IIn IlK. Bill Brown, ,un, PO!. 18501. chests, tremol~, pcrCusttull', Slyle: II console, releathered rela)." bluwen, oble, elc. Address 7243 N. Cenlral, Phocnix, AI:. 830:,,1(). 6f.YU277- FOR SALE - 1 RODGERS 33·E ORGAN, 94.48 or !H3·CJS12. FOR S.\LE - MOLLER THEATER OR­ tllJ'CC:'lI1anllal theatre slyle, antiquc whitc COlli' C-I, TilE OlAUSuN. pn. Some tln ilied, lOme .tDilllll. Eisht ranks ),jelc wi th 2 Rodsen c.'ttcrnal SIK"akc:n aond I o( Ili"cs. three·mauual n:lay alld .wltehslaek i brge Leslie, 32·noll: ltedalboud, seUer boartl. FOR S:\LE -E. M. SKINNER REEDS, FOR SALE - SPENCER ORGOBLO, 2 De"8'3n harp. ,,)"lcll.h()pc and chimes. Best 0(' toe stubs, 3 upru' "'tn pcdall. Two ,"ca. n 0"1 e,...!. 1917. 8' French Horn, (il pipes, reeds to III" 1800 RI)M, 110 or 220 yolt .ingle phase. fer (no con",le ). Robert 11. Ev:l.n.I, 32 HiSh­ alld like new. CUll lIew ,,':as $15,000.00. Will 491h IItlle, mitered to 4 feet 6 inchl':ll, wida 3!iO CFM at 12·irn::h stalic pn:ssl.lre. lrn:ludnI laml Sireel, 1'3wlllckel, RI 02860. -101/124- sell FOD Ilrlce $7700.00 cMh . Robert R. IWII l.art chest. $290. Also 8' nanllonic Tuba. is 12 anlp/lO ,'Ott DC ~lIr r.ltor . $200. E. rou. Sirickkr. Sr., 203 N. Franklin 51., Red Lion, 61 pillcs, all reeds, llannonic rrom Tenor F., Borowiec, 4965 Crorton Dr., RuekronJ, 111. Penna. 17356. 717/244-+131. milered Itl 4 (cct 5 inchn. whit IWO I'arl 61111. fOR SALE - USED I'Il'E ORGAN, MOL­ chest. $'!CJO . Doth reeds ill Ileffect condilion. FOR SALE - 6 USED ALLEN ORGA.~S, Dllnahl D. Curry, -I Roma. Court, Lincroft, FOR S:\LE - SPENCER Ys III' 3450 RPM ler ,en:iced n.Klllarly, c!C'Ctm,plleumatic aetiun. Models \\,3" Ihrec modernized wilh Grro< 15'Dllb or p i l~, 20 tllllul3r chimes, no\'( in New j eney 07738. 201/53S.1H6 Of' fH2-0B37 . -400 CFM 3W' WI' 115·230V t-JlhaIe. Trinity l.twnic l',..jeclur Tone C:lbinet., aoll A.G.O. i.lltheDn Church (Scribner) , Box 67, Snyder, M'nKc rCIUI;uly. $1 .000. Cuntaet: Mrs. VOiSl, cOllwles, two til·nole lnanuals, 32-nole: pcd:al­ Tues. Ihm Fri. 9 10 3:30 P.M. 215/58I-WGt, FOR SALE - PILCHER 12R SWELL N eLr. fi866.l. buards. Will aCCellt $5 ,000.00 for the .ix, or Banllor, I'elilla. chl'Sl, rcscr\'Oin, Vox, TrumlM:I, Clarinet, Con­ sell scparaolcly from $500.00 10 $1,500.00 eacb, cert Hille, Fbulo Trnven(I, blower, pedal. F .O .B. Dall:as. Howe or Music, Inc., ill Elm, AUCTION - TilE FOLLOWING WILL FOR SALE - 2· M,\NUAL MOLLER RE­ Dallu, Texas 75202. 214/H8.0981. board. M:any exlrat. ,\11 (or $2"..5. Norma" 00 sold in SO days 10 the JaiShcst bidder, all built ,md modenlu:ctl ("IInl.ole colllpicte wilh Tabler, Rt. I, AoytI Knobs, Ind. 47119. 8121 ur parI: XyloflilOlJC, and Celcste.Chrysoslott, 9-I4·89O'J. Ili,tulls Ilud dlJrcuioll Jledals. 22 ranks or FOR SALE - ONE ALLEN CUSTOM both Dcasalt 37·00te, linlk/reiletalting ~ e-­ f1il~ includins mixlures 3nd tttW. lJuycr tu 3'1II;lI1ual dcctronic orpn. New in 1965. 8 noid action. Hammond "B" cabinet lIlodi£icd rrnMn·c. Besl uffer. 554 East Hibt St., Stlulh lonc: gcncDton. Rcplacement value: $26,000.00. FOn. SALE - 2-MANUAL MOLLER (Clr thtee keyboards, and .top IJanel. G enui~ Holland, Ill. 00173 . ElI;cellenl condiliun. Can be moved wilh mini· consoles, icq'boards unly: two 3nd th,~ 1I0",anJ seal. Hilllllllond pans: tllft'e keyboards, mal diluscmbly. Asking $14 ,000.00 .... it stands mallu.a.I, Spencer and Kinetic blowers from maill senerator, ehorus sener.:ttor, JIC(Ialboard. 011 Door. Addn:ss D-8, TilE! DIAPASOH. ~ IU' to 3 HI', Swell .hadC3 and engines, Othen. Thonw Manning, 305/6654203. fOR SALE - ONE 2Vt·STOP MOLLER oHllote chdts, ullit and pitman dll:sb wilb IICW Ilr.lI:ltce orpn, in 1$1. Rel,lacenlent \'illue FOR SALE - 3-MANUAL, TRANSISTOR pipes. Wrile Ri~' e, IIIC., 81t Foci. SI., Met­ $5,850.00. Excrllenl condition. Call be moved AlIcn orsan, used HI, ,·ean. 26 spc:akeni . three a irie, La . 70005. FOR SALE - SEVERAL FINE REED with miuillial disomelllbly. Asking $3,500.00 as 75 "-'ilt! aomll'ificn, asking $9,500 IOhly 10 OrpllS and melodeons. Exllertly rl:'Conditioncd. it Slandt on noor. Addn:u D.7, 1'1I~ DIArASOH. Reeds, rcvoiccd a nd tuned. Abo JI!'Jlacellle nts. we can buy l:arger Allen. Free: extra pedal FOR SALE - 2M CONSOLE, "·STOI' & lpeaken, mixer, and .tereo hc:aclu:t (or pri­ The LitHe OIPn Shop, a. II. Gunzinger, l'llOII dil"ttt e1eclric chest, 8' RohrOoele, 4' HOll: 276, WilIiilmsville, VI. 05362. FOR SALE _ 2·MANUAL ORGANS: 3- vate pmetia:. R. Milham. 1-174 Lyon I\VC., PrinciJlal, III r:llllk lUil:ture, 16' Quilliadena, stop, 4·stop \\ icks, 6-stoll Moiler, 12-stoll di­ Aik~n, sa 29801. 803/648-1776. Yellli] nUlSI)1:b. M. Mclich:lrek, 2248 Tanaarack rect d ectric; :II", 5,,1011 Gre3t IlIIit dlest, Way, SacDrnenlO, C31ir. 9sa2l. LARGE 1WO·MANUAL AND rEDAL FOR SALE - BALDWIN MODEL -I8C, piJ~, relay, a nd 7'llop Choir "ilman chest .:and Esley reed organ with electric ~ower , excellent AGO slKCilication; 32·nou: pc:d31. Good con­ pilJCS. Writc Rh'e, Inc., 811 Focis St., Mel­ FOR SALE - LARGE 4-MANUAL MOL· working condilion. Banfcn lind Clark Inc., :z2 airie, La. 10015. ditloll. 5 Yc::ln old, $1,300.00. l'honc: 312/531. Rutland Square, Boston, AlA 02118. i992, 65 1 PiJler Lalle, Wheeling, III. 600!KJ, IeI' console ( 1928) , (rolll 1\l1Iphithc:atc:r at after 5 p .lII. C!UlUt:llMlua. Belt oUer. Uoll; 453, Chautauqua, FOR SALE - 3·14 BARTON CHURCH New York 1-1722. COLLECTORS ITEM - VERY RARE 0J'83n, wilh Wllrlltur Chrysolslolt, ICI of fOR SALE - BALDWIN ORGAN: TWO antique IInuMl pi.ano.rttd cwpa combinalton cl:a.u A chimdl. Inst:lllcd 1937, removed 1971, n~auab . pccbh, A.G.O. . pccifications, 39 FOR SALE - 3-MANUAL 1!»3 MOLLER by Gilbert, Bmton ca. 186.S. lfallWomc rtlIe~ now Itorct1. Needs &Dme ,deathering. $IZOO.ru. stops including chimcs, ele., pitd presell. COIIJl' cuJl)ole. Case, drawknobs, lilt tablets, and wood Venl"er and oriJinnl finilh ace c:.s.cdlelll Jllmes Trinkle, ·1021 Grcenvalley Rd .• New Al­ len. vibr.ato, e:horus. 2 '1lCalicr cabillets. -I manual ")'I damascd by heal. Cburch Orpn coad. Sanlen and Clan Inc., 22 Rutland bany, Ind. -I7ISO. 812/9-15-5309. years old. Address 0·3, TII~ DIAPASON. COlllpany, 18 Waltoll St., Edison, N.J. 08817. Square, Botton, AlA 02118.

PIPE ORGAN BUSINESS FOR SALE what is the CONTEMPORARY ORGAN SUPPLIES COMPANY? Tired of making money for someone else? A new company with ~'O yean o( pipe orgnn experience, started 10 provide Be your own ho5.5 - Tax advamages - BuiJd your (ulUre. contemporary products at reasonable prices. CHANCE OF A L1FETllIIE! Want an exa mple? :#:26 0'1,'. 111 wire usual price $3.fJO per lb. Our wire re­ High income, great potential, g'slate area. Contracts quires 110 stripping tor soldering, yel the insulation is superior to D.C.C. at (or new organs. rebuilding, maintenance. Extensive uul)' $2.12 PC[' lb. Scud ror pmr wile 5:uuple itnd 19i2 c;.tlitlog. BOlh rrec inventory. tools, oUice equipmenl, etc. 10 you. Nel:o,idble, 'o.e.i,,'ere., nWr'l:dgc 'erm', Or r!o,'•• CONTEMPORARY ORGAN SUPPLIES COMPANY Orener ten"" '0 retire 5·10 year•• Write: Dox C2. THE DIAI'ASON Box A·B Campbell, Calif. 95008

Builders of Fine Tracker and Electro-Pneumatic Pipe Organs DELAWARE Inquiries are Cordially Invited ORGAN COMPANY, INC. W. ZiIllIller & Sons a progressive company with traditional ideals INCORPORATED designing and building custom pipe organs

"".lIInll Address: P. O. Box 11024. ChllloU•• N. C. 28209 252 FILLMORE AVE. TONAWANDA, N. Y. NATIONS FORD ROAD - CHARLOTTE, N. C.

"Ouolity wI'" LOUIS F. MOHR & COMPANY AIKIN ASSOCIATES Econa",y" HANSEN ORGAN [AI' DIRECT ElECTRIC CHISTS MAINTENANCE AA ElECTIIO PNEUMATIC PEDAl CHmS ORGANS 117.. 28'-4132 2899 Valrntine Ave. lox 143 " BtOG"I),n, 'a. 18813 Constructors New York 58, N. Y. & Tdcphonr: SEdgwick !!-5628 Reid Organ Co. LIFE STVLE Rebuilders .f Emef'J't'ncy Senrice Yearly Coatnctl QUALITY lIill'pS _ Chimes - Blowell P.O. lox 363 PIPE ORGAN CO. E:a:pcrt O\-emaullns (4011148-3147 PIPE ORGANS 1117 Shell". I .. ud " 1111 Orlrl1l PrQP~'" Mrli'''rli1l~4 MetlrIS Santa Clara, California Aur .. u. . III. 6CHI. QUINCY, ILLINOIS 62301 B~"~r Mtuk" Iii ' h Dflc : 3 1 ~ / ' 9 ""'l 31 APRil, 1972 L l. 11. a. .,.

ANNOUNCING

European Artis's Season 11172-73

MICHAEL RADULESCU NITA AKIN Oct.·Nov. '72

GILLIAN WEIR Nov. '72

KAMIEL D'HOOGHE Jan.·Feb. '73

HEINZ WUNDERLICH Feb.·March '73

RODERT ANDERSON MONIKA HENKING Mar.·Apr. '73 MICHAEL SCHNEIDER i\ larch·Apr. '73

FRANCIS JACKSON May. '73

RODERT DAKER GERRE HANCOCK DONALD McDONALD

DAVID CRAIGHEAD CLYDE HOLLOWAY MARILYN MASON LADD THOMAS

CATHARINE CROZIER WILMA JENSEN FREDERICK SWANN JOHN WEAVER

~ RAY FERGUSON JOAN LIPPINCOTT WILLIAM TEAGUE WILLIAM WHITEHEAD

BOX 272 CANAAN, CONNECTICUT 06018 203-824-7877